Thanks for the feedback @Uzi - yes indeed you make valid points - I should perhaps have been clearer in that discussion about the G or A (and the lead up in bars 22/23) - and indeed what I was really up to!  Just didn't want to bore folks!

I had been thinking about that note before I decided on it - and let-alone choosing between A or G, making that note in bar 8 a G# (part of the A melodic minor scale) adds interest - there are no earlier G's or G#'s in the melody, and it brings a moment of extra "completeness" - i.e. this started off quite clearly as a minor melody - making the transition to the major melody even more interesting....     Indeed, following the "major sounding bars" 12 thru 18, I clearly go into the melodic minor from bars 19 on-wards, utilizing both F#'s and G#'s

[ Heck, these things just interest me.  It goes WAY beyond notes on a page! (which of course are a prerequisite for doing this sort of "investigation") LOL ]

I suppose that was just a "modality" change rather than a full "modulation to a different key".   That's the next little thing to work on  - up to the 4th perhaps, or using "shared" chords etc - the cadences I "get" - done them on guitar for years - it's how the the melody line will sound during the chord-cadences that will interest me (yes, I'm back to song-writing mode which I haven't done for years - hence my focus on the melody line and how it hangs-together, and "changes with" - or- "follows" the chord progressions)

Not really a "violin" topic as such - just general music theory / interest / discussion.