Sequence of 2 Metamorphoses

The only possibility is 14 (41 being the same sequence starting on 4 rather than on 1).

The 41 sequence
If we start on the TONIC C⁶chord, which changes (with 4) to Am⁷,
     the next would be Dm⁶which changes (with 1) to Dm⁷,
then G⁶which changes (with 4) to Em⁷,
     then Am^-6which changes (with 1) to Am⁷,
then Dm⁶which changes (with 4) to Bm^7-5,
     then Em^-6which changes (with 1) to Em⁷,
then Am^-6which changes (with 4) to F⁺⁷,
     then Bm^-6-5which changes (with 1) to Bm^7-5,
then Em⁶which changes (with 4) to C⁺⁷,
     then F⁶which changes (with 1) to F⁺⁷,
then Bm^-6-5which changes (with 4) to G⁷,
     then C⁶which changes (with 1) to C⁺⁷,
then F⁶which changes (with 4) to Dm⁷,
     then G⁶which changes (with 1) to G⁷,
then C, chord of rest, producing a 15-chord sequence,
     composed ofC⁶ Am⁷- Dm⁷/G⁶ Em⁷- Am⁷/Dm⁶ Bm^7-5- Em⁷/Am^-6 F⁺⁷- Bm^7-5/
                          Em^-6 C⁺⁷- F⁺⁷/Bm^-6-5 G⁷- C⁺⁷/F⁶ Dm⁷- G⁷/C.
               This circle progresses in sharpening fifths at each bar,
                    with a little "over-shooting" (with 4) at the beginning of each bar.

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Sequence of 3 Metamorphoses

There are 2 possibilities here - 144 and 114
     (all other combinations being the result of starting elsewhere)

The 441 sequence
If we start on the TONIC C⁶, which changes (with 4) to Am⁷,
the next would be Dm⁶which changes (with 4) to Bm^7-5,
     then Em^-6which changes (with 1) to Em⁷,
then Am^-6, which changes (with 4) to F⁺⁷,
then Bm^-6-5which changes (with 4) to G⁷,
     then C⁶which changes (with 1) to C⁺⁷,
then F⁶which changes (with 4) to Dm⁷,
then G⁶which changes (with 4) to Em⁷,
     then Am^-6which changes (with 1) to Am⁷,
then Dm⁶, which changes (with 4) to Bm^7-5,
then Em^-6which changes (with 4) to C⁺⁷,
     then F⁶which changes (with 1) to F⁺⁷,
then Bm^-6-5, which changes (with 4) to G⁷,
then C⁶which changes (with 4) to Am⁷,
     then Dm⁶which changes (with 1) to Dm⁷,
then G⁶, which changes (with 4) to Em⁷,
then Am^-6which changes (with 4) to F⁺⁷,
     then Bm^-6-5which changes (with 1) to Bm^7-5,
then Em^-6, which changes (with 4) to C⁺⁷,
then F⁶which changes (with 4) to Dm⁷,
     then G⁶which changes (with 1) to G⁷,
then C, chord of rest, producing a 22-chord sequence, composed of -
      C⁶ Am⁷- Dm⁶Bm^7-5- Em⁷/Am^-6 F⁺⁷- Bm^-6-5G⁷- C⁺⁷/
      F⁶ Dm⁷- G⁶Em⁷- Am⁷/Dm⁶ Bm^7-5- Em^-6C⁺⁷- F⁺⁷/
      Bm^-6-5 G⁷- C⁶Am⁷- Dm⁷/G⁶ Em⁷- Am^-6F⁺⁷- Bm^7-5/Em^-6 C⁺⁷- F⁶Dm⁷- G⁷/C,
          a "circle", actually several, progressing by descending thirds (3 chrominic notches) at each bar.

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The 411 sequence
If we start on the TONIC C⁶, which changes (with 4) to Am⁷,
     the next would be Dm⁶which changes (with 1) to Dm⁷,
     then G⁶which changes (with 1) to G⁷,
          a 3-chord "turn-around", composed of ((C⁶ Am⁷- Dm⁷- G⁷))
               which can be repeated indefinitely,
     followed by C, chord of rest.
This turn-around is usually presented with anopen Metamorphosis 4.

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Sequence of 4 Metamorphoses

There are 3 possibilities here - 1444, 1114, and 1144
     (all other combinations being the result of starting elsewhere).

The 4441 sequence

The 4111 sequence

The 4411 sequence
If we start on the C⁶TONIC chord, which changes (with 4) to Am⁷,
the next would be Dm⁶which changes (with 4) to Bm^7-5,
     then Em^-6which changes (with 1) to Em⁷,
     then Am^-6which changes (with 1) to Am⁷,
then Dm⁶which changes (with 4) to Bm^7-5,
then Em^-6which changes (with 4) to C⁺⁷,
     then F⁶which changes (with 1) to F⁺⁷,
     then Bm^-6-5which changes (with 1) to Bm^7-5,
then Em^-6which changes (with 4) to C⁺⁷,
then F⁶which changes (with 4) to Dm⁷,
     then G⁶which changes (with 1) to G⁷,
then C, chord of rest, producing a 12-chord sequence, composed of -
     C⁶Am⁷- Dm⁶Bm^7-5- Em⁷/ Am⁷- Dm⁶Bm^7-5- Em^-6C⁺⁷- F⁺⁷/ Bm^7-5- Em^-6C⁺⁷- F⁶Dm⁷- G⁷/ C
          another kind of circle which progresses in a scale-like order every 4 chords.

     To see theVoice-leading