This loop is the diatonic circle of fifths inside the key of {{keyName}} major (equivalently, {{minorKeyName}} minor, they share a key signature). Starting from the vi chord, every bass move is a descending perfect fifth: {{rootsCycle}}. Read any two adjacent chords and you find one of two primary jazz motions:

ii–V–I in the major. {{prog.1.chord}} → {{prog.2.chord}} → {{prog.3.chord}} is the canonical ii–V–I in {{keyName}} major.
ii°–V7–i in the relative minor. {{prog.5.chord}} → {{prog.6.chord}} → {{prog.7.chord}} at the end is a harmonic-minor ii°–V7–i cadence in {{minorKeyName}} minor. The V7 carries the leading tone of the minor tonic, pulling home with everything it's got.

The {{prog.5.chord}} (half-diminished, 1–♭3–♭5–♭7) is the diatonic viiø of {{keyName}} major (equivalently the ii° of {{minorKeyName}} minor). On Stradella you can voice it as {{prog.1.root}}m / {{prog.5.root}}, a minor triad rooted a minor-third above the ø7's bass. The same recipe appears on the Stradella Recipes page under the ø7 chord.

Why {{rh.0}} and {{rh.1}} sound good over every chord

The two right-hand notes function differently against each bass:

This is a common-tone voicing: two pitches that "mean something different" on every chord, the backbone of a lot of piano-comping vocabulary. It is also how bebop players outline long cycles, with a pedal figure that reinterprets against each new harmony.

Learning the basses matters because the whole effect only works if your left hand confidently lands {{rootsList}} in rhythm. The right hand has two notes; the left hand carries the harmony.

Ways to practice

Transpose to every key using the key bar above. Same fingering on the bass column, different sound.
Hold {{rh.0}} and {{rh.1}} as whole notes across every chord, then try quarter-note alternation.
Use the Chord Recognizer to verify what the {{rh.0}}+{{rh.1}}+bass combination is actually spelling on each step.
Load this progression into the Stradella Recipes tool for recipe cards and inversions.

Why {{rh.0}} and {{rh.1}} sound good over every chord

Ways to practice

Further reading