This is a complete progression of descending fifths.

Note that some of the fifths appear as ascending fourths in order to keep the bass within a reasonable register. Also note the doubled leading tone in the root position vii. This would appear to violate chord-construction and syntactical rules about using root-position diminished chords. However, it does none of these: the leading tone isnt leading, and the sequential nature of the progression has auditory precedence over other considerations.

This is the same progression, but using a slightly different voice leading. Again note the doubled leading tone in the root-position vii, but remember that it isnt really the leading tone in this caseits just ^7.

In minor keys, the same progression requires the use of natural VII in order to avoid an awkward movement, but it does employ the normal major V (with the raised leading tone) for the final cadence. Also note the use of iiits a root-position diminished triad. The sequential pattern is more compelling than the unsatisfactory nature of root-position diminished triads.

Here a progression in descending fifths is used to form the final cadence for a chorale progression.

A partial descending fifths progression is here used as the opening. Notice that the mediant triad is used as the stopping point, then the progression moves through a ii6 on the way to its final cadence.