All the preceding examples were in Primary Disposition (with an ascending Orbit Line in the Bass Voice).
However, in order to change to a neighboring swing,
          in this case from the TONIC/COUNTERSwing to the DOMINANT/TONIC Swing, and possibly back,
     it will be necessary to use the Secondary Disposition (with a descending Orbit Line in the Bass Voice)
          on one of the swings, to have the 4 Performance Voices remain in the same range.
     This will mean accepting the inconvenience ofFRAME inversion
          which seems quite acceptable under these circumstances in this polyphonic style of music.
Rather than present complete 32-chord examples ready-made,
     it seemed preferable to offer the choice of building them
          from the basic 8-chord segments, disposed in the appropriatetablesbelow.

First, an individual presentation of these 8-chord segments, starting with a review of those already seen.

M3333P
Thefirst example presentedwasM3333 P,C⁶/G⁷, C⁶/G⁷, C⁶/G⁷, C⁶/G,
     theantecedent from the DOMINANT/TONIC Swing, in Primary Disposition, in a high range.

M4444P
Then weaddedtheconsequentM4444 Pfrom the same DOMINANT/TONIC Swing
     to produce a 16-barentity,ac, also in Primary Disposition, in a high range.
          One could produce the sameacby performing these two 8-chord sections one after the other.

The Secondary Disposition
From now on, new material will be developed.
     The first step is to transform the 2 existing examples from the Primary Disposition to the Secondary Disposition
               (with a descending line in the Bass Voice)
          by inverting the Soprano and Bass voices, and inverting the Alto and Tenor voices,
               thereby displacing the example to another range, from high to medium or from medium to high.

M3333S

M3333 Phas been transformed intoM3333 S, placing it in a lower (medium) range.
NOTE the last note in the Soprano Voice, which is D instead of G,Orbit 1instead ofOrbit 0,
          to achieve a more melodic ending, and
     the substitution0(3), G instead of F, in the Alto Voice.

M4444S

M4444 Phas been transformed intoM4444 S, placing it in a lower (medium) range.
NOTE the last note in the Bass Voice, which is C instead of G,Orbit 1instead ofOrbit 0, and
     the substitution0(3), G instead of F, in the Tenor Voice.

A neighboring Swing
The TONIC/COUNTER Swing is quite similar to the DOMINANT/TONIC Swing, a diatonic fifth lower.

M7777P

M7777 Pis similar toM4444 P, but placed a fifth lower,
     in the same medium range asM4444 S, rather than in the high range ofM4444 P.
NOTE the last note in the Tenor Voice, which is F instead of C,Orbit 1instead ofOrbit 0, and
     the substitution0(3), C instead of D, in the Alto Voice.

M6666P

M6666 Pis similar toM3333 Pbut placed a fifth lower,
     in the same medium range asM3333 S, rather than in the high range ofM3333 P.
NOTE the substitution0(3), C instead of B, in the Tenor Voice.
     TheOrbit 1toOrbit 0line has been preserved, acting asFundamentalBass,
          as was the case inM3333 P.

M7777S

M7777 Phas been transformed intoM7777 S, placing it in the higher range withM4444 P.
NOTE the last note in the Alto Voice, which is F instead of C,Orbit 1instead ofOrbit 0, and
     the substitution0(3), C instead of D, in the Tenor Voice.

M6666S

M6666 Phas been transformed intoM6666 S, placing it in the higher range withM3333 P.
NOTE the last note in the Soprano Voice, which is G instead of C,Orbit 1instead ofOrbit 0, and
     the substitution0(3), C instead of B, in the Alto Voice.

A RECAP of the changes made to the last chord -
     1. the substitution0(3)ofOrbit 3byOrbit 0in all cases,
               to remove the tension of the chord, and
     2. the change of theOrbit 1toOrbit 0line intoOrbit 1toOrbit 1
          except when it acts asFundamentalBass in a sharpening progression (inM3333 Pand inM6666 P),
               to produce a more final melodic line.