To the binary 2-chord DOMINANT-TONIC progressions ofModulation 2,
     Modulation 3 adds anANTE 1[II] before the DOMINANT, [IIm^7-5 V⁷ I],
          grouping the chords of thecirclein ternarycells, 3 by 3, and
               producing stronger modulations to F, Am, and, of course, to C.
                    [I⁷ IV VIIm^7-5 III⁷ VI IIm^7-5 V⁷ I (C⁷ F Bm^7-5 E⁷ Am Dm^7-5 G⁷ C)]
     NOTE that there is no ANTE 1 in the first cell, only DOMINANT-TONIC [I⁷ IV(C⁷ F)],
          that the ANTE 1 of the second cell, in Am, [IIm^7-5 (Bm^7-5 )], has a diatonic [ ^-5 (F)] and
          that the ANTE 1 of the third cell, in C, [IIm^7-5 (Dm^7-5 )], also has a [ ^-5 (Ab)].

With Voice-Leading C, there is noNeapolitan Sixth resolution problemhere,
     but there is always a binary melodic grouping typical of this voice-leading.

With Voice-Leading A, the fit is perfect, almost miraculous,
     with the binary first cell and the ternary second and third cells,
          the three canonic lines fitting perfectly with the ternary grouping of the chords.
     NOTE the [ ^-5 s] in the Bass line, F in chord 3 and Ab in chord 6, the perfect place for them.

ToModulation 456