There are 4 principal processes of Chord Pattern Transformation -
     1. Opening,  2. Tenant Chords, 3. Shadows, and 4. Pasting.
 

1. Opening

Once

1a.Opening consists of repeating each chord - DOMINANT, DOMINANT / TONIC, TONIC -
     and then placing the last (TONIC) chord, as an anacrusis, at the beginning,
          producing a smaller rhythmic level - TONIC / DOMINANT DOMINANT // TONIC.
 

Antecedent-Consequent
The first cell3(C6 / G) is the antecedent which opens the harmony.
The second cell4(G7 // C) is the consequent which closes the harmony.
     The DOMINANT chord on the Beat of the first cell (G) is a form ofLanger Hinge.

Symmetry
Note the inverse symmetry between the 2 cells (the antecedent and the consequent),
     one progression sharpening, and one progression flattening,
          the essence of theSwing.

Note the single bar-line in the3, where there is only the “drop” ofLevel 0, and
the double bar-line in the4, where there are the “drops” ofLevel 0andLevel +1.
(By “drop” we evidently mean the passing from the Off-beat to the Beat.)

Examples
This chord pattern is extremely popular, and
     the astute listener will find it everywhere, from
Neapolitan songs
      Carnival of Venice-3434, to
Mexican tunes
      La Raspa-3434,
Folkloric staples
      Down In The Valley-34
      Oh Where, Oh Where-3434, as well as
A great variety of classical music.

Twice

1b.Opening again would produce, at a still smaller rhythmic level -
     TONIC / TONIC TONIC // DOMINANT DOMINANT / DOMINANT DOMINANT /// TONIC.
  

Chord Pattern5324,
with an antecedent composed of 53(C / C C6 // G),
and a consequent composed of 24(G / G G7 /// C).
     The DOMINANT chordLanger Hingeis now on the Beat of the second cell.

Note the triple bar-line at the end, forLevel +2.

Examples
     Another big favorite -
Laura's Theme(from Dr. Ghivago) -5324,
Polly Wolly Doodle-5324 5324,
La Raspa-5324,
La Cucaracha-5324,
Mexican Hat Dance-5324,
Rudolf, The Red-Nose Reindeer-5324.
Rossini couldn’t live without the5324pattern.
     In hisOvertures, at least one of the two themes, sometimes both
          are on this Chord Pattern.
Not to forget a lot of Waltzes.

The same pattern

1c. It is quite evident that these three patterns
     are the same at different levels.

Starting from the bottom and working up will enable you to perceive the process of opening.
     This clearly indicates that all the levels meet at the end and not at the beginning.

2. Tenant Chords

Placing a Tenant Chord consists of -
     Replacing the first part of a subdivided chord by another chord,
          immediately sharper (superior) or flatter (inferior) than the original in the Window,
     which resolves to the "true chord" on the second part.
This is the harmonic equivalent of the Non-chordal Tones in
      Harmony - Transformations.
By placing a Tenant Chord,
     it is possible to transform the fundamental34chord pattern,
          in which the 2 DOMINANT chords (in the middle)
               occupy the complete Off-beat of the4at the large level.

A sharper Tenant

The 74 Pattern
2a.  If the tenant chord on Chord Pattern34is sharper (superior),
     the first DOMINANTchord will be replaced by an ANTE-1
          (formerly a COUNTER transformed by a Metamorphosis 4)
     TONIC / COUNTER (ANTE-1) DOMINANT // TONIC

with an antecedent composed of Progression7(C+7 / F6Dm7),
     and a consequent composed of Progression4(G7 // C).
          In the sound file, Voice-leading C is used between tetrads.
     The COUNTER chord on the Beat of the first cell (F6) is now theLanger Hinge.

Symmetry
Note the direct symmetry between the 2 cells (the antecedent and the consequent),
     two flattening progressions,
               three with the ANTE-1 / DOMINANT progression between the cells,
          the essence of theCircle.

Examples
This is another very popular chord pattern
     (the traditionalI-IV-V-I), a folkloric staple -
Little Brown Jug-7474
The chorus ofMy Bonnie-7474
Aura Lee-74
Certainly one of BACH’s favorites.

