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␈↓"β␈↓ α∧␈↓␈↓ ¬>MODULATION


␈↓"β␈↓ α∧␈↓␈↓ αd In␈α⊂this␈α⊂book␈α⊂the␈α⊂term␈α⊂"modulation"␈α⊂has␈α⊂been␈α⊂reserved␈α⊂for
␈↓ α∧␈↓use␈α∃in␈α∃connection␈α⊗with␈α∃the␈α∃movement␈α⊗of␈α∃basic␈α∃tonics␈α⊗on␈α∃the
␈↓ α∧␈↓highest␈α∩level.␈α∪ The␈α∩term␈α∪is␈α∩␈↓↓not␈↓␈α∪meant␈α∩to␈α∪define␈α∩the␈α∪␈↓↓process␈↓␈α∩of
␈↓ α∧␈↓␈↓↓moving␈α∀to␈↓␈α∀a␈α∀new␈α∀tonic;␈α∪modulation␈α∀will␈α∀refer␈α∀to␈α∀the␈α∀state␈α∪of
␈↓ α∧␈↓␈↓↓having␈αmoved␈↓␈α
to␈αa␈αnew␈α
basic␈αtonic.␈α (For␈α
example,␈αwe␈α
will␈αspeak
␈↓ α∧␈↓of␈α
music␈α∞as␈α
␈↓↓having␈↓␈α∞modulated,␈α
but␈α
we␈α∞will␈α
not␈α∞say␈α
that␈α∞music␈α
␈↓↓is␈↓
␈↓ α∧␈↓modulating.)␈αThe␈αmeans␈αof␈αgetting␈αto␈αa␈αnew␈αtonic␈αor␈αthe␈αduration
␈↓ α∧␈↓of␈α∂the␈α∂process␈α∂will␈α∂not␈α⊂be␈α∂the␈α∂most␈α∂important␈α∂influences␈α⊂on␈α∂the
␈↓ α∧␈↓decision␈α⊗as␈α↔to␈α⊗whether␈α↔or␈α⊗not␈α⊗a␈α↔modulation␈α⊗has␈α↔taken␈α⊗place.
␈↓ α∧␈↓Rather,␈α∞it␈α∂is␈α∞␈↓↓how␈↓␈α∞the␈α∂new␈α∞tonic,␈α∂once␈α∞attained,␈α∞is␈α∂␈↓↓used␈↓␈α∞that␈α∂is␈α∞of
␈↓ α∧␈↓the greatest importance.

␈↓"β␈↓ α∧␈↓␈↓ αdThe␈αnew␈αtonic␈αmust␈α
become,␈αin␈αrelative␈αterms,␈αtruly␈α
a␈α␈↓↓basic␈↓
␈↓ α∧␈↓tonic.␈α Thus␈αmodulation␈αmight␈αoccur␈αin␈αany␈αformal␈αscheme,␈αjust␈αso
␈↓ α∧␈↓long␈αas␈αa␈αchange␈αof␈αthe␈αbasic␈αtonic␈αis␈αinvolved.␈α The␈αuses␈αof␈αa␈αnew
␈↓ α∧␈↓tonic␈α≡that␈α≡constitute␈α≡modulation␈α≡cover␈α≡a␈α≡wide␈α≡variety␈α≡of
␈↓ α∧␈↓situations␈α↔and␈α_will␈α↔often␈α↔be␈α_open␈α↔to␈α↔question.␈α_ Probably␈α↔the
␈↓ α∧␈↓clearest␈αmodulations␈αinclude␈αnew␈αmelodic␈αmaterial␈αof␈α
considerable
␈↓ α∧␈↓length␈α⊂--␈α⊂perhaps␈α⊃even␈α⊂in␈α⊂a␈α⊂new␈α⊃tempo␈α⊂and/or␈α⊂meter.␈α⊃ There␈α⊂is
␈↓ α∧␈↓every␈α
conceivable␈αgradation␈α
between␈αsuch␈α
cases␈αand␈α
those␈αwhere
␈↓ α∧␈↓the␈α
modulation␈α
borders␈α
on␈α
being␈α
merely␈α
an␈α
elaborated␈α
cadence␈αor
␈↓ α∧␈↓extended tonicization.

