The normal Minor Circle

It will be wise at this stage to examine the normal Minor Circle,
         which will not only be useful as the Minor "New Key" circle,
                   but will also act as a model for our major "Original Key" Modulation Circle,
                             which we will subsequently complete.

Being of binary structure, the Minor Circle is presented here first with Voice-Leading C (in 2/2).
         However, when it is combined with the Major Circle in Exterior Modulations,
                   it will be convenient to have it with Voice-Leading A (in 3/2),
                             which is also presented here.
The first half of the Minor Circle is identical to the second half of the Major Circle,
                   with the chord pattern (Am⁷, Dm⁷, G⁷, C⁽⁺⁷⁾).
         It is precisely the [VIm⁷ IIm⁷ V⁷ I] in Major which the ear perceives,
                   and not the [Im⁷ IVm⁷ VII⁷ III] in Minor.
         Since the cadence in major is stronger than the cadence in minor,
                   it is preferable, and usual, to use the C⁺⁷ chord to attenuate its strength.
Cadencing to both relative keys (in the same Key Signature) seems a good idea
         and will also be included in the complete major Modulation Circle which follows.

The Complete Major Modulation Circle

We will now pass the half-way point in the circle, with the ANTE 2 [VIm (Am)],
         and work toward the beginning, with the ANTE 3 [III⁷ (E⁷)],
                             and the BUCKLE chord [VIIm^7-5 (Bm^7-5)],
                   to produce a complete Modulation Circle, which we will use
                             not only to establish the original Key,
                                       but also to reach the new Key if it is also major.

Modulation 4 - the ANTE 2

TONIC Shadow
The ANTE 2 (Am) is the Shadow (relative minor) of the TONIC (C)
         and the most important Secondary TONIC
                   [VI] or more accurately [I of VI].

Modulation 5 - the ANTE 3

DOMINANT Shadow
The ANTE 3 (E⁷) is the Shadow of the DOMINANT (G⁷)
         and the most important Secondary DOMINANT
                   [III⁷] or more accurately [V⁷ of VI].

Modulation 6 - the BUCKLE Chord

The Perfect ANTE-1
The BUCKLE chord (Bm^7-5) is the Shadow of the ANTE 1 (Dm^7-5)
         and the most important Secondary ANTE 1
                   [VIIm^7-5] or more accurately [IIm^7-5 of VI].

Together

Complete
Putting all this together would give us 6 of the 8 required chords,
         leaving only the 2 first chords [I⁺⁷ and IV⁺⁷] which would be left intact
                   to eliminate interfering modulation within the circle.

Being of ternary structure, the complete major Modulation Circle
         is presented here with Voice-Leading A.

It is almost identical to Modulation 3 with Voice-Leading A.

Natural Canons

A Source Of Interior Modulation
In the section of Natural Canons, one finds a treasure of Modulations,
         with a complete page devoted entirely to the circle.

One Circle
We find the Binary Circle -
         in 1 complete entity, in 2 entities, and in 4 entities.
We find the Ternary Circle -
         in 1 complete entity, and in 3 entities.
We find the Fibonacci 8 Circle -
         in 1 complete entity, and in 3 entities.

Two Circles
With 2 circles, 15 chords,
         we find 3 groups of 5, 5 groups of 3, and 2 groups of Fibonacci 8.

Major To Major