Modulation appears already in the second kyo song, Thida, which is traditionally the second composition to be learned by Burmese students. Like all other Burmese song compositions Thida is divided in phrases called bai't. The first bai't is set in the main mode of the composition, Than You, indicated as on C in these transcriptions.
Here, the use of the consonants on the finalis, one a fifth below as well as the octave below, establish the finalis tone, Than Man, notated as C. (Note, that contrary to traditional European practice, the fourth, F, a fifth below C, is thought of as the harmonic consonance of the finalis, C, rather than the C being the fifth degree of the finalis on F.
The second bai't of Thida begins immediately in a new tonality, Nga Bauk, or F and ends clearly on Nga Bauk. The third bai't begins with a continuation of Nga Bauk but by the third measure has returned to Than Man.
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last updated 5 November 1995