n it does not do
so. The most common form of _deceptive cadence_ is that in which V (or
V^7) resolves to VI. It is used to give variety, but as in the case of
the half-cadence, is not available at the end of a composition. Fig. 71
gives an example.

[Illustration: Fig. 71. WM. MATHER]

208. A _sequence_ is a succession of similar harmonic progressions,
these resulting from a typical or symmetrical movement of the bass part.
See Fig. 72.

[Illustration: Fig. 72.]

The word _sequence_ is also applied to a succession of similar melodic
progressions, as in Fig. 73.

[Illustration: Fig. 73.]

209. _Modulation_ is a change of key without any break in the continuity
of chords or melody tones. _Harmonic modulations_ are usually effected
through the medium of a chord, some or all of whose tones are common to
both keys. Examples of both _harmonic_ and _melodic modulations_ are
shown in Figs. 74 and 75.

[Illustration: Fig. 74.]

The chord most frequently used in modulating is the _dominant seventh_,
_i.e._, a seventh chord (see Sec. 201) on the dominant tone of the key.
In the key of C this chord is G--B--D--F; in the key of D it is
A--C[sharp]--E--G; in the key of A[flat] it is E[flat]--G--B[flat]--D[flat],
etc.

[Illustration: Fig. 75.]

210. A _suspension_ is the temporary substitution of a tone a degree
higher than the regular chord-tone, this temporary tone being later
replaced by the regular chord-tone. See Fig. 76 (_a_).

[Illustration: Fig. 76.]

211. A _retardation_ is the temporary substitution of a tone a degree
lower than the regular tone, this tone (as in the case of the
suspension) being later replaced by the regular chord tone. See Fig. 77
(_a_).

[Illustration: Fig. 77.]

The "regular chord tone" to which both suspension and retardation
resolve is called the _tone of resolution_.

212. The _anticipation_ is a chord-tone introduced just before the rest
of the chord to which it belongs is sounded. See Fig. 78 (_a_).

[Illustration: Fig. 78.]

213. A _pedal point_ (or _organ point_) is a tone sustained through a
succession of harmonic progressions, to the chords of some of which it
usually belongs. The term _pedal point_ originated in organ playing,
(where the foot on a pedal can sustain a tone while the hands are
playing a succession of harmonies), but as now used it may be applied to
any kind of music. The dominant and tonic are the tones most often used
in this way. See Fig. 79.

[Illust