Also in the%41-44%YIN-YANG range, all these forms of Harmony, with the Four Strong Modes and the various chord progressions, are of a very technical nature.

Origins

The4 Forms of Harmonyare evidently distributed according to rhythmic exigencies -
          (with or without rhythmic structure).
     Rhythmic Harmony and Melodic Harmony are both associated with Melody (YIN %41%) -
          Rhythmic Harmony, not being diatonic, with the two Chromatic Modes,
               theChromatic Major Mode(3) and theChromatic Minor Mode(4),
          Melodic Harmony, being diatonic, with the two Diatonic Modes,
               theDiatonic Major Mode(1) and theDiatonic Minor Mode(2).
          These 4 Strong Modes are evidently all inMelodyand not in Development.
     Free Harmony and Diatonic Harmony are both associated with Development (YANG %44%) -
          Free Harmony functioning with the original free chromaticism,
               quite different from the (outside) window chromaticism of the Chromatic Modes, and
          Diatonic Harmony functioning with the (inside) window diatonicism,
               the same as that found in the Diatonic Modes.

Structures

Swing-Circle
This starts being a little more practical -
     TheSwingis Harmony at its simplest,
          without any form of Metamorphosis whatsoever (called Metamorphosis 0 in the sequences),
               and balances placidly back and forth between the 2 same chords (of different direction),
                    a perfect choice for Melody (YIN %41%).
          This will situatechord patternslikeM34(I-V-V-I) andM54(I-I-V-I)
               squarely in the Melody "camp".
     TheCirclehas a Metamorphosis 1 on each chord, producing a series of unidirectional chords,
          which go right around the series of fifths, through the BUCKLE chord,
               in the Development "camp".
          This will situate a chord pattern likeM74(I-IV-V-I), with only flattening directions,
               farther on the Development "side " (YANG %44%).

Orbit lines - Fundamental Bass
This one is not obvious.
     InHarmony/Basic Materials/4 Strong Modes/Diatonic Major,
          we saw the musical examples in 5 Performance Voices -
               4Orbit Lines(above) and theFundamentalBass below them.
          In the Swings of the Nucleus, there is no Voice-leading choice
                    because the second chord is a Triad,
               producing theOrbit Lines 3-2,2-1,1-1,0-0, no veritable Orbit Chains,
                    which we will see only in the Voice-Leading Transformations.
          In the Circle with the Tail of the ANTES, Voice-Leading C was chosen by default,
               being the simplest, with the shortest chain.
          So far, rather unproductive Orbit Lines,
               but a constant, useful, cadential, consequential,FundamentalBass.
     However, inHarmony/Transformations/Voice-Leading,
          theVoice-Leading A Swingproduces the0-3-2-1Orbit Chain,
               which in turn produces the first 4-voice Natural Canon,
                    which is incompatible with theFundamentalBass.
All of which seems to place theFundamentalBass on the side of Melody (YIN %41%),
     and the completeOrbit Lines(and Chains) on the Development side (YANG %44%).

Preface
Philosophical Dichotomies
Music Dichotomies
Melody and Development
Rhythmic Containers
Cultural Habits
Intuition and Knowledge

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