␈↓"β␈↓ α∧␈↓␈↓ αdReference␈α∩to␈α∩some␈α∩of␈α∩Mozart's␈α∩␈↓↓Piano␈α∩Sonatas␈↓␈α∩may␈α∩help␈α∩to
␈↓ α∧␈↓clarify␈α⊂these␈α⊂points.␈α∂ Very␈α⊂many␈α⊂Mozart␈α∂movements␈α⊂are␈α⊂in␈α∂some
␈↓ α∧␈↓kind␈α#of␈α#sonata␈α#form␈α#which␈α#usually␈α#includes␈α#very␈α#clear
␈↓ α∧␈↓modulations␈α⊂of␈α∂basic␈α⊂tonics.␈α∂ The␈α⊂first␈α∂movement␈α⊂(variations)␈α∂of
␈↓ α∧␈↓the␈α⊃␈↓↓Sonata␈↓␈α⊃in␈α⊃␈↓&A␈↓)αβ,␈α⊂K.300i(331),␈α⊃contains␈α⊃neither␈α⊃modulations␈α⊂nor
␈↓ α∧␈↓varied␈α⊗control␈α⊗tonics.␈α∃ The␈α⊗Finale␈α⊗(␈↓↓Alla␈α∃turca␈↓)␈α⊗has␈α⊗one␈α∃simple
␈↓ α∧␈↓modulation␈α∞and␈α∞return.␈α
 This␈α∞section␈α∞of␈α
32␈α∞bars␈α∞(repeated)␈α∞in␈α
the
␈↓ α∧␈↓␈↓ ε↔89␈↓ 
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␈↓"β␈↓ α∧␈↓tonic␈α on␈α vi␈α (␈↓&f␈↓βS␈↓␈↓)αβ)␈α∨presents␈α new,␈α contrasting␈α material.␈α∨ The
␈↓ α∧␈↓movement␈α
to␈α
a␈α
temporary␈α
tonic␈αon␈α
␈↓&A␈↓)αβ␈α
about␈α
two-thirds␈α
of␈αthe␈α
way
␈↓ α∧␈↓through␈α∃this␈α⊗section␈α∃by␈α⊗no␈α∃means␈α∃represents␈α⊗a␈α∃return␈α⊗to␈α∃the
␈↓ α∧␈↓original␈αkey␈α
on␈αthe␈αhighest␈α
level.␈α This␈αbit␈α
in␈α␈↓&A␈↓)αβ␈αis␈α
surrounded␈αby,
␈↓ α∧␈↓and␈α∪completely␈α∩dependent␈α∪on,␈α∪␈↓&f␈↓βS␈↓␈↓)αβ.␈α∩ The␈α∪modulation␈α∩back␈α∪to␈α∪␈↓&A␈↓)αβ␈α∩is
␈↓ α∧␈↓effected␈α∪by␈α∀the␈α∪return␈α∪of␈α∀previously␈α∪heard␈α∀material␈α∪associated
␈↓ α∧␈↓with␈α∞that␈α∞key.␈α∞ The␈α∞Menuetto,␈α∞however,␈α∞has␈α∞more␈α∂complex␈α∞tonic
␈↓ α∧␈↓movements␈α⊃and␈α⊃is␈α⊃in␈α⊃what␈α⊃might␈α⊃be␈α⊃called␈α⊃(and␈α⊃this␈α⊃is␈α∩true␈α⊃of
␈↓ α∧␈↓many␈α∩menuets,␈α∩scherzos,␈α∩etc.)␈α⊃a␈α∩miniature␈α∩sonata␈α∩form.␈α∩ In␈α⊃this
␈↓ α∧␈↓movement,␈α∂at␈α∂measure␈α∂11,␈α⊂entirely␈α∂new␈α∂material␈α∂is␈α⊂presented␈α∂in
␈↓ α∧␈↓the dominant key.
␈↓"β
␈↓"β␈↓ α∧␈↓Example 78. Mozart, Sonata in A, K.300i(331), Menuetto
␈↓"β
␈↓"β␈↓ α∧␈↓␈↓ βE␈↓¬⊂⊗⊃L[%0.03,%-5.0]:N78XA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε↔90␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βI␈↓¬⊂⊗⊃L[%0.03,%-4.6]:N78ZA.PLT[HHA,LCS]⊂⊗⊃␈↓





















␈↓"β
␈↓"β␈↓ α∧␈↓Figure 78
␈↓"β
␈↓"β␈↓ α∧␈↓␈↓ βI␈↓¬⊂⊗⊃L[%0.03,%-2.6]:N78FA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε↔91␈↓ 
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␈↓"β␈↓ α∧␈↓␈↓ βK␈↓¬⊂⊗⊃L[%0.03,%-2.8]:N78FB.PLT[HHA,LCS]⊂⊗⊃␈↓














␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α⊃above␈α⊃is␈α⊃certainly␈α⊃a␈α⊃borderline␈α⊃case.␈α⊃ It␈α⊃would␈α∩not␈α⊃be
␈↓ α∧␈↓considered␈αas␈αa␈αmodulation␈αexcept␈α
for␈αthe␈αindependence␈αof␈αbars␈α
11
␈↓ α∧␈↓to␈α18,␈αwhich␈αform␈αa␈αunit␈αwith␈αimportance␈αalmost␈αequal␈αto␈αthat␈αof
␈↓ α∧␈↓the␈α~first␈α≠ten␈α~bars.␈α≠ What␈α~makes␈α~this␈α≠a␈α~dubious␈α≠example␈α~of
␈↓ α∧␈↓modulation␈α
is␈α
the␈αlack␈α
of␈α
harmonic␈α
variety␈αin␈α
the␈α
␈↓&E␈↓)αβ␈αsection.␈α
 There
␈↓ α∧␈↓are␈αno␈αnew␈αtemporary␈αtonics;␈αin␈αfact,␈αthere␈αis␈αonly␈αone␈αchord␈αthat
␈↓ α∧␈↓does␈αnot␈αfunction␈αas␈αI␈αor␈αV.␈α An␈αonly␈αslightly␈αbroader␈αview␈αwould
␈↓ α∧␈↓be␈αnecessary␈αto␈αcall␈αthe␈αmovement␈αto␈α␈↓&E␈↓)αβ␈αa␈αchange␈αof␈αcontrol␈αtonics
␈↓ α∧␈↓in the level of the middle ground.

␈↓"β␈↓ α∧␈↓␈↓ αdAfter␈α∂the␈α∂double␈α∂bar,␈α∂we␈α∂have␈α∂a␈α∂brief␈α∂development␈α∞section
␈↓ α∧␈↓freely␈α
based␈α
on␈αthe␈α
material␈α
of␈αbars␈α
5␈α
to␈α
10.␈α Since␈α
there␈α
is␈αno␈α
local
␈↓ α∧␈↓reference␈α∂to␈α∂␈↓&A␈↓)αβ␈α⊂at␈α∂the␈α∂double␈α⊂bar,␈α∂the␈α∂following␈α⊂progressions␈α∂are
␈↓ α∧␈↓shown␈α∞as␈α∞dependent␈α∞on␈α∞a␈α∞basic␈α
tonic␈α∞of␈α∞␈↓&e␈↓)αβ.␈α∞ Under␈α∞this␈α∞basic␈α
tonic
␈↓ α∧␈↓are␈α
control␈α
tonics␈α∞of␈α
␈↓&b␈↓)αβ␈α
(v)␈α
and␈α∞␈↓&a␈↓)αβ␈α
(iv),␈α
this␈α
latter␈α∞becoming␈α
major
␈↓ α∧␈↓and␈α
then␈α
the␈α∞basic␈α
tonic␈α
upon␈α
the␈α∞return␈α
of␈α
the␈α∞original␈α
material
␈↓ α∧␈↓(measure 31).

␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α⊃status␈α⊃of␈α⊃the␈α⊃functions␈α⊃after␈α⊃the␈α⊃double␈α⊃bar␈α⊃(measure
␈↓ α∧␈↓19)␈α∂naturally␈α⊂are␈α∂somewhat␈α∂different␈α⊂when␈α∂the␈α∂repeat␈α⊂is␈α∂taken.
␈↓ α∧␈↓In␈α↔fact,␈α↔the␈α↔three␈α↔notes,␈α↔E-F#-G,␈α↔can␈α↔easily␈α↔be␈α↔heard␈α_as␈α↔the
␈↓ α∧␈↓␈↓ ε↔92␈↓ 
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␈↓"β␈↓ α∧␈↓extension␈α⊂of␈α∂the␈α⊂final␈α∂A␈α⊂chord,␈α∂so␈α⊂that␈α∂it␈α⊂becomes␈α⊂the␈α∂dominant
␈↓ α∧␈↓function␈α∂of␈α∞␈↓&D␈↓)αβ.␈α∂ But␈α∞then␈α∂␈↓&D␈↓)αβ's␈α∂vi␈α∞(␈↓&b␈↓)αβ)␈α∂may␈α∞be␈α∂immediately␈α∂heard␈α∞in
␈↓ α∧␈↓direct␈α
relation␈α
to␈α
the␈α
basic␈α
tonic,␈α
␈↓&A␈↓)αβ.␈α
 We␈α
must␈α
not␈α
forget,␈α
however,
␈↓ α∧␈↓that␈α~when␈α→music␈α~is␈α→repeated␈α~literally,␈α→the␈α~functions␈α~of␈α→the
␈↓ α∧␈↓opening␈αmeasures,␈αthe␈αsecond␈αtime␈αthrough,␈αtake␈αon␈αa␈αdual␈αaspect.
␈↓ α∧␈↓At␈αonce␈αwe␈αrealize␈α
we␈αare␈αtaking␈αa␈α
fresh␈αstart␈α(or␈αcontinuing␈α
once
␈↓ α∧␈↓again␈α~from␈α→earlier␈α~material)␈α→and,␈α~at␈α→the␈α~same␈α→time,␈α~we␈α→are
␈↓ α∧␈↓continuing␈α
on␈α
from␈αthe␈α
final␈α
part␈α
of␈αthe␈α
section.␈α
 Only␈α
briefly␈αdo
␈↓ α∧␈↓repeats␈α∃influence␈α∃our␈α∀comprehension␈α∃of␈α∃the␈α∃functional␈α∀details.
␈↓ α∧␈↓But␈α⊂the␈α∂influence␈α⊂on␈α∂the␈α⊂background␈α∂elements␈α⊂can␈α∂be␈α⊂more␈α∂far-
␈↓ α∧␈↓reaching.␈α∩ It␈α∩is␈α⊃enough␈α∩that␈α∩the␈α⊃diagram␈α∩above␈α∩shows␈α∩only␈α⊃the
␈↓ α∧␈↓␈↓↓differences␈↓ caused by the repeat.

␈↓"β␈↓ α∧␈↓␈↓ αdThe␈αmovement␈αto␈αthe␈α␈↓&D␈↓)αβ␈αof␈αthe␈αTrio␈αconstitutes␈αa␈αmodulation
␈↓ α∧␈↓of␈α
a␈αdifferent␈α
sort.␈α This␈α
Trio*␈α
is␈αactually␈α
a␈αseparate,␈α
self-contained
␈↓ α∧␈↓piece.␈α
 This␈αis␈α
usually␈αthe␈α
case␈αin␈α
this␈αtype␈α
of␈αwork,␈α
even␈α
when␈αa
␈↓ α∧␈↓passage␈αof␈αretransition␈αto␈αthe␈αMenuetto␈αmight␈αbe␈αadded␈αat␈αthe␈αend
␈↓ α∧␈↓of␈α⊃the␈α⊃Trio.␈α⊃ Within␈α⊃this␈α⊃Mozart␈α⊃Trio␈α⊃it␈α⊃is␈α⊃best␈α⊃to␈α∩consider␈α⊃that
␈↓ α∧␈↓there␈α⊃are␈α⊃no␈α⊃real␈α⊃modulations.␈α⊃ The␈α⊃main␈α⊃reason␈α⊃for␈α⊃taking␈α⊂this
␈↓ α∧␈↓position␈α∂is␈α∂that␈α∞even␈α∂though␈α∂the␈α∞dominant␈α∂(␈↓&A␈↓)αβ)␈α∂becomes␈α∂a␈α∞strong
␈↓ α∧␈↓control␈α⊃tonic,␈α⊃the␈α⊃passage␈α⊂using␈α⊃this␈α⊃key␈α⊃presents␈α⊃no␈α⊂important
␈↓ α∧␈↓independent material but merely repeats two cadential formulas.
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓Figure 79.  Mozart, Sonata in A, K.300i(331), 2nd movement Trio
␈↓"β␈↓ α∧␈↓ 
␈↓"β␈↓ α∧␈↓␈↓ βD␈↓¬⊂⊗⊃L[%0.03,%-1.45]:N79FA.PLT[HHA,LCS]⊂⊗⊃␈↓







␈↓"β␈↓ α∧␈↓__________
␈↓"β␈↓ α∧␈↓*␈αBecause␈αof␈αspace␈αconsiderations␈αthe␈αmusic␈αfor␈αsome␈αof␈αthe␈αlonger
␈↓"␈↓ α∧␈↓examples␈αunder␈α
discussion␈αwill␈αnot␈α
appear␈αin␈αthe␈α
text.␈α However,
␈↓"␈↓ α∧␈↓it␈α∃is␈α∀essential␈α∃that␈α∀the␈α∃scores␈α∃here␈α∀dealt␈α∃with␈α∀be␈α∃at␈α∃hand␈α∀for
␈↓"␈↓ α∧␈↓reference when the analytical diagrams are studied.
␈↓ α∧␈↓␈↓ ε↔93␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ βB␈↓¬⊂⊗⊃L[%0.03,%-5.35]:N79FB.PLT[HHA,LCS]⊂⊗⊃␈↓

























␈↓"β␈↓ α∧␈↓␈↓ αdIn␈α∂the␈α∞foregoing␈α∂diagram␈α∂note␈α∞that␈α∂␈↓&A␈↓)αβ␈α∂is␈α∞first␈α∂shown␈α∂as␈α∞the
␈↓ α∧␈↓control␈α∩tonic␈α∪at␈α∩the␈α∩point␈α∪at␈α∩which␈α∩the␈α∪various␈α∩factors␈α∪of␈α∩the
␈↓ α∧␈↓music␈α
reach␈α
␈↓&A␈↓)αβ␈α
as␈α
a␈α
␈↓↓goal␈↓.␈α
 What␈α
follows␈α
is␈α
an␈α
extension;␈α
␈↓&e␈↓)αβ␈αappears␈α
as
␈↓ α∧␈↓the␈α∂control␈α⊂tonic␈α∂over␈α⊂its␈α∂dominant␈α∂chord␈α⊂because␈α∂the␈α⊂"head"␈α∂of
␈↓ α∧␈↓the␈α⊂opening␈α⊃material␈α⊂is␈α⊃there␈α⊂restated.␈α⊂ ␈↓&C␈↓)αβ␈α⊃appears␈α⊂as␈α⊃the␈α⊂control
␈↓ α∧␈↓tonic␈α∞immediately␈α
upon␈α∞presentation␈α
of␈α∞the␈α
new␈α∞material␈α∞in␈α
that
␈↓ α∧␈↓key.

␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α
␈↓&e␈↓)αβ␈α
control␈α
tonic␈α
at␈α
measure␈α
17␈α
becomes␈α
ii␈α
of␈α
␈↓&D␈↓)αβ␈α
rather␈α
than
␈↓ α∧␈↓remaining␈α∂as␈α∂v␈α∂of␈α∂␈↓&A␈↓)αβ,␈α∂because␈α∞␈↓&A␈↓)αβ␈α∂never␈α∂is␈α∂heard␈α∂as␈α∂anything␈α∞more
␈↓ α∧␈↓␈↓ ε↔94␈↓ 
T


␈↓"β␈↓ α∧␈↓than␈α_the␈α→the␈α_elaborated␈α_dominant␈α→of␈α_␈↓&D␈↓)αβ.␈α_ The␈α→repeat␈α_becomes
␈↓ α∧␈↓important␈α∪here␈α∪too.␈α∀ After␈α∪once␈α∪having␈α∀heard␈α∪the␈α∪A7␈α∀chord␈α∪at
␈↓ α∧␈↓measure␈α∞16␈α∞proceed␈α∞to␈α∞the␈α∞␈↓&D␈↓)αβ␈α
chord␈α∞when␈α∞the␈α∞first␈α∞section␈α∞of␈α
the
␈↓ α∧␈↓Trio␈αis␈αrepeated,␈α
the␈αsubsequent␈αmovement␈α
to␈αthe␈αB7␈αchord␈α
sounds
␈↓ α∧␈↓like␈α∞a␈α∞sudden␈α∞digression␈α∞to␈α∂the␈α∞ii␈α∞(␈↓&e␈↓)αβ)␈α∞area.␈α∞ This␈α∞situation␈α∂is␈α∞only
␈↓ α∧␈↓slightly␈α∂different␈α∂from␈α∂that␈α∂found␈α∞at␈α∂the␈α∂first␈α∂double␈α∂bar␈α∂in␈α∞the
␈↓ α∧␈↓Menuetto.␈α≡ There,␈α≥the␈α≡independence␈α≡of␈α≥the␈α≡material␈α≡in␈α≥the
␈↓ α∧␈↓dominant␈α∃key,␈α∃and␈α∀especially␈α∃the␈α∃absence␈α∀of␈α∃a␈α∃7th␈α∃chord␈α∀just
␈↓ α∧␈↓before␈α∩the␈α⊃repeat,␈α∩are␈α∩the␈α⊃factors␈α∩which␈α∩put␈α⊃this␈α∩music␈α∩on␈α⊃the
␈↓ α∧␈↓other side of the admittedly academic dividing line.
␈↓"β␈↓ α∧␈↓␈↓ ∧4_______________


␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α~next␈α→movement␈α~to␈α~be␈α→considered,␈α~the␈α~␈↓↓Rondeau␈α→en
␈↓ α∧␈↓↓Polonaise␈↓␈α∃from␈α∃Mozart's␈α∃␈↓↓Sonata␈α∃in␈α∃D␈↓,␈α∃K.205b(284),␈α∃contains␈α∀a
␈↓ α∧␈↓simple␈α
modulation␈α
and␈α
some␈α
firmly␈α
established␈α
control␈α∞tonics.␈α
 In
␈↓ α∧␈↓the following analysis some sections are condensed to save space.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 80a.  Mozart, Sonata in D, K.205b(284), 
␈↓"β␈↓ α∧␈↓                                     Rondeau en Polonaise
␈↓"β
␈↓"β␈↓ α∧␈↓␈↓ β?␈↓¬⊂⊗⊃L[%0.03,%-3.20]:N80FA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε↔95␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ βE␈↓¬⊂⊗⊃L[%0.05,%-3.61]:N80FB.PLT[HHA,LCS]⊂⊗⊃␈↓

















␈↓"β␈↓ α∧␈↓␈↓ αdThere␈αis␈αa␈αcadence␈αon␈αa␈αnew␈αtonic␈αof␈α␈↓&E␈↓)αβ␈αat␈αbar␈α25.␈α ␈↓&E␈↓)αβ␈αis␈α
shown
␈↓ α∧␈↓here␈α⊂as␈α⊂a␈α⊂control␈α⊂tonic␈α⊂rather␈α⊂than␈α⊂a␈α⊂modulation␈α⊂because␈α⊃of␈α⊂the
␈↓ α∧␈↓relative␈α∞brevity␈α∂of␈α∞its␈α∂use␈α∞after␈α∞the␈α∂cadence␈α∞(six␈α∂bars␈α∞out␈α∂of␈α∞the
␈↓ α∧␈↓first␈α∪thirty␈α∩of␈α∪the␈α∩piece),␈α∪and␈α∩because␈α∪its␈α∪repetitious␈α∩character
␈↓ α∧␈↓gives␈αit␈α
the␈αsound␈αof␈α
an␈αextended␈αcadence␈α
formula.␈α The␈αnew␈α
tonic
␈↓ α∧␈↓at␈α∩bar␈α∪47␈α∩(␈↓&f␈↓βS␈↓␈↓)αβ)␈α∩is␈α∪completely␈α∩independent␈α∩and␈α∪so␈α∩is␈α∩shown␈α∪as␈α∩a
␈↓ α∧␈↓modulation, despite its brevity.