Opening The 74

2a1. Opening Chord Pattern74will produce, at a smaller rhythmic level -
     TONIC / TONIC TONIC // COUNTER ANTE-1 / DOMINANT DOMINANT // TONIC.
          There is an openMetamorphosis 4in the center.

Chord Pattern 5714
     with an antecedent composed of Chord Pattern57(C / C C+7 // F6 ),
          and a consequent composed of Chord Pattern14(Dm7 / G G7 /// C).
Here again we see, at three rhythmic levels, the generation of5714from the original4,
     where the Tenant Chord is indicated in solid black.

Another Tenant
2a1a.  Placing a flatter (inferior) tenant chord, on the first DOMINANT of5714will produce
     TONIC / TONIC TONIC // COUNTER COUNTER / TONIC DOMINANT /// TONIC.
          There is no more Metamorphosis 4.

Chord Pattern 5764
     with the same antecedent composed of Chord Pattern57(C / C C+7 // F6 ),
          but with a new consequent composed of Chord Pattern64(F6 / C G7 /// C).
You will notice, in the sound file, that, on Chord 6,
     the Fundamental Bass is that of the original DOMINANT proprietor (G)
          and not that of the TONIC tenant (C) to clearly distinguish it from the last TONIC of rest at the end.
               This is commonly called the "cadential 64 chord",
                    with notes a sixth and a fourth above the bass note.

Here again we see, at three rhythmic levels, the generation of the5764
     from the original4where both Tenant Chords (one sharper and one flatter)
          are indicated in solid black (one Tenant Chord is even indicated in the74).

Examples
     This5764pattern is used far more often than the original5714.
Over The Waves-5324 5764
Bill Bailey-5324 5764

A Flatter Tenant

The 54 Pattern
2b. If the tenant chord on Chord Pattern34is flatter (inferior),
          the first DOMINANT chord will be replaced by a TONIC chord
     TONIC / TONIC DOMINANT // TONIC

     with an antecedent composed of Progression5(C / C6),
          and a consequent composed of  Progression4(G7 // C).
     The TONIC chord on the Beat of the first cell is now theLanger Hinge.

Examples
Mary Had A Little Lamb-5454
Tarara-Boom-Diay-5454
London Bridge-5454

Opening The 54

2b1. Opening Chord Pattern54will produce, at a smaller rhythmic level -
     TONIC / TONIC TONIC // TONIC TONIC / DOMINANT DOMINANT /// TONIC.

Chord Pattern 5534
     with an antecedent composed of Chord pattern55(C / C C // C),
          and a consequent composed of Chord pattern34(C6 / G G7 /// C).
Here again we see, at three rhythmic levels, the generation of the5534
     from the original4where the Tenant Chord is indicated in solid black.

Another Tenant
2b1a.  Placing a sharper (superior) tenant chord, on the first DOMINANT of5534will produce
     TONIC / TONIC TONIC // TONIC TONIC / COUNTER(ANTE-1) DOMINANT /// TONIC.

Chord Pattern 5574
     with the same antecedent composed of Chord Pattern55(C / C C // C),
          but with a new consequent composed of Chord Pattern74(C+7 / F6Dm7 G7 /// C).
Here again we see, at three rhythmic levels, the development of the5574
     from the original 4 where both Tenant Chords (one flatter and one sharper)
          are indicated in solid black (one Tenant Chord is even indicated in the54).

This5574pattern is used more often than the original5534.

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We have presented, in detail, the generation of
     the most fundamental and popular 4-cell Chord Patterns.
You might enjoy seeing for yourself how the others are generated.

Table Of 4-Cell Patterns

Map
1. The basic fundamental5324pattern is placed dead center.
     the5534is placed in the center of the left section and
     the5714is placed in the center of the right section.

2. Each of the three sections evolves from its center.
     the sharper (superior) tenant of the sixth chord (of the pattern) is placed above
          surrounded (above and below) by the tenants of the fifth chord, and
     the flatter (inferior) tenant of the sixth chord is placed below, also
          surrounded (above and below) by the tenants of the fifth chord.
     To all of these are added the tenants of the second (or third) chord on the sides.

