Free Harmony is the most primitive form of Harmony,
     being both atonal, having noWindow, no tonal center,
          flowing freely and aimlessly over the Series of Fifths,
               neither diatonic nor chromatic,
     and arhythmical, having no discrimination ofBeat/Off-Beat
          as well as no places to "breathe".

All of its chords are of DOMINANT shape and strength("⁷" or "m⁶")

Chromatic Modes
Many of its manifestations will also be found in the two ChromaticModes(the Chromatic flattening (descending)MINORand the Chromatic sharpening (ascending)MAJOR) which are rich in DOMINANT-type chords: .

Transformations

1. Voice-leading
The 3 forms ofVoice-leading(A, B, C) can be applied.
     The swing with Voice-leading A, inDominantization
     The swing with Voice-leading B, inVoice-leading
          (try dominantizing it yourself)
     The swing with Voice-leading C, inDominantization

2. Incompleteness
All forms ofIncompletenesscan be applied.
     Substitutions 1(3), 0(3), and 1(0) for the entire length or for part of the length of the chord.
          These substitutions can be applied to any examples in Free Harmony. Try them out!

3. Metamorphoses
The 4 forms ofMetamorphosiscan be applied (both open and closed)

-Here is an example of openMetamorphosis 1in Free Harmony
     which one would not even think of attempting in tonal, diatonic Harmony.
On each Metamorphosis 1 (Am⁶-A⁷, Dm⁶-D⁷, Gm⁶-G⁷, G⁷-Gm⁶, D⁷-Dm⁶, A⁷-Am⁶)
     the chord is presented
          first in the swing of the preceding chord,
          then in the swing of the following chord,
     so that
          the MOTRIX changes note (in the same voice)
          the MEDIAN changes to remain strong
               (a semi-tone higher or lower, but placed in another voice)
          the COMMON TONE moves to the new MEDIAN
          the old MEDIAN moved to the new COMMON TONE (in parallel thirds)
          the PROPER TONE moves to the new PROPER TONE (in the same voice)

The Voice-Leading is interesting -
     from the last version of a chord to the first version of the next chord,Voice-Leading A
     from the first version of a chord to the first version of the next chord,Voice-Leading C.

You will notice that we are not really in any specific key.
     This series of Metamorphoses 1 could have started on any chord
     and ended on any other chord.

In dominantization
here is anexampleof Metamorphosis 2,
note that the 2 diatonicMEDIANs, E and C, would not appear in Free Harmony
here is anexampleof Metamorphosis 3,
here is anexampleof Metamorphosis 4,

4. Chromaticism
Certain forms ofChromaticismcan be applied:
     Orbit 4 - theswingwith Voice-leading A.

5. Non-chordal Tones
All forms ofNon-chordal Tonescan be applied.
Temporary and Permanent, Superior and Inferior, Normal and Abnormal, Single and Double,
     in aSwing, and in aHalf-circle.

NOTE
Swingsbetween two DOMINANTS are the perfect breeding ground for Free Harmony.
On the other hand, circles are not possible because,
without a Window,
we have no"Buckle Chord"to join the ends.
However, we can travel up and down the Series of Fifths at will.