In the previous section, with its use of Metamorphosis 1 which moves to the neighboring Swing, the use of the Secondary Disposition of the Performance Voices was imperative to keep the different sections in the same range. However, in this section, with its use of Metamorphosis 4 which moves 2 Swings away, the use of the Secondary disposition is not really necessary and will be shown only when truly useful.

04pce

Metamorphoses = ((4 - 0 - 4 - 0))
Chord Symbols = ((C⁶Am⁷- Dm⁶- Am⁷C⁶- G⁷)) C, seeMetamorphoses
     We have here a combination of 2 TONIC/DOMINANT Swings, one Inminorand one inmajor.
Voice-leading = A throughout
Performance Disposition =Primary Disposition throughout
          the entire canon in a high range.
      Complete Harmony when the first chord is used but not the last, withChord Pattern M7*3
     CadentialEnding when the last chord is used but not the first, with Chord PatternM6*4.
Orbit Lines -
     in the Soprano Voice - ((03-2-12-1))1,
     in the Alto Voice - ((30-3-21-0))0,
     in the Tenor Voice - ((21-0-30-3))2,
     in the Bass Voice - ((12-1-03-2))1.
The orbital and melodic canons are quite different here -
     the Soprano and Bass Voices are in orbital canon, in contrary melodic motion, at a 2-chord interval, and
          the Alto and Tenor voices are in orbital canon, in contrary melodic motion, at a 2-chord interval, but
     the Soprano and Tenor Voices are in melodic canon, with descending lines, at a 1-chord interval, and
          the Alto and Bass Voices are in melodic canon, with ascending lines, at a 1-bar interval,
               the Tenor a second higher than the Soprano and the Bass a second higher than the Alto.

04sce

The same Metamorphoses, Chord Symbols, Voice-leading, and Orbit Lines.
Performance Disposition =Secondary Disposition throughout, not necessary, but useful,
          the entire canon in a lower (medium) range,
     retaining the same possibilities ofComplete Harmony, withM7*3, and CadentialEnding, withM6*4.
The same canonic relationships as above, but, in this case,
     the Soprano and Tenor Voices with ascending lines and
          the Alto and Bass Voices with descending lines,
               the Soprano a second higher than the Tenor and the Alto a second higher than the Bass.

044pce

Metamorphoses = ((0 - 4 - 4 / 0-4-4 / 0-4-4 / 0-4-4))
Chord Symbols =
     ((C⁺⁷- F⁶Dm⁷- G⁶Em⁷/ Am^-6- Em⁷G⁶- Dm⁷F⁶/ C⁺⁷- F⁶Dm⁷- G⁶Em⁷/ Am^-6- Em⁷G⁶- Dm⁷F⁶)) C,
          seeMetamorphoses
     We have here a giant Swing which moves from one end of the Window to the other.
Voice-leading = A throughout
Performance Disposition =Primary Disposition throughout
          the entire canon in a medium range.
      Complete Harmony when the first chord is used but not the last, withChord Pattern M7*3
     CadentialEnding when the last chord is used but not the first, with Chord PatternM6*4.
Orbit Lines -
     in the Soprano Voice - ((3-21-03/2-12-12/1-03-21/0-30-30))0,
     in the Alto Voice - ((2-12-12/1-03-21/0-30-30/3-21-03))2,
     in the Tenor Voice - ((1-03-21/0-30-30/3-21-03-2-12-12))1,
     in the Bass Voice - ((0-30-30/3-21-03-2-12-12-1-03-21))0.
The 4 Performance Voices (BTAS) are in orbital and melodic canon, at a 3-chord (1-bar) interval,
     the Bass and Alto Voices in one direction, at a 6-chord (2-bar) interval, and
          the Tenor and Soprano Voices in the other direction, also at a 6-chord (2-bar) interval.
This example was first presented in theMetamorphosis 4 section, in all the splendor of its colors,
     and later with each chorddominantized.

004pe

Metamorphoses = 4-0-0 throughout, except the last bar.
Chord Symbols = C⁶Am⁷- Dm⁶- Am⁷/ Dm⁶Bm^-7- Em^-6- Bm^-7/ Em^-6C⁺⁷- F⁶- C⁺⁷/ F⁶Dm⁷- G⁶- Dm⁷/
                         G⁶Em⁷- Am^-6- Em⁷/ Am^-6F⁺⁷- Bm^-6-5- F⁺⁷/ Bm^-6-5G⁷- C⁶- G⁷/ C, seeMetamorphoses
     We have here a complete circle, two in fact, with giant strides of 2 fifths at each Metamorphosis 4,
          the 2 following Metamorphoses 0 taking time off for a short swing at the end of each bar.
Voice-leading = A throughout
Performance Disposition =Primary Disposition throughout
          the entire circle in a comfortable medium range.
     CadentialEnding on the last chord.
Orbit Lines -
     in the Soprano Voice -3-21-03/2-12-12/1-03-21/0-30-30/0,
     in the Alto Voice -2-12-12/1-03-21/0-30-30/3-21-03/2,
     in the Tenor Voice -1-03-21/0-30-30/3-21-03-2-12-12/1,
     in the Bass Voice -0-30-30/3-21-03-2-12-12-1-03-21/0.
The 4 Performance Voices (BTAS) are in orbital and melodic canon, at a 3-chord (1-bar) interval,
     the Bass and Alto Voices in one direction, at a 6-chord (2-bar) interval, and
          the Tenor and Soprano Voices in the other direction, also at a 6-chord (2-bar) interval.

0044pe

Metamorphoses = 4-0-0 / 4-4-0-0 / 4-4-0-0 / 4-4-0-0 / 0
Chord Symbols = C⁶Am⁷- Dm⁶- Am⁷/ Dm⁶Bm^7-5- Em^-6C⁺⁷- F⁶- C⁺⁷/ F⁶Dm⁷-
                         G⁶Em⁷- Am^-6- Em⁷/ Am^-6F⁺⁷- Bm^-6-5G⁷- C⁶- G⁷/ C, seeMetamorphoses
     We have here another complete circle with giant strides of 2 fifths at each Metamorphosis 4,
          the 2 following Metamorphoses 0 taking time off for a short swing at the end of each bar.
Voice-leading = A throughout
Performance Disposition =Primary Disposition throughout
          the entire circle in the same comfortable medium range.
     CadentialEnding on the last chord.
Orbit Lines -
     in the Soprano Voice -21-0-3/21-03-2-1/03-21-0-3/21-03-2-1/1,
     in the Alto Voice -30-3-2/12-12-1-0/30-30-3-2/12-12-1-0/0,
     in the Tenor Voice -03-2-1/03-21-0-3/21-03-2-1/03-21-0-3/2,
     in the Bass Voice -12-1-0/30-30-3-2/12-12-1-0/30-30-3-2/1.
The Soprano and Tenor Voices are in canon at a 4-chord (1-bar) interval,
          in a mysterious repetitive0 3 2 1process,
               either by Voice-leading or Metamorphosis change,
     and the Alto and Bass Voices are also in canon at a 4-chord (1-bar) interval.