Metamorphosis 4 is presented either open or closed.
     The chord changes:
          - its direction,
          - its position in the series of fifths (3FRAMEs away), and
          - the swing to which it belongs
               (2 fifths away - with the metamorphosed chord in exterior positions);
          - but none of its notes.
     There are 2 orbit exchanges here:
          - there is an exchange betweenOrbit 0andOrbit 3
               (the note which wasOrbit 0becomesOrbit 3and the note which wasOrbit 3becomesOrbit 0);
          - there is an exchange betweenOrbit 1andOrbit 2
               (the note which wasOrbit 1becomesOrbit 2and the note which wasOrbit 2becomesOrbit 1).

I-IV-V-I
In one of the most popular Chord Patterns,
     the TraditionalI-IV-V-Iprogression, (C⁺⁷-F⁶Dm⁷-G⁷-C)
the chord ofIV, coming from the chord of C⁺⁷, is a chord of F⁶(F, A, C, D)
and it transforms itself into the chord ofIIwhich is a chord of Dm⁷(D, F, A, C),
     exactly the same notes.
Note that there will be a Metamorphosis 1 on the G⁷chord which follows the Dm⁷.

Voice-leading of I-IV-V-I

In the following 9 examples, with the chord progression C⁺⁷-F⁶Dm⁷-G⁷-C,
     all possible combinations of Voice-leading are used.
A good occasion to review
     Voice-leading A with procurationOrbit 0toOrbit 3,
     Voice-leading B with procurationOrbit 1toOrbit 3, and
     Voice-leading C with procurationOrbit 2toOrbit 3.

Notice that the Metamorphosis 1 on the third chord (G⁷) is indicated with 2 colors
(Tenor and Bass in the first example)
and not with one as was the case in the presentation of the circle.
This makes it easier to follow the Voice-leading
but it is not technically perfectly accurate because,
as soon as theMOTRIX(Orbit 3) is heard at the very beginning of the chord,
the orbit exchange takes place immediately, as was shown in the circle,
and not in the middle of the chord.
Notice also that the Fundamental Bass, last two notes, is interpreted as the Orbit line 0-1(0).

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     Voice-leading A between chords 1 and 2 (Orbits 0-3 in the Alto) and
     Voice-leading A between chords 2 and 3 (Orbits 0-3 in the Alto).

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     Voice-leading A between chords 1 and 2 (Orbits 0-3 in the Bass) and
     Voice-leading B between chords 2 and 3 (Orbits 1-3 in the Soprano).

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     Voice-leading A between chords 1 and 2 (Orbits 0-3 in the Alto) and
     Voice-leading C between chords 2 and 3 (Orbits 2-3 in the Bass).

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     Voice-leading B between chords 1 and 2 (Orbits 1-3 in the Alto) and
     Voice-leading A between chords 2 and 3 (Orbits 0-3 in the Alto).

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     Voice-leading B between chords 1 and 2 (Orbits 1-3 in the Bass) and
     Voice-leading B between chords 2 and 3 (Orbits 1-3 in the Soprano).

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     Voice-leading B between chords 1 and 2 (Orbits 1-3 in the Alto) and
     Voice-leading C between chords 2 and 3 (Orbits 2-3 in the Bass).

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     Voice-leading C between chords 1 and 2 (Orbits 2-3 in the Bass) and
     Voice-leading A between chords 2 and 3 (Orbits 0-3 in the Bass).

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     Voice-leading C between chords 1 and 2 (Orbits 2-3 in the Tenor) and
     Voice-leading B between chords 2 and 3 (Orbits 1-3 in the Soprano).

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     Voice-leading C between chords 1 and 2 (Orbits 2-3 in the Bass) and
     Voice-leading C between chords 2 and 3 (Orbits 2-3 in the Alto).

In these 9 examples,Metamorphosis 4 was presented closed, the change occurring almost "clandestinely" on only one chord.

This is a good time to notice that Voice-leading occurs between chords (like mortar)
but that Incompleteness and Metamorphoses occur during a chord.

Metamorphosis 4 Open

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      When the metamorphosis is presented open, on two chords,
          each chord is presented as a Real Triad, to clearly identify itself (F followed by Dm).
     Once again, at the end on the chord of G⁷,
          the Fundamental Bass is represented as a substitution 0(1).

Compare with the original (last) Tetrad version, Voice-leading C, C.

Those on a guided Tour should click onin the Navigation Bar below.

-In this example,
          with the chord progression C⁺⁷-F⁶Dm⁷-G⁶Em⁷-Am^-6-Em⁷G⁶-Dm⁷F⁶,
     two Metamorphoses 4 are made in a row,
          on chords 2 and 3 (first bar) and
          on chords 5 and 6 (second bar),
          the second bar being the harmonic mirror image of the first bar.
     The 6 chords are then repeated with the male and female voices inverted (third and fourth bars)
          and Voice-leading A is used throughout.