Harmony/Transformations/Chromaticism/Orbit 4

If a chord has a strong MEDIAN,
          major if the progression is flattening, minor if the progression is sharpening,
     its Orbit 0, when it procures Orbit 3 in Voice-leading A,
          can be chromaticized to bring it closer to its resolution.

As a matter of fact, chromaticization always brings a note closer to its resolution.
It is because a note moves in a specific direction that it can be chromaticized,
not because it is chromaticized that it moves in that direction.
The cause has often been confused with the effect.

We call this particular chromaticism "Orbit 4"
     because it has a very high degree of tension and is clearly no longer Orbit 0.
Since it resolves to Orbit 3,
          and resolution is always to the next lower degree of tension,
     it seems appropriate to call it Orbit 4.

In a TONIC-DOMINANT Swing with Voice-leading A,
     only the DOMINANT Chord, G7, has a strong MEDIAN
- its Orbit 0, G, can be chromaticized to Orbit 4, G#,
     giving the chord a diminished seventh sound,
          usually indicated G#dim7.

It is still fundamentally a G7 chord (G7+1).
Much more of this illusory harmony still to come.

This possibility does not limit itself to DOMINANT-shape chords.
     In a COUNTER-TONIC Swing with Voice-leading A,
          it is the TONIC Chord which has a strong MEDIAN E and
          its Orbit 0, C, can be chromaticized to Orbit 4, C#,
               giving the chord a half-diminished sound (usually indicated C#m7-5).
     But it is still fundamentally a C+7 chord, now C+7+1.

Dominantized TONIC
In a TONIC-DOMINANT Swing with Voice-leading A,
     where the TONIC Chord has been dominantized to Cm6,
the Orbit 0 of each chord, G, can be chromaticized to Orbit 4, Gb and G#.
We have here the diminished seventh sound on each chord:
     (usually indicated Adim7 for the chord of Cm6 and G#dim7 for the chord of G7)
          but they are really Cm6-5 and G7+1.

Metamorphosis 4
This is the third time we present this example of 2 consecutive applications of metamorphosis 4 -
     the first time in its diatonic state
          with the chord pattern C+7, F6Dm7, G6Em7, Am-6, Em7G6, Dm7F6,
     the second time with each chord dominantized (the second function of each metamorphosed chord)
          with the chord pattern C7, D7, E7, Am6, Gm6, Fm6, all Dominant-shape chords.
     We will now apply the chromaticim of Orbit 4 to each of these dominant-shape chords,
          with the chord pattern C7+1, D7+1, E7+1, Am6-5, Gm6-5, Fm6-5,
               (usually indicated C#dim7, D#dim7, E#dim7, F#dim7, Edim7, Ddim7).
We have here the diminished seventh sound on each chord:
     NOTE that the Cb (-5) in the Soprano (at the end), Orbit 4 resolving to Orbit 3, Bb, at the beginning,
          would be a B (p+4), a Non-chordal Tone of Orbit 0, as it leads into the last chord.
You might wish to hear the version without the Orbit 4, or even
     the version without the dominantisation to compare.

We now suggest that you see the chromaticism of