␈↓"β␈↓ α∧␈↓␈↓ αdTreatment␈α⊂of␈α⊂the␈α⊂following␈α⊂music␈α∂in␈α⊂␈↓&D␈↓)αβ␈α⊂is␈α⊂open␈α⊂to␈α∂varying
␈↓ α∧␈↓opinion.␈α
 It␈α
has␈α∞been␈α
listed␈α
as␈α∞a␈α
new␈α
control␈α
tonic␈α∞on␈α
␈↓&D␈↓)αβ␈α
(VI␈α∞in␈α
␈↓&f␈↓βS␈↓␈↓)αβ)
␈↓ α∧␈↓for␈α∩two␈α⊃reasons:␈α∩first,␈α⊃the␈α∩music␈α⊃present␈α∩at␈α⊃bar␈α∩53␈α∩has␈α⊃already
␈↓ α∧␈↓been␈α∞heard␈α∞as␈α
continuation,␈α∞and␈α∞then␈α
transition␈α∞material␈α∞(see␈α
bar
␈↓ α∧␈↓17);␈α∞second,␈α∞no␈α∞clear␈α∞reference␈α∞is␈α∞made␈α∞back␈α∞to␈α∞the␈α∞original␈α∞basic
␈↓ α∧␈↓tonic␈α⊗with␈α⊗material␈α⊗that␈α⊗was␈α⊗in␈α⊗that␈α⊗key␈α⊗(␈↓&A␈↓)αβ),␈α⊗or␈α⊗with␈α⊗new
␈↓ α∧␈↓material,␈α
until␈α
bar␈α
70.␈α
 The␈α
first␈αcontrol␈α
tonic␈α
at␈α
bar␈α
53␈α
is␈αshown
␈↓ α∧␈↓as␈α⊂␈↓βI␈↓␈α∂rather␈α⊂than␈α⊂simply␈α∂␈↓&VI␈↓)αβ,␈α⊂so␈α⊂that␈α∂the␈α⊂latter␈α⊂one␈α∂at␈α⊂bar␈α⊂61,␈α∂␈↓βV␈↓,
␈↓ α∧␈↓may␈αappear␈αon␈α
the␈αsame␈αhorizontal␈αline.␈α
 This␈αway␈αthe␈α
lower␈αtwo
␈↓ α∧␈↓levels␈αof␈αthe␈αmiddle␈αground␈αat␈αbars␈α53-64␈αare␈αthe␈αexact␈αparallel␈αof
␈↓ α∧␈↓␈↓ ε↔96␈↓ 
T


␈↓"β␈↓ α∧␈↓17-28.␈α It␈αis␈αespecially␈αimportant␈αthat␈αthe␈αdiagram␈αmakes␈αclear␈α
the
␈↓ α∧␈↓similarities␈α∪of␈α∪such␈α∪parallel␈α∪passages.␈α∪ If␈α∪the␈α∪movement␈α∪to␈α∪␈↓&D␈↓)αβ␈α∪is
␈↓ α∧␈↓taken␈α∃as␈α∃a␈α∃modulation,␈α∃the␈α∃diagram␈α∃appears␈α∃simpler,␈α⊗but␈α∃then
␈↓ α∧␈↓perhaps␈α_some␈α_of␈α_the␈α_subtlety␈α_of␈α_this␈α_work's␈α_large␈α_harmonic
␈↓ α∧␈↓structure is missed.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 80b (upper levels only)
␈↓"β␈↓ α∧␈↓␈↓ βA␈↓¬⊂⊗⊃L[%0.05,%-0.97]:N80FC.PLT[HHA,LCS]⊂⊗⊃␈↓





␈↓"β␈↓ α∧␈↓␈↓ β        The analysis given in Figure 80a is preferred.
␈↓"β␈↓ α∧␈↓␈↓ ∧4_______________

␈↓"β␈↓ α∧␈↓␈↓ αdIn␈αboth␈α
the␈αfirst␈α
and␈αlast␈α
movements␈αof␈α
Mozart's␈α␈↓↓Sonata␈αin␈α
F␈↓,
␈↓ α∧␈↓K.300k(332),␈α_we␈α→find␈α_what␈α_is␈α→commonly␈α_called␈α→a␈α_transition
␈↓ α∧␈↓section␈αlinking␈αthe␈αtwo␈αmain␈αparts␈αof␈αthe␈αexposition.␈α In␈αeach␈αcase
␈↓ α∧␈↓the␈αmaterial␈αof␈αthe␈αtransition␈αfollows␈αa␈αfull␈αclose␈αin␈α␈↓&F␈↓)αβ,␈αis␈αnew,␈αand
␈↓ α∧␈↓starts␈α
out␈αclearly␈α
in␈α␈↓&d␈↓)αβ.␈α
 However,␈α␈↓&d␈↓)αβ␈α
proves␈α
to␈αbe␈α
only␈αa␈α
step␈αon␈α
the
␈↓ α∧␈↓way␈α⊃to␈α⊃␈↓&C␈↓)αβ.␈α∩ Such␈α⊃transitions␈α⊃should␈α∩be␈α⊃analyzed␈α⊃under␈α∩the␈α⊃basic
␈↓ α∧␈↓tonic␈α⊃of␈α⊃departure,␈α⊃the␈α⊃new␈α⊃basic␈α⊃tonic␈α⊃appearing␈α⊃only␈α∩when␈α⊃a
␈↓ α∧␈↓clear goal is reached.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 81a.  Mozart, Sonata in F, K.300k(332) 
␈↓"β␈↓ α∧␈↓                                     first movement.
␈↓"β␈↓ α∧␈↓␈↓ βC␈↓¬⊂⊗⊃L[%0.05,%-2.20]:N81FA.PLT[HHA,LCS]⊂⊗⊃␈↓
␈↓ α∧␈↓␈↓ ε↔97␈↓ 
T


␈↓"β

␈↓"β␈↓ α∧␈↓Figure 81b.  Third movement.
␈↓"β
␈↓"β␈↓ α∧␈↓␈↓ βE␈↓¬⊂⊗⊃L[%0.05,%-2.25]:N81FB.PLT[HHA,LCS]⊂⊗⊃␈↓











␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α⊂second␈α⊂pivot␈α⊂involving␈α∂tonics␈α⊂might␈α⊂have␈α⊂appeared␈α∂as
␈↓ α∧␈↓early␈α⊗as␈α↔bar␈α⊗40,␈α↔thus␈α⊗bringing␈α↔out␈α⊗the␈α⊗role␈α↔of␈α⊗␈↓&d␈↓)αβ␈α↔as␈α⊗ii␈α↔of␈α⊗␈↓&C␈↓)αβ.
␈↓ α∧␈↓However,␈α⊃␈↓&C␈↓)αβ␈α⊂as␈α⊃a␈α⊃control␈α⊂tonic␈α⊃should␈α⊃not␈α⊂appear␈α⊃before␈α⊃bar␈α⊂41,
␈↓ α∧␈↓where␈α∂a␈α⊂varied␈α∂form␈α⊂of␈α∂the␈α∂material␈α⊂of␈α∂bar␈α⊂36␈α∂is␈α⊂presented␈α∂(see
␈↓ α∧␈↓Figure 81b).
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 81c
␈↓"β







␈↓"β␈↓ α∧␈↓␈↓ αdIn␈α∩both␈α∩movements␈α∩above,␈α∩the␈α∩material␈α∩of␈α∩the␈α⊃transitions
␈↓ α∧␈↓was␈αof␈α
moderate␈αduration␈α
and␈αhad␈α
no␈αespecial␈αthematic␈α
connection
␈↓ α∧␈↓with␈αwhat␈αfollowed.␈α Notice␈αthat␈α␈↓&C␈↓)αβ␈αin␈αits␈αfirst␈αtonic␈αappearance␈αin
␈↓ α∧␈↓the␈α∪first␈α∪movement␈α∀was␈α∪␈↓↓minor␈↓,␈α∪but␈α∀when␈α∪it␈α∪became␈α∀the␈α∪basic
␈↓ α∧␈↓tonic,␈α∂it␈α⊂then␈α∂was␈α⊂␈↓↓major␈↓.␈α∂In␈α⊂the␈α∂third␈α⊂movement␈α∂this␈α⊂process␈α∂is
␈↓ α∧␈↓reversed.␈α∪However,␈α∩since␈α∪the␈α∩music␈α∪changes␈α∩to␈α∪major␈α∪not␈α∩long
␈↓ α∧␈↓␈↓ ε↔98␈↓ 
T


␈↓"β␈↓ α∧␈↓after,␈α→the␈α~minor␈α→indication␈α→might␈α~show␈α→only␈α→in␈α~the␈α→middle
␈↓ α∧␈↓ground.  For example:





␈↓"β␈↓ α∧␈↓␈↓ ∧4_______________

␈↓"β␈↓ α∧␈↓␈↓ αdIn␈α
the␈α
first␈α
movement␈α
of␈α
the␈α
␈↓↓Sonata␈α
in␈α
C␈↓,␈α
K.189d(279),␈α
the
␈↓ α∧␈↓first␈α⊂basic␈α⊃tonic␈α⊂area␈α⊂closes␈α⊃with␈α⊂a␈α⊂half-cadence.␈α⊃ The␈α⊂following
␈↓ α∧␈↓new␈α∂material,␈α∂while␈α∂not␈α∂in␈α∂the␈α∂dominant␈α∂key,␈α∂does␈α⊂lead␈α∂quickly
␈↓ α∧␈↓and␈α∂without␈α∂break␈α∂to␈α∂the␈α∂dominant.␈α∂ Other␈α∂decisive␈α∂factors␈α∞here
␈↓ α∧␈↓are␈αthat␈αthe␈αlast␈αtwo␈αquarter-notes␈α(D's)␈αof␈αbar␈α16␈α(which␈αbelong
␈↓ α∧␈↓to␈α∂the␈α∂new␈α∂material)␈α∂are␈α∂heard␈α∞as␈α∂a␈α∂continuation␈α∂of␈α∂the␈α∂G␈α∞chord
␈↓ α∧␈↓which␈α∃closed␈α∀the␈α∃first␈α∃section,␈α∀and␈α∃that␈α∀the␈α∃beginning␈α∃of␈α∀the
␈↓ α∧␈↓phrase␈α⊃that␈α⊃contains␈α⊃the␈α⊃reappearance␈α⊃of␈α⊃the␈α⊃G␈α⊃chord,␈α⊃now␈α⊃as␈α⊂I
␈↓ α∧␈↓(bar 20), is elided with the end of the previous phrase.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 82a.  Mozart, Sonata in C, K.189d(279)  
␈↓"β␈↓ α∧␈↓                                     first movement.









␈↓"β␈↓ α∧␈↓␈↓ αdIn␈α∩the␈α∩recapitulation␈α∩this␈α∩area␈α∩should␈α∩be␈α∩analyzed␈α∪a␈α∩little
␈↓ α∧␈↓differently,␈α
because␈α
a␈αcontrol␈α
tonic␈α
of␈α␈↓&G␈↓)αβ␈α
is␈α
established␈α
just␈αbefore
␈↓ α∧␈↓the␈α⊗new␈α⊗material␈α⊗appears.␈α↔ The␈α⊗␈↓&C␈↓)αβ␈α⊗recurs␈α⊗as␈α⊗the␈α↔control␈α⊗tonic
␈↓ α∧␈↓immediately␈α∞upon␈α∞presentation␈α
of␈α∞the␈α∞material␈α
of␈α∞the␈α∞second␈α
key
␈↓ α∧␈↓area (at *).
␈↓ α∧␈↓␈↓ ε↔99␈↓ 
T


