From Bars 139 - 145, we are given another circle-of-fifths progression. This progression interchanges in tonality - a minor 7th chord, followed by a major 7th chord, and so on. Every half of a bar is a falling two beat-sequence; however each sequence fits into the tetrads. From Bar 143, the progressions become more frequent (two a bar). From Bars 148 - 153, we are given another circle-of-fifths progression - however, this progression is not based on chords, but on the key. Each key (with the exception of the first) spans two bars, yet irregularly - the modulations are implemented in the middle of the bars (the third beat). …show more content…
Every two bars follow the pattern of:
a) Major 7th chord in the 3rd inversion
b) Major triad in the first beat, minor in the second, diminished in the fourth; all in first inversion; the bass note is absent on the third