Like thecircle, which is the result of repeated applications ofMetamorphosis 1,
     Modulation 1 consists of repeated applications of theDOMINANTchord [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 aDOMINANT sixth chord
               [Bm^7-5 sounding likeDm⁶ ].
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 withVoice-Leading C.
     Lines 1 and 3, composed of thePrimary Notes, are diatonic throughout,
          in canon with each other, and
     Lines 2 and 4, composed of theSecondary Notes, are chromatic throughout,
          also in canon with each other.

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

Voice-Leading A

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

ToModulation 2