♭VII–V7 cadence

♭VII–V⁷ cadence in C

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 Morning" and "Femme Fatale", Joan Baez's "Fare Thee Well", and Al Caiola's 1961 "The Magnificent Seven" (0:15-0:17) and "Bonanza" (0:26-0:27).^[1]

♭III–V⁷ cadence

♭III-V7 cadence in C

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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.

This cadence occurs in The Beatles' "Something", Leroy Anderson's "Sleigh Ride", and Muse's "New Born".

Sources

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

Chord progressions

Terminology

By number
of chords

Three	I–IV–V–I ii–V–I turnaround V–IV–I turnaround ♭VII–V7 cadence Backdoor progression Eight-bar blues Twelve-bar blues ("Bird" changes) Sixteen-bar blues Passamezzo moderno
Four	50s progression Andalusian cadence Folía I−vi−ii−V Montgomery-Ward bridge Passamezzo antico I–V–vi–IV Romanesca Tadd Dameron turnaround

By name

List of chord progressions

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♭VII–V7 cadence

♭III–V7 cadence

See also

Sources

♭III–V⁷ cadence