The Two Leading Tones

We need new definitions to elaborate the question of Leading Tones
          (here again, with no scales involved) -
     The TONIC chord of C has 2 Leading Tones
               placed at a semi-tone distance from its FRAME :
          a diatonic Leading Tone B placed below the FRAME,
               the MEDIAN of the DOMINANT G⁷, and
          a chromatic Leading Tone Ab placed above the FRAME,
               the MEDIAN of the DOMINANT Fm⁶.
     The TONIC chord of Am has 2 Leading Tones
               placed at a semi-tone distance from its FRAME :
          a diatonic Leading Tone F placed above the FRAME,
               the MEDIAN of the DOMINANT Dm⁶, and
          a chromatic Leading Tone G# placed below the FRAME,
               the MEDIAN of the DOMINANT E⁷,
                    which should come as a surprise to no one.
All the FRAMEs in the Window have their 2 Leading Tones (mostly chromatic) -
     The FRAME F-C has both the E (from C⁷) and the Db (from Bbm⁶).
     The FRAME G-D has both the F# (from D⁷) and the Eb (from Cm⁶).
     The FRAME D-A has both the C# (from A⁷) and the Bb (from Gm⁶).
     The FRAME E-B has both the D# (from B⁷) and the C (from Am⁶).
A chord may very well possess both Leading Tones of the following chord -
     The chord of G^7-9 (for which we prefer the Chord Symbol G^7s-2) has both
          the First Leading Tone B, the MEDIAN, and
          the Second Leading Tone Ab, the Superior Chromatic Non-chordal Tone
               of the COMMON TONE.
     The chord of Fm⁶⁺⁴ (for which we prefer the Chord Symbol Fm^6p+4) has both
          the First Leading Tone Ab, the MEDIAN, and
          the Second Leading Tone B, the Inferior Chromatic Non-chordal Tone
               of the COMMON TONE.
          The functions of the notes B and Ab are exactly reversed for C major and C minor.
     The same would apply to the chords of Dm⁶ and E⁷ in A minor or A major.
The reputed jazz guitarist Joe Pass once proposed that -
          a dominant seventh chord (like G⁷) can posses
               either a major ninth A or a minor ninth Ab, but that
          a minor seventh chord (like Dm⁷) can only posses
               a major ninth E and not a minor ninth Eb.
     Why ? Because one must have the first Leading Tone before applying the second -
          G⁷ has a MEDIAN B and therefore can support either the A or the Ab, but
          Dm⁷ does not have a MEDIAN F# and can only support the E and not the Eb.

The Chromatic Minor Mode Revisited
1. The Diatonic Major Mode
2. The Diatonic Minor Mode
3. The Chromatic Major Mode
4. The Chromatic Minor Mode
5. Adjacent Chromatic Modes
6. A melodic Example