Most jazz theory lessons once they describe how 4 note 7 chords are formed will cover in almost emotional terms how badly the 7 of one chord want to resolve to the 3 of the next chord in the cycle of fifths. Todd Johnson's 'Autumns Leaves' 'lesson' in his book two has a very nice sequence that runs 1 3 5 7 | 3 1 7 5 ex. C Eb G Bb | A F Eb C fro Cm to F7 what's sweet about this particular sequence is you end up on the same note you started on. (And Autumn Leaves is a great song to work on this as it runs through ii V I in major and minor) So recently I ran into another book that uses a 3 5 1 7 sequence that can run indefinitely into another 3 5 1 7 sequence. (In keyboard study 'they' tell us the 3 in the bass is more deceptive than the root or the 5, so in walking bass 'they' like the fact that the next strong beat is the '1'.) There are patterns one can use to try these out, but like any pattern if you repeat it long enough you'll run out of position or out of fretboard. So I won't even go into that level of detail. The 3 5 1 7 has much more an open ended question sense to it than the 1 3 5 7 | 3 1 7 5 that sounds very settled. What I found very instructive practicing the 3 5 17 esp on Autumn Leaves with the mix of 7 chords , is how fixed I was in a certain pattern or sequence of notes and how the 3 5 1 7 forces a less linear wider sense of where the chord tones sit. I also found, at least at first, relating all chord tones physical relationship back to the root useful. I found these sequences are not just useful in themselves, but help a lot in breaking down the natural linear way we first learn and think about the chord shapes.