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Thank you both very much for commenting.
The passacaglia is more or less done (though I still find myself fine tuning parts of it here and there). Its supposed to go without break into a double fugue (to which I've written up to the first episode).
The chord progression was incidental since I'm not well versed in that part of music theory. I rely on my ears to tell me if I hit a sour note in a chord (though sometimes dissonance in the right spot seems to fit, but at other times).
So I should add more variety to the upper voices and use more than one hand/voice structure? Or otherwise edit it up a bit to be less static in its use of chords?
The fugue is going to take a while to complete since I've never been all that good at them (the linear nature of the passacaglia was a lot more forgiving to work with). I can't say I'm really happy with the way the opening exposition turned out, either. The flow of it seems contrived after the first statement. The only part I really like is the accompanying subject (though apparently I suck at writing in invertible counterpoint).
The idea is to eventually have the mirrored form state itself after every normal statement of the subject. I could layer both on top of each other and let contrary motion do its thing but I'm reluctant to do so.
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