♭VII–V⁷ cadence

${ \relative c' { \clef treble \time 4/4 \key c \major <f bes d>1 <f g b! d> <e g c e> \bar "||" } }$

A ♭VII–V⁷–I cadence in C

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

A "mainstay in all rock styles of the '60s",^[1] the cadence, heard perhaps most canonically (and often) in Billy J. Kramer's "Little Children", can also be found in such hits as 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

${ \relative c' { \clef treble \time 4/4 \key c \major <es g bes>1 <d f g b!> <c e g c> \bar "||" } }$

A ♭III–V⁷–I cadence in C

A similar cadence to the ♭VII–V⁷ cadence is the ♭III–V⁷ cadence. 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 variant minor.

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

Sources

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

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

[1]

♭III–V7 cadence

See also

Sources

♭III–V⁷ cadence