Root movement by fifth in a cycle uses a slightly different contrapuntal combination - it’s a suspension chain which means the 7ths stay unresolved until we hit a cadence

(interesting thing js that jazz players often observe this distinction even now.)

in practice this progression is contrapuntally derived from a 7-6 suspension chain which itself is a development of a simple parallel harmonisation of a descending bass.

This is exactly backwards from how we think of it in root land. We think of the 7-6 chain as coming from fourthwise root movement. (It’s common in rhythm guitar.)

this probably sounds like gobbledygook- I want to do a video of this stuff and how it relates to the mick Goodrick VLA cycles…