Function And Position
In order to establish a code that would accurately define both Function and Position,
         it was necessary to isolate these 2 parameters,
                   with a letter code for the Function -
                             C(OUNTER-DOMINANT), T(ONIC), D(OMINANT), A(NTE 1), and
                   with a number code for the Position -
                             -7 -5 -3 -1 +1 +3 +5 +7, symmetrically disposed in the series of fifths.

Positions

The even-numbered notes are disposed as they are in the MusicNovatory Window.
         In the natural Key Signature, 0 is in the center (the note D),
                   with -2 (the note G), -4 (the note C), -6 (the note F), on the flat side, and
                   with +2 (the note A), +4 (the note E), +6 (the note B), on the sharp side,
                             disposed in order of Chrominicism, from the flattest (F) to the sharpest (B).

The odd-numbered chords are built in the FRAMEs of the corresponding notes, with
         -1 (the chord of G major), in the FRAME -2 0 (the notes G D),
         -3 (the chord of C major), in the FRAME -4 -2 (the notes C G),
         -5 (the chord of F major), in the FRAME -6 -4 (the notes F C), on the flat side, and
         +1 (the chord of D minor), in the FRAME 0 +2 (the notes D A),
         +3 (the chord of A minor), in the FRAME +2 +4 (the notes A E),
         +5 (the chord of E minor), in the FRAME +4 +6 (the notes E B), on the sharp side, as well as
         7, possibly indicated -7 or +7, (the BUCKLE chord),
                   in the FRAME+6 -6 (the notes B and F), the sharpest and the flattest.
         NOTE the 2 T(ONIC) chords at -3 and +3.

The chord positions are constant in this code,
only the chord functions changing.

Functions

COUNTER-DOMINANT
The Function of COUNTER-DOMINANT includes all weak chords of movement -
         (major) sixth, major seventh, minor seventh,
                   even minor seventh flat five if it is not followed by a DOMINANT.

TONIC
The Function of TONIC includes all chords of rest, followed by a breath, on the Beat of the cell,
         often indication of a modulation.

DOMINANT
The Function of DOMINANT is reserved to chords having the specific DOMINANT shape,
         with its strong movement, diminished fifth between the Secondary Notes.

ANTE 1
The Function of ANTE 1 is reserved to chords having the specific ANTE 1 shape,
         with its strong movement, diminished fifth between the Primary Notes,
                   only if followed by a DOMINANT.

In the Diatonic Major Mode,
the normal default positions of the functions would be C-5 T-3 D-1 A+1.

In the Chromatic Minor Mode,
the normal default positions of the functions would be C+1 T+3 D+5 A+7.

The interest of the code will be
in displacing these functions on the fixed positions.

Examples

Circles

Diatonic Major Circle
The Diatonic Major Circle is represented by the positions -3 -5 +7 +5 +3 +1 -1 -3
         and in its diatonic state, the first 6 chords are of C(OUNTER TONIC) function,
                   C-3 C-5 C+7 C+5 C+3 C+1 D-1 T-3.
In Modulation 1, as many chords as possible are DOMINANTIZED,
                   D-3 D-5 A+7 D+5 D+3 D+1 D-1 T-3.
In Modulation 2, each D(OMINANT) is followed by a T(ONIC),
                   D-3 T-5 D+7 T+5 D+3 T+1 D-1 T-3.
In Modulation 3, each D(OMINANT), except the first, is preceded by an A(NTE 1),
                   D-3 T-5 A+7 D+5 T+3 A+1 D-1 T-3.
In Modulation 456, the 2 first chords are left diatonic, as C(OUNTER DOMINANT),
                   C-3 C-5 A+7 D+5 T+3 A+1 D-1 T-3.
         NOTE, in the last 2 circles, the presence of both T+3 and T-3

Chromatic Minor Circle
The Chromatic Minor Circle is represented by the positions +3 +1 -1 -3 -5 +7 +5 +3.
         The first half +3 +1 -1 -3 is the end of the Diatonic Major Circle, and
                   the second half -5 +7 +5 +3 is the minor cadence with the strong A(NTE 1),
                             chords 2-5 of Modulation 456 (above).
                   C+3 C+1 D-1 T-3 C-5 A+7 D+5 T+3.
         NOTE, here also, the presence of both T-3 and T+3.
                   C+3 C+1 D-1 C-3 C-5 A+7 D+5 T+3.
         The major cadence (at -3) usually attenuated with a C(OUNTER) function.

Swings

The TONIC-DOMINANT Swing
We will examine this swing in its "open" position with the chords C⁶ / G , G⁷ / C,
                   especially the Antecedent C⁶ / G, which has a definite C(OUNTER) / T(ONIC) function.
         The positions -3 -1 will evidently remain the same
                   but it seems advantageous to indicate the functions C-3 T-1,
                             which will be followed by the Consequent D-1 T-3.

All the modulations with the circles
were contrived to be as strong as possible,
but the very light modulation in C⁶ / G
also deserves to be indicated.

The TONIC-COUNTER Swing
We will also examine this swing in its "open" position with the chords C⁺⁷ / F , F⁶ / C,
         especially the Antecedent C⁺⁷ / F, which has a definite C(OUNTER) / T(ONIC) function.
The positions -3 -5 will evidently remain the same
         but it seems advantageous to indicate the functions C-3 T-5,
                   which will be followed by the Consequent C-5 T-3.

Here again the very light modulation in C⁺⁷ / F
also deserves to be indicated.

Progressions

BUCKLE / DOMINANT
When the BUCKLE chord progresses to a DOMINANT of rest,
         it will de coded A+7 T+5,
                   because the A indicates that the following chord will be a D,
                             which is confirmed by the position +5,
                   and the T indicates a modulation to the DOMINANT.
         This will also apply to A+1 T-1.

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