/LMAR=0/XLINE=10/FONT#0=METL/FONT#1=METLI/FONT#2=METS/FONT#3=MUS[HHA,LCS]/FONT#4=MUZ[HHA,LCS]/FONT#5=BASL35
␈↓ α∧␈↓␈↓ ε↔88␈↓ 
T


␈↓"β␈↓ α∧␈↓␈↓ ¬ACHAPTER VII


␈↓"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␈↓ 
T


␈↓"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␈↓ 
T


␈↓"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]⊂⊗⊃␈↓