Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . m § #-• *=r Bach t=^=t a «= H—u Following [~! Ex. 52-2 m dl ;. *2) 8-f—1 •—p m FII V i *i) From a Tonic chord of the first key into a Dominant chord of the desired(next-related) one. *2) From a Tonic chord of old key, into a Second-dominant, and then Domi-nant chord of new key. MODULATION. I VI V r^ t>-r^ Bach. EH II Mod. i I*4)

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Counterpoint applied in the invention, fugue, canon and other polyphonic forms : an exhaustive treatise on the structural and formal details of the polyphonic or contrapuntal forms of music, for the use of general and special students of music . m § #-• *=r Bach t=^=t a «= H—u Following [~! Ex. 52-2 m dl ;. *2) 8-f—1 •—p m FII V i *i) From a Tonic chord of the first key into a Dominant chord of the desired(next-related) one. *2) From a Tonic chord of old key, into a Second-dominant, and then Domi-nant chord of new key. MODULATION. I VI V r^ t>-r^ Bach. EH II Mod. i I*4) *5> ms^&EmmS^^m cl fV I cIV V- *3) From the VI (subordinate Tonic chord), into Second-dominant and Domi-nant chord. *4) Chromatic inflection in Bass. *5) The/8 is a raised fourth scale-step only,— not the index of a Modulation;it is evident that no other key than ), renders every rational har-monious succession possible and illustration:

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