♭VII–V7 cadence

In music, the ♭VII–V7 cadence is a cadence using the chord progression from the
subtonic (♭VII) to dominant seventh (V7). It resolves to I making the full cadence
♭VII–V7–I.

A "mainstay in all rock styles of the '60s", the cadence occurs in Otis Redding's "
(Sittin' On) The Dock of the Bay", Link Wray and His Ray Men's "Rumble", Duane
Eddy's "Because They're Young", the Velvet Underground & Nico's "Sunday ♭VII–V7 cadence in C Play Play
Morning" and "Femme Fatale", Joan Baez's "Fare Thee Well", and Al Caiola's 1961 with resolution
"The Magnificent Seven" (0:15-0:17) and "Bonanza" (0:26-0:27).[1]

♭III–V7 cadence
A similar cadence to the ♭VII–V7 cadence is the ♭III–V7 cadence. In this cadence
the ♭VII is replaced with the ♭III. In the key of C this would be E♭–G7–C (♭III–V7–
I). Both the ♭VII and ♭III are altered chords or chords borrowed from the parallel
minor.
♭III-V7 cadence in C Play or
This cadence occurs in The Beatles' "Something", Leroy Anderson's "Sleigh Ride", Play with resolution
and Muse's "New Born".

See also
Backdoor progression

Sources
1. Everett, Walter (2009). The Foundations of Rock: from "Blue Suede Shoes" to "Suite: Judy Blue Eyes"
, p.278.
ISBN 0-19-531023-3.

Retrieved from "https://en.wikipedia.org/w/index.php?title=♭VII–V7_cadence&oldid=794672598"

This page was last edited on 9 August 2017, at 11:21(UTC).

Text is available under theCreative Commons Attribution-ShareAlike License ; additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of theWikimedia
Foundation, Inc., a non-profit organization.