To thepreceding example, anantecedent with Chord PatternM3333,
          4 cells of TONIC/DOMINANT, in this caseC⁶/G⁷, C⁶/G⁷, C⁶/G⁷, C⁶/G,
     could be added aconsequent with Chord PatternM4444-
          4 cells of DOMINANT/TONIC, in this caseG⁷/C⁶, G⁷/C⁶, G⁷/C⁶, G⁷/C,
               forming anentity,ac, which comes to a complete close.

M3333 4444


Both theM3333and theM4444sections have canonic beginnings
     which could easily be "filled in", if one desired the full harmonic version,
          by referring to bars 5-6-7 and 13-14-15.
Theantecedent and theconsequent used different rhythmic possibilities of the same swing,
     but both used thePrimary Dispositionof the Performing Voices (SATB)
          with the ascending Orbit Line in the Bass Voice.
NOTE the inversion of the Soprano and Bass voices, and of the Alto and Tenor voices,
     to produce the second line (theconsequent).
NOTE the last note in the Soprano Voice, which is C instead of G,Orbit 1instead ofOrbit 0,
     to achieve a more final, definite ending.
NOTE also that these examples sound more and more "musical" as the rhythmic structure is developed.

The preceding examples were made using the same swing throughout, but it is possible, and interesting, to change swing without interrupting the flow of the canonic lines.