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CHAPTER VII
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MODULATION
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	In this book the term "modulation" has been reserved for
use in connection with the movement of basic tonics on the highest
level.  The term is %2not%1 meant to define the %2process%1 of %2moving to%1 a
new tonic; modulation will refer to the state of %2having moved%1 to a
new basic tonic.  (For example, we will speak of music as %2having%1
modulated, but we will not say that music %2is%1 modulating.)  The means
of getting to a new tonic or the duration of the process will not be the
most important influences on the decision as to whether or not a
modulation has taken place.  Rather, it is %2how%1 the new tonic, once
attained, is %2used%1 that is of the greatest importance.

	The new tonic must become, in relative terms, truly a %2basic%1
tonic.  Thus modulation might occur in any formal scheme, just so long
as a change of the basic tonic is involved.  The uses of a new tonic
that constitute modulation cover a wide variety of situations and will
often be open to question.  Probably the clearest modulations include
new melodic material of considerable length -- perhaps even in a new
tempo and/or meter.  There is every conceivable gradation between such
cases and those where the modulation borders on being merely an
elaborated cadence or extended tonicization.

	Reference to some of Mozart's %2Piano Sonatas%1 may help to
clarify these points.  Very many Mozart movements are in some kind
of sonata form which usually includes very clear modulations of basic
tonics.  The first movement (variations) of the %2Sonata%1 in ↓_A_↓, K.300i(331),
contains neither modulations nor varied control tonics.  The Finale
(%2Alla turca%1) has one simple modulation and return.  This section of 32
bars (repeated) in the 
tonic on vi (↓_f%4S%1_↓) presents new, contrasting
material.  The movement to a temporary tonic on ↓_A_↓ about two-thirds of
the way through this section by no means represents a return to the
original key on the highest level.  This bit in ↓_A_↓ is surrounded by, 
and completely dependent on, ↓_f%4S%1_↓.  The modulation back to ↓_A_↓ is effected
by the return of previously heard material associated with that key.
The Menuetto, however, has more complex tonic movements and is in what
might be called (and this is true of many menuets, scherzos, etc.) a
miniature sonata form.  In this movement, at measure 11, entirely 
new material is presented in the dominant key.

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Example 78. Mozart, Sonata in A, K.300i(331), Menuetto

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Figure 78

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