3. The patterns indicated in bold script on yellow are all recommended
          having antecedents which do not overwhelm the consequent.
     The patterns indicated without bold script on green are not recommended
          because the antecedent is more complex than the consequent.
     The patterns indicated in red script on grey are not recommended
          because the antecedent is more powerful than the consequent.
     The patterns indicated in red script on green
               are not recommended because
          the antecedent is both more complex and more powerful than the consequent.

The antecedent must never overwhelm the consequent.
otherwise, all sensation of 'build-up" is destroyed.

Two Dimensions
There are two dimensions to consider here -
     First, the strength of a progression -
          Chord Pattern4is the only strong one,
          Chord Patterns1, 3, 6, 7, 9,are weak,
          Chord Patterns2, 5, 8,have no strength at all,
               being merely repetitions of the same chord.
     Second, the complexity of a pattern -
          This is a question of tenant chords,
               which make a pattern more complex than it originally was.

Antecedents-Consequents
By applying the various possibilities of tenant chords,
     - we have nine possible antecedents -
          Those starting with5are weak, and cause no problems -53, 54, 55, 56, 57
               they can be coupled with a consequent of any strength.
          The four others are stronger and care must be taken -33, 73, 37, 77
               they should not be coupled with a weak consequent.
     - we also have nine possible consequents -
          The three starting with2, 5, 8, 24, 54, 84are weak and
               they should not be coupled with a stronger antecedent -33, 73, 37, 77.
          The three starting with1, 2, 3, 14, 24, 34are not complex
                    (having no tenant chord on the DOMINANT) and
               they should not be coupled with an antecedent which does -54, 56, 33, 73, 37, 77.
          The four others are sufficiently strong and complex -44, 64, 74, 94
               they can be coupled with any antecedent.

Examples
Amor, Amor -5384
Bye, Bye, Blackbird(beginning) -5384
Comin' Round The Mountain-5374
Oh When The Saints-5374
Red River Valley-5374
Old Folks At Home-7374
Clementine-5364

This should give us a fairly comprehensive view of the 4-cell Chord Patterns
     which remain within the Nucleus of theMajor Mode.

3. Shadows

As we have seen inMetamorphosis 4,
     the 3minorchords, in the top of the Window, and
     the 3majorchords, in the bottom of the Window,
          are remarkably similar,
          especially in Tetrad form when they possess aMOTRIXdirected "inward"
                    (toward the center of the Window),
               a seventh for theminorchords and a sixth for themajorchords.

The COUNTER-DOMINANT (F6) and the ANTE-1 (Dm7) possess the same notes,
The TONIC (C6) and the ANTE-2 (Am7) possess the same notes,
The DOMINANT, when it ascends, (G6) and the ANTE-3 (Em7) possess the same notes.

Parts of chord patterns (progressions) can be displaced into the shadows
     (these are frequently called "substitute chords").

In 74

3a.  In Chord Pattern74, the first cell
     TONIC / COUNTER (Cmaj7 / F6) Chord Progression7,
          can be transported into the shadows to
     ANTE-2 / ANTE-1 (Am7 / Dm7) Chord Progression7*(“*” for shadow),
          especially if we are not at the very beginning of the piece.
     The voice-leading is remarkably similar to that of the original Chord Pattern74.

With tenant Chord
3a1.  In Chord Pattern7*4,
     which already has a sharpening Tenant Chord on the first half of the DOMINANT,
          one frequently sees a shorter flattening Tenant Chord on the third quarter of the DOMINANT.
     ANTE-2 / ANTE-1 TONIC-DOMINANT // TONIC,
          (See2a1a, Chord Pattern5764)

In a case like this, the ANTE-1 seems to progress directly to the DOMINANT
     with the TONIC acting like twoNon-chordal Tones(s4 and s6)
          placed on the DOMINANT.

In 54

3b  In Chord Pattern54,
     the second half of the first cell, the TONIC (C) on the Beat (after the bar-line)
          is often transported into the shadows to the ANTE-2 (Am7) producing
     TONIC / ANTE-2 ANTE-1-DOMINANT // TONIC
          with an openMetamorphosis 4in the first cell.

In this Chord Pattern5*4+t
     one has no choice but to place a sharpening tenant chord
          on what is left of the DOMINANT.
               The ANTE-2  (Am7) is frequentlydominantized(A7).
               The ANTE-1 (Dm7) is occasionally dominantized. (D7).
   

