[2] However, in its fullest form the omnibus progression involves a descent in the bass which traverses a whole octave and includes every note of the chromatic scale.
The upper voice moves in the opposite direction from the dominant note up to the tonic.
A more extended treatment of this version of the omnibus could be: For the purposes of composition, the pattern may be halted at any point, and in so doing may facilitate modulation to any desired key.
Modern theorists such as Telesco explain how small sections of omnibus progression (signified in example 1 by brackets around groups of chords) can be viewed as an instance of dominant prolongation achieved through voice exchange.
Example 2 (above) is effectively a prolongation of the dominant seventh chord G7 which utilises chromatic voice movement.