Like the circle, which is the result of repeated applications of Metamorphosis 1,
         Modulation 1 consists of repeated applications of the DOMINANT chord [V⁷],
                   producing a series of DOMINANT seventh chords
                             which never resolve completely to the following TONIC.
                                       [I⁷ IV⁷ VIIm^7-5 III⁷ VI⁷ II⁷ V⁷ I (C⁷ F⁷ Bm^7-5 E⁷ A⁷ D⁷ G⁷ C)]
There is one obligatory exception to this, the BUCKLE chord (the third) which remains diatonic.
         It is surprising how satisfying the result is,
                   the BUCKLE chord having the same sound as a DOMINANT sixth chord
                             [Bm^7-5 sounding like Dm⁶].
There is very little modulating strength here because there is no resolution,
         and the principal Key (of C) is not in the least threatened,
                   remaining very present throughout.

Voice-Leading C

The result is quite satisfying here, which is not always the case with Voice-Leading C.
         Lines 1 and 3, composed of the Primary Notes, are diatonic throughout,
                   in canon with each other, and
         Lines 2 and 4, composed of the Secondary Notes, are chromatic throughout,
                   also in canon with each other.

Chords 4-7 of this circle are used
by Gershwin in the Bridge of I Got Rhythm, Bars 17-24
[III⁷ VI⁷ II⁷ V⁷].

Voice-Leading A

There are only 3 canonic voices in the Voice-Leading A circle,
                   which pass the chromaticism from one voice to the other.
         The result is more musical because the MEDIAN (third) always resolves,
                   rather than be deviated to the MOTRIX (seventh), which is the case in Voice-Leading C.

To Modulation 2