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We spend the last half of bar 6 and all of 7 in the key of B via the sequence F#7-B. In bar 8, Coltrane will start moving through the keys B, G and Eb using a different rhythm.

In bars 1 through 7, by changing keys in the middle of bars and prolonging a chord for an entire bar he stitches the different key visitations into longer key sequences that we hear as a unit. We hear the B-D7-G-Bb7-Eb in bars one through 3 as one unit because the Eb held for bar 3 sounds like a resting place. We hear the Ami7-D7-G-Bb7-Eb-F#7-B of bars 4 through 7 as the second unit since the B held across bar 7 sounds like a resting place.

In the last half of the tune, bars 8 through 16 wrapping around into bar 1, he visits our key centers for two bars each time letting us hear each of them separately.

So this is kind of a "twice-cooked pork" tune, with the same materials cooked up two different ways.

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