␈↓"β
␈↓"β␈↓ α∧␈↓Figure 82b
␈↓"β









␈↓"β␈↓ α∧␈↓␈↓ ∧4_______________

␈↓"β␈↓ α∧␈↓␈↓ αdA␈αgreat␈αextension␈αof␈αthe␈αsituation␈αjust␈αdiscussed␈αis␈α
found␈αin
␈↓ α∧␈↓Schubert's␈α≡␈↓↓Quintet␈α≥in␈α≡C␈↓,␈α≥Op.163,␈α≡first␈α≥movement.␈α≡ The␈α≥full
␈↓ α∧␈↓exposition␈αclearly␈αends␈αin␈α␈↓&G␈↓)αβ␈α(followed␈αby␈αa␈αsingle␈αtransitional␈α
7th
␈↓ α∧␈↓chord),␈αbut␈αthe␈αfirst␈αkey␈αheard␈αin␈αthe␈αexposition's␈αsecond␈αgroup␈αis
␈↓ α∧␈↓␈↓&E␈↓βF␈↓)αβ␈↓.␈α The␈αsecond␈αgroup␈αis␈αpreceded␈αby␈αan␈αeleven-bar␈αpassage␈αover␈αa
␈↓ α∧␈↓G␈α
pedal␈α
note.␈α Because␈α
of␈α
the␈α
absence␈αof␈α
any␈α
simple␈αV-I␈α
progression
␈↓ α∧␈↓in␈α⊗␈↓&G␈↓)αβ␈α⊗in␈α⊗these␈α∃eleven␈α⊗bars,␈α⊗G␈α⊗manages␈α∃to␈α⊗maintain␈α⊗its␈α⊗role␈α∃as
␈↓ α∧␈↓dominant␈αto␈αthe␈αbasic␈αtonic␈αof␈α
␈↓&C␈↓)αβ.␈α It␈αwould␈αbe␈αquite␈αnormal␈αfor␈α
the
␈↓ α∧␈↓music␈αto␈α
continue␈αat␈α
this␈αpoint␈α
with␈α␈↓&G␈↓)αβ␈α
being␈αheard␈αimmediately␈α
in
␈↓ α∧␈↓both␈α∂the␈α∂roles␈α⊂of␈α∂control␈α∂tonic␈α⊂and␈α∂basic␈α∂tonic.␈α⊂ However,␈α∂when
␈↓ α∧␈↓the␈αsecond␈α'cello␈αdescends␈αchromatically␈αfrom␈αG␈αat␈αbar␈α59,␈αwe␈αmay
␈↓ α∧␈↓well␈α⊂expect␈α⊃the␈α⊂goal␈α⊂to␈α⊃be␈α⊂a␈α⊃C␈α⊂chord␈α⊂rather␈α⊃than␈α⊂the␈α⊃Eb␈α⊂chord,
␈↓ α∧␈↓since␈α
the␈α∞last␈α
heard␈α
G␈α∞chord␈α
still␈α
had␈α∞a␈α
dominant␈α∞quality␈α
relative
␈↓ α∧␈↓to␈αthe␈αcontrol␈αtonic␈α␈↓&C␈↓)αβ.␈α (␈↓&G␈↓)αβ␈α
had␈αbeen␈αtonicized,␈αbut␈αonly␈αas␈αthe␈α
fifth
␈↓ α∧␈↓degree␈αof␈α␈↓&C␈↓)αβ.␈α
 Even␈αthe␈αeleven-bar␈α
prolongation␈αof␈α␈↓&G␈↓)αβ␈α
fails␈αto␈αgive␈α
it
␈↓ α∧␈↓the status of a control tonic.)

␈↓"β␈↓ α∧␈↓␈↓ αdOnce␈α
␈↓&E␈↓βF␈↓)αβ␈↓␈α
is␈α
reached,␈α
the␈αtotal␈α
texture␈α
leaves␈α
no␈α
doubt␈αthat␈α
we
␈↓ α∧␈↓are␈α⊂in␈α⊂an␈α⊂entirely␈α⊂new␈α⊂realm.␈α⊂ The␈α⊂next␈α⊂tonal␈α⊃movements␈α⊂again
␈↓ α∧␈↓raise␈α
a␈α
question␈α
regarding␈α
the␈α
location␈α
of␈α
the␈α
control␈α
tonic.␈α∞ ␈↓&C␈↓)αβ,␈α
as
␈↓ α∧␈↓the␈α⊂tonic␈α⊃VI␈α⊂of␈α⊃␈↓&E␈↓βF␈↓)αβ␈↓,␈α⊂is␈α⊃touched␈α⊂upon␈α⊂at␈α⊃bar␈α⊂71,␈α⊃and␈α⊂once␈α⊃more␈α⊂␈↓&G␈↓)αβ
␈↓ α∧␈↓sounds␈α∩as␈α∩a␈α∪tonic␈α∩at␈α∩bar␈α∪79␈α∩--␈α∩but␈α∪still␈α∩mainly␈α∩as␈α∪a␈α∩secondary
␈↓ α∧␈↓␈↓ ε100␈↓ 
T


␈↓"β␈↓ α∧␈↓element.␈α⊂ The␈α⊂whole␈α⊂process␈α⊃is␈α⊂repeated␈α⊂and␈α⊂then␈α⊂finally,␈α⊃at␈α⊂bar
␈↓ α∧␈↓100,␈α∀␈↓&G␈↓)αβ␈α∀assumes␈α∀a␈α∪primary␈α∀tonic␈α∀role.␈α∀ Nevertheless,␈α∀the␈α∪whole
␈↓ α∧␈↓second␈α∂section␈α∂of␈α∂the␈α∂exposition␈α∂may␈α∂be␈α∂analyzed␈α∂under␈α∂a␈α∂single
␈↓ α∧␈↓basic␈αtonic,␈αbecause␈αthe␈αunified␈αcharacter␈αof␈αthe␈αthematic␈αmaterial
␈↓ α∧␈↓gives␈α∪the␈α∪␈↓&G␈↓)αβ␈α∪goal␈α∪of␈α∪all␈α∪the␈α∪harmonic␈α∪movement␈α∪of␈α∪the␈α∩section
␈↓ α∧␈↓strong␈αpredominance.␈α The␈αupper␈αlevels␈αof␈αa␈αcondensed␈αanalysis␈αof
␈↓ α∧␈↓this music follow.
␈↓"β
␈↓"β␈↓ α∧␈↓Figure 83.  Schubert, String Quintet in C, Op.163 
␈↓"β␈↓ α∧␈↓                                      first movement.
␈↓"β













