ABSTRACT
In his Versuch Carl Philipp Emanuel Bach uses some complementary terms, die Modulation and die Ausweichung in a differentiated manner. In discussing the ascending trill, Emanuel Bach suggests that it can be employed with good effect 'when the modulation changes'. In his treatment of the Free Fantasia, Bach, using only ausweichen along with a few related expressions, turns to a detailed study of the techniques of key change. The difference is striking and further emphasized when Bach states that, 'a tonic organpoint is convenient for establishing the tonality at the beginning and end'. An Ausweichung consists not merely of a seeking out of leading tones, but rather of a broad march toward the new key along various chromatic by-paths. In distinguishing between the meaning of modulation, but fanciful musical conduct, and Ausweichung, as a reference to inclusive key changing techniques, Bach was pointing the way toward levels of musical meaning.
