Bass motions and sequences

The falling-fifths circle, complete: every chord in the key visited once, the upper voices binding the chain with common tones, the one diminished fifth in the bass holding the circle inside the key.

The circle in minor: all natural until the end — six diatonic stations, then the sharp arrives with the true dominant and closes what the circle prepared.

The chain of sevenths: add a seventh to every chord of the circle and the sequence becomes self-perpetuating — each seventh prepared by the chord before, resolving into the chord after.

The suspended chain — the 4–3 over falling fifths that GVL-006 promises: each seventh held past the new bass, striking as a fourth, falling late. Only a seventh can prepare these fourths; that is why this chain waited for this stage.

The rising 5–6: a bass that wants to climb cannot carry parallel triads, so over each tone the fifth becomes a sixth before the bass moves — and the sixth turns into the next tone’s fifth.

The rising 5–6 in minor, climbing from the third degree to the dominant’s doorstep — where the cadential 6/4 receives the sequence and turns it into a close.

The sixth-chord stream at speed: six first inversions in quarter notes, the whole texture sliding in parallel until the dominant stops it.

The minor stream at speed, running the natural scale from tonic to supertonic before the sharp gathers it into a cadence.

Falling thirds: each chord keeps two tones of the one before, so the harmony changes color more than place — motion that gathers weight until a cadence spends it.

Falling thirds in minor, where the chain’s last step would land on the diminished chord — and the bass turns the harmony over instead of stepping in.