Free Harmony is the most primitive form of Harmony,
     being both atonal, having no Window, no tonal center,
          flowing freely and aimlessly over the Series of Fifths,
               neither diatonic nor chromatic,
     and arhythmical, having no discrimination of Beat/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 Chromatic Modes (the Chromatic flattening (descending) MINOR and the Chromatic sharpening (ascending) MAJOR) which are rich in DOMINANT-type chords: .

Transformations

1. Voice-leading
The 3 forms of Voice-leading (A, B, C) can be applied.
     The swing with Voice-leading A, in Dominantization
     The swing with Voice-leading B, in Voice-leading
          (try dominantizing it yourself)
     The swing with Voice-leading C, in Dominantization

2. Incompleteness
All forms of Incompleteness can 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 of Metamorphosis can be applied (both open and closed)

-Here is an example of open Metamorphosis 1 in 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 an example of Metamorphosis 2,
note that the 2 diatonic MEDIANs, E and C, would not appear in Free Harmony
here is an example of Metamorphosis 3,
here is an example of Metamorphosis 4,

4. Chromaticism
Certain forms of Chromaticism can be applied:
     Orbit 4 - the swing with Voice-leading A.

5. Non-chordal Tones
All forms of Non-chordal Tones can be applied.
Temporary and Permanent, Superior and Inferior, Normal and Abnormal, Single and Double,
     in a Swing, and in a Half-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.