A large Consequent
The 2 swings involved here are of DOMINANT/TONIC nature,
          one in theDiatonic MinorMode and the other in theDiatonic MajorMode,
     the first with the chordsDm⁶/Am⁷, Dm⁶/Am⁷, Dm⁶/Am ⁷, Dm⁶/Am⁷ ,numbered w4444, and
     the second with the chordsG⁷/C⁶, G⁷/C⁶, G⁷/C⁶, G⁷/C, numberedM4444,
          with the Am⁷becoming C⁶, at chord 8, with aMetamorphosis 4,
               these 2 chords even maintaining the same dispositions throughout the evolution of the 16 chords.
          The chords of Dm⁶being (on the average) a third higher than the chords of G⁷,
               the 4 Performance lines end up by being a diatonic second higher in theantecedent.
To indicate this example completely in themajormode,
     the first 8 chords would be numberedM6*6*6*6*,
          with the COUNTER/TONIC cells in theShadows, 3 notches higher in the Window,
     and the last 8 chords remainingM4444.

M6*6*6*6* 4444

Only theM6*6*6*6*has a canonic beginning
          which could easily be "filled in" by referring to bars 5-6-7.
     TheM4444section was left complete to show the flow of the canonic lines,
          but canonic entries could be produced by starting each performance Voice on the newCOMMON TONE,
               the note G (BTAS) in chords 9-10-11-12.
Both theantecedent and theconsequent used thePrimary Dispositionof the Performing Voices
     wiith the ascending Orbit Line in the Bass Voice.

A large Antecedent
It is possible to invert each cell of the preceding example to produce weaker cells, of a TONIC/DOMINANT nature,
     the antecedent with the chordsAm⁷/Dm⁶, Am⁷/Dm⁶, Am⁷/Dm⁶, Am⁷/Dm⁶ , numberedw3333, and
     the consequent with the chordsC⁶/G⁷, C⁶/G⁷, C⁶/G⁷, C⁶/G, numberedM3333,
          with the Am⁷becoming C⁶, at chord 9, with a Metamorphosis 4.
Once again, to indicate this example completely in themajormode,
     the first 8 chords would be numberedM7*7*7*7*7*,
          with the TONIC/COUNTER cells in the Shadows, 3 notches higher in the Window,
     and the last 8 chords remainingM3333.

M7*7*7*7* 3333

Only the antecedentM7*7*7*7*has a canonic beginning
          which could easily be "filled in" by referring to bars 5-6-7.
     The consequentM3333section was left complete to show the flow of the canonic lines,
          but canonic entries could be produced by starting each performance Voice on the newCOMMON TONE,
               the note G (SATB) in chords 9-10-11-12.
Once again, both theantecedent and theconsequent used thePrimary Dispositionof the Performing Voices
     wiith the ascending Orbit Line in the Bass Voice.
The last 8 chords, being numberedM3333,
     confirm that this whole 16-chord example is a largeAntecedent
          which could precede the previousConsequent example in a large 32- chord complete Antecedent-Consequent,
                abbreviated aA / cA, aC / cC.
You can probably fit these 2 musical examples in the height of the screen and play one after the other.