Examples
Bye, Bye, Blackbird(end)5*4+t

4. Pasting

Many longer patterns are the result of pasting shorter patterns together.
     The pasting can be done (a) with complete patterns or (b) with incomplete patterns.

4a Complete Patterns

Same Patterns

4a1. Let's start with the process of repetition, the safest and simplest of them all.
     Using the Fundamental Progression,
          Chord Pattern4
               The verse ofNever On Sunday-M4444
               The "A" sections ofQuando, Quando-M4444
     and the three 2-cell patterns,
          Chord Pattern34
                Down In The Valley-M3434
                Carnival Of Venice-M3434
                Oh Where, Oh Where-M3434
          Chord Pattern74
               The chorus ofMy Bonnie-M7474
               The "A" sections ofLove Me Tender-M7474
          Chord Pattern54
                London Bridge is Falling Down-M5454
                Ta-ra-ra Boom Di-ay-M5454
                Mary Had A Little Lamb-  M5454
All of these patterns can be repeated without any problem whatsoever.

Different Patterns

4a2.  Pasting different patterns together, is a more delicate task,
     in which one must remember that the pasting of two patterns will always give
          the role of antecedent to the first , and
          the role of consequent to the second.
     As we saw in the section on Tenant Chords,
          the antecedent must never overwhelm the consequent
               otherwise, all sensation of 'build-up" is destroyed.

Definition of Strength and Complexity
Let’s review the two dimensions involved here -
     First, the strength of a progression -
          Chord Pattern4is the only strong one,
          Chord Patterns1, 3, 6, 7, 9,are weak,
          Chord Patterns2, 5, 8,have no strength at all,
               being merely repetitions of the same chord.
     Second, the complexity of a pattern -
          This is a question of tenant chords,
               which make a pattern more complex than it originally was.

Incompatibility
If we now look carefully at the three 2-cell Chord Patterns34, 74, 54,
     We note that -
           34is less complex than the two others, having no tenant chord,
           54is weaker than the two others, having no strength at all in its first cell.
     Conclusion -
           34and54seem to be incompatible.

Examples of Strength and Complexity
The repertoire seems to confirm this incompatibility -
           M34-74(inHappy Birthday) and
           M54-74(inFor He's A Jolly Good Fellow)
     are fine because the sections are placed in that order,
           74being
               more complex than34and
               stronger than54.

Longer Patterns
The pasting of longer (already opened) patterns is occasionally the same as
          the opening of shorter (already pasted) combinations.
     For instance -
          pasting together Chord PatternsM5324-5764
     gives the same result as
          opening the already pasted Chord PatternsM34-74
               (and adding the inferior tenant chord, the TONIC, on the last DOMINANT)
           Over The Waves-M5324-5764
           Bill Bailey-M5324-5764

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4b. Incomplete Patterns

 By pasting "incomplete" patterns together, we evidently mean
     pasting antecedents and consequents
          that were not originally meant to co-exist in the same Chord Pattern.
     We have already seen this in theTable Of 4-Cell Patterns
          in the section on Tenant Chords.

4c. Other Possibilities

Only Consequent
Some songs are built of only a consequent, no antecedent.
     We have already seen some of this
          in the Fundamental ProgressionM4
     but some songs use more complex consequents -
           On Top Of Old Smokey- M6464
           This Land Is Your Land-M6464

Major and Minor
Some songs are in the ChromaticMinorMode,
           Miami Beach Rhumba-m3434
     and others alternate between the DiatonicMajorand ChromaticMinor,
               the two flattening modes,
           Carioca-m3434 M3434.
     We will use the appropriate prefixes and colors (Mandm) to differentiate them.

Only In Minor
Some songs have patterns that seem possible only in the chromaticminormode
     wherem6is as strong asm4.
           Dark Eyes-m4464
           La Cumparsita-m4464

Minor Circle
The complete circle is also usually seen in the chromaticminormode
     identified here as two half-circles, one inmajor, the other inminor-
          The chorus ofAutumn Leaves-M7*4-m7*4
           Tres Palabras(Without You) -M7*4-m7*4

You might want to seeBridges
or move on toMelo-Lines.