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In the previous section, with its use of Metamorphosis 1 which moves to the neighboring Swing, the use of the Secondary Disposition
of the Performance Voices was imperative to keep the different sections in the same range. However, in this section, with
its use of Metamorphosis 4 which moves 2 Swings away, the use of the Secondary disposition is not really necessary and will
be shown only when truly useful.
04pce
Metamorphoses = ((4 - 0 - 4 - 0))
Chord Symbols = ((C6Am7 - Dm6 - Am7C6 - G7)) C, see Metamorphoses
We have here a combination of 2 TONIC/DOMINANT Swings, one In minor and one in major.
Voice-leading = A throughout
Performance Disposition = Primary Disposition throughout
the entire canon in a high range.
Complete Harmony when the first chord is used but not the last, with Chord PatternM7*3
Cadential Ending when the last chord is used but not the first, with Chord Pattern M6*4.
Orbit Lines -
in the Soprano Voice - ((03-2-12-1)) 1,
in the Alto Voice - ((30-3-21-0)) 0,
in the Tenor Voice - ((21-0-30-3)) 2,
in the Bass Voice - ((12-1-03-2)) 1.
The orbital and melodic canons are quite different here -
the Soprano and Bass Voices are in orbital canon, in contrary melodic motion, at a 2-chord interval, and
the Alto and Tenor voices are in orbital canon, in contrary melodic motion, at a 2-chord interval, but
the Soprano and Tenor Voices are in melodic canon, with descending lines, at a 1-chord interval, and
the Alto and Bass Voices are in melodic canon, with ascending lines, at a 1-bar interval,
the Tenor a second higher than the Soprano and the Bass a second higher than the Alto.
04sce
The same Metamorphoses, Chord Symbols, Voice-leading, and Orbit Lines.
Performance Disposition = Secondary Disposition throughout, not necessary, but useful,
the entire canon in a lower (medium) range,
retaining the same possibilities of Complete Harmony, with M7*3, and Cadential Ending, with M6*4.
The same canonic relationships as above, but, in this case,
the Soprano and Tenor Voices with ascending lines and
the Alto and Bass Voices with descending lines,
the Soprano a second higher than the Tenor and the Alto a second higher than the Bass.
044pce
Metamorphoses = ((0 - 4 - 4 / 0-4-4 / 0-4-4 / 0-4-4))
Chord Symbols =
((C+7 - F6Dm7 -
G6Em7 / Am-6 - Em7G6
- Dm7F6 / C+7 - F6Dm7
- G6Em7 / Am-6 - Em7G6
- Dm7F6)) C,
see Metamorphoses
We have here a giant Swing which moves from one end of the Window to the other.
Voice-leading = A throughout
Performance Disposition = Primary Disposition throughout
the entire canon in a medium range.
Complete Harmony when the first chord is used but not the last, with Chord PatternM7*3
Cadential Ending when the last chord is used but not the first, with Chord Pattern M6*4.
Orbit Lines -
in the Soprano Voice - ((3-21-03 / 2-12-12 / 1-03-21 / 0-30-30)) 0,
in the Alto Voice - ((2-12-12 / 1-03-21 / 0-30-30 / 3-21-03)) 2,
in the Tenor Voice - ((1-03-21 / 0-30-30 / 3-21-03 - 2-12-12)) 1,
in the Bass Voice - ((0-30-30 / 3-21-03 - 2-12-12 - 1-03-21)) 0.
The 4 Performance Voices (BTAS) are in orbital and melodic canon, at a 3-chord (1-bar) interval,
the Bass and Alto Voices in one direction, at a 6-chord (2-bar) interval, and
the Tenor and Soprano Voices in the other direction, also at a 6-chord (2-bar) interval.
This example was first presented in the Metamorphosis 4 section, in all the splendor of its colors,
and later with each chord dominantized.
004pe
Metamorphoses = 4-0-0 throughout, except the last bar.
Chord Symbols = C6Am7 - Dm6 - Am7 /
Dm6Bm-7 - Em-6 - Bm-7 /
Em-6C+7 - F6 - C+7 /
F6Dm7 - G6 - Dm7 /
G6Em7 - Am-6 - Em7 /
Am-6F+7 - Bm-6-5 - F+7 /
Bm-6-5G7 - C6 - G7 / C, see Metamorphoses
We have here a complete circle, two in fact, with giant strides of 2 fifths at each Metamorphosis 4,
the 2 following Metamorphoses 0 taking time off for a short swing at the end of each bar.
Voice-leading = A throughout
Performance Disposition = Primary Disposition throughout
the entire circle in a comfortable medium range.
Cadential Ending on the last chord.
Orbit Lines -
in the Soprano Voice - 3-21-03 / 2-12-12 / 1-03-21 / 0-30-30 / 0,
in the Alto Voice - 2-12-12 / 1-03-21 / 0-30-30 / 3-21-03 / 2,
in the Tenor Voice - 1-03-21 / 0-30-30 / 3-21-03 - 2-12-12 / 1,
in the Bass Voice - 0-30-30 / 3-21-03 - 2-12-12 - 1-03-21 / 0.
The 4 Performance Voices (BTAS) are in orbital and melodic canon, at a 3-chord (1-bar) interval,
the Bass and Alto Voices in one direction, at a 6-chord (2-bar) interval, and
the Tenor and Soprano Voices in the other direction, also at a 6-chord (2-bar) interval.
0044pe
Metamorphoses = 4-0-0 / 4-4-0-0 / 4-4-0-0 / 4-4-0-0 / 0
Chord Symbols = C6Am7 - Dm6 - Am7 / Dm6Bm7-5 - Em-6C+7 - F6 - C+7 / F6Dm7 -
G6Em7 - Am-6 - Em7 /
Am-6F+7 - Bm-6-5G7 - C6 - G7 / C, see Metamorphoses
We have here another complete circle with giant strides of 2 fifths at each Metamorphosis 4,
the 2 following Metamorphoses 0 taking time off for a short swing at the end of each bar.
Voice-leading = A throughout
Performance Disposition = Primary Disposition throughout
the entire circle in the same comfortable medium range.
Cadential Ending on the last chord.
Orbit Lines -
in the Soprano Voice - 21-0-3 / 21-03-2-1 / 03-21-0-3 / 21-03-2-1 / 1,
in the Alto Voice - 30-3-2 / 12-12-1-0 / 30-30-3-2 / 12-12-1-0 / 0,
in the Tenor Voice - 03-2-1 / 03-21-0-3 / 21-03-2-1 / 03-21-0-3 / 2,
in the Bass Voice - 12-1-0 / 30-30-3-2 / 12-12-1-0 / 30-30-3-2 / 1.
The Soprano and Tenor Voices are in canon at a 4-chord (1-bar) interval,
in a mysterious repetitive 0 3 2 1 process,
either by Voice-leading or Metamorphosis change,
and the Alto and Bass Voices are also in canon at a 4-chord (1-bar) interval.
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