␈↓"β␈↓ α∧␈↓␈↓ αdThe␈α⊃important␈α⊃thing␈α⊃in␈α⊂an␈α⊃analysis␈α⊃is␈α⊃to␈α⊃show␈α⊂indications
␈↓ α∧␈↓which␈α∞parallel␈α∂the␈α∞actual␈α∂progress␈α∞of␈α∂the␈α∞music,␈α∂not␈α∞only␈α∂on␈α∞the
␈↓ α∧␈↓small,␈αor␈αpoint-to-point␈αlevel,␈αbut␈αalso␈αon␈αthe␈αstructurally␈αhigher
␈↓ α∧␈↓section-to-section␈α∃level.␈α∃ In␈α∃the␈α∀diagram␈α∃above,␈α∃when␈α∃␈↓&E␈↓βF␈↓)αβ␈↓␈α∀first
␈↓ α∧␈↓appears␈α⊗it␈α↔is␈α⊗directly␈α⊗related␈α↔to␈α⊗␈↓&C␈↓)αβ␈α⊗as␈α↔␈↓βF␈↓III.␈α⊗ The␈α↔new␈α⊗thematic
␈↓ α∧␈↓material,␈α
however,␈α∞gives␈α
␈↓&E␈↓βF␈↓)αβ␈↓␈α
a␈α∞stronger␈α
role␈α
as␈α∞the␈α
␈↓βF␈↓VI␈α∞relation␈α
to
␈↓ α∧␈↓␈↓&G␈↓)αβ.␈α∃ It␈α∃is␈α∃true␈α∃that␈α∃there␈α⊗is␈α∃no␈α∃way␈α∃of␈α∃knowing␈α∃this␈α⊗on␈α∃first
␈↓ α∧␈↓hearing.␈α The␈αlarge␈αstructure␈αof␈αa␈αwork␈αis␈αfully␈αgrasped␈αonly␈α
upon
␈↓ α∧␈↓reflection␈α⊂after␈α∂the␈α⊂music␈α⊂is␈α∂ended.␈α⊂ This␈α∂in␈α⊂no␈α⊂way␈α∂undermines
␈↓ α∧␈↓the␈α⊂affective␈α⊂quality␈α⊂of␈α⊂harmonic␈α⊂"surprises"␈α⊂during␈α⊂subsequent
␈↓ α∧␈↓hearings,␈α⊂whether␈α⊂they␈α⊂be␈α⊂found␈α∂in␈α⊂the␈α⊂functional␈α⊂details␈α⊂or␈α∂in
␈↓ α∧␈↓the␈α∞movements␈α∞of␈α∞the␈α∞tonics.␈α∞ On␈α∞the␈α∞contrary,␈α∞the␈α∞␈↓↓affect␈↓␈α∞of␈α∞the
␈↓ α∧␈↓␈↓ ε101␈↓ 
T


␈↓"β␈↓ α∧␈↓music␈α can␈α!only␈α begin␈α!to␈α be␈α!fully␈α appreciated␈α!when␈α the
␈↓ α∧␈↓relationship␈αof␈αall␈αthe␈αparts␈αto␈αthe␈αwhole␈αis␈αsensed␈α--␈αeven␈αif␈αonly
␈↓ α∧␈↓intuitively.

␈↓"β␈↓ α∧␈↓␈↓ αdContinuing␈α∞with␈α∞the␈α∂above␈α∞analysis,␈α∞at␈α∂bar␈α∞71␈α∞C␈α∂appears␈α∞as
␈↓ α∧␈↓VI␈α∂of␈α∂␈↓&E␈↓βF␈↓)αβ␈↓.␈α∂ There␈α∞is␈α∂no␈α∂direct␈α∂connection␈α∞between␈α∂the␈α∂role␈α∂of␈α∞this
␈↓ α∧␈↓tonic␈α␈↓&C␈↓)αβ␈αand␈α
the␈αtonic␈αof␈αthe␈α
movement's␈αopening.␈α The␈αfull␈α
cadence
␈↓ α∧␈↓on␈α⊃␈↓&G␈↓)αβ␈α⊂establishes␈α⊃a␈α⊂control␈α⊃tonic␈α⊂on␈α⊃the␈α⊂dominant␈α⊃of␈α⊂␈↓&C␈↓)αβ␈α⊃(bar␈α⊂79).
␈↓ α∧␈↓After␈α⊃the␈α⊃entire␈α⊃progression␈α⊃is␈α⊃repeated,␈α⊃the␈α⊃control␈α⊃tonic␈α⊃on␈α⊃␈↓&G␈↓)αβ
␈↓ α∧␈↓continues␈α
and␈α
thus␈α
becomes␈α
a␈α
factor␈α
on␈α
the␈α
same␈α
level␈α
as␈α
␈↓&E␈↓βF␈↓)αβ␈↓.␈α
 When
␈↓ α∧␈↓this␈α∂happens,␈α∂a␈α∞pivotal␈α∂movement␈α∂puts␈α∞G's␈α∂tonic␈α∂function␈α∂on␈α∞the
␈↓ α∧␈↓uppermost level of the middle ground.
␈↓"β␈↓ α∧␈↓␈↓ ∧4_______________
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓Exercises for Chapter VII

␈↓"β␈↓ α∧␈↓␈↓ αdAnalyze␈α
the␈α
following.␈α
 Some␈α
of␈α
the␈α
listed␈α
works␈α
need␈α
not␈α
be
␈↓ α∧␈↓thought of as involving true modulation.
␈↓"β
␈↓"β␈↓ α∧␈↓From the Sonatas of Mozart:
␈↓"β
␈↓"β␈↓ α∧␈↓  1. Sonata in C, K.189d(279), second movement, to the double bar.
␈↓"β␈↓ α∧␈↓  2. Sonata in F, K.189e(280), finale (Presto), to the double bar.
␈↓"β␈↓ α∧␈↓  3. Sonata in Eb, K.189g(282), Menuetto I, all.
␈↓"β␈↓ α∧␈↓  4. Sonata in Eb, K.189g(282), Menuetto II, all.
␈↓"β␈↓ α∧␈↓  5. Sonata in a, K.300d(310), first movement, to the double bar.
␈↓"β␈↓ α∧␈↓  6. Sonata in Bb, K315c(333), finale (Allegretto), first 36 bars.
␈↓"β␈↓ α∧␈↓  7. Sonata in D, K.576, first movement up to the double bar.
␈↓"β
␈↓"β
␈↓"β␈↓ α∧␈↓From the Mazurkas of Chopin:
␈↓"β
␈↓"β␈↓ α∧␈↓  8. Mazurka No.2 in e, Op.17,#2, all.
␈↓"β␈↓ α∧␈↓  9. Mazurka No.14 in g, Op.24,#1, all.
␈↓"β␈↓ α∧␈↓ 10. Mazurka No.22 in g#, Op.33,#1, all.
␈↓"β␈↓ α∧␈↓ 11. Mazurka No.27 in e, Op.41,#2, all.
␈↓"β␈↓ α∧␈↓ 12. Mazurka No.34 in C, Op.56,#2, all.