First inversion (6)

The 6 figure over a bass that does not move: one voice steps from the fifth to the sixth, and that single step is a change of chord.

The same 5-to-6 exchange in minor, where the sixth above the subdominant sharpens the pull toward the dominant.

Sixth chords a half step from their neighbors — above all the dominant with its leading tone in the bass, which must rise.

The minor mode’s two great half steps in the bass: the leading tone rising into the tonic, and the sixth degree falling onto the dominant.

The stream of sixth chords: a stepwise bass where every tone carries a 6, and the whole texture moves in parallel on purpose.

The descending stream in minor, riding the natural scale down until the sixth degree hands the bass to the dominant.

A bass rising by thirds under paired figures: 5/3 then 6 means the same chord has turned over, not that the harmony has moved.

A bass falling by thirds through sixth chords, sharing tones at every join until the diminished sixth chord turns it home.

A bass of fourths that Stage 1 could have set — but the figures now make its middle chords sixth chords, and the harmony tells a different story.

The six chords of the stationary minor exercise, met again by leap: the same vocabulary at the greatest bass distance Stage 3 uses.