%E2%99%ADVII-V7 Cadence
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%E2%99%ADVII%E2%80%93V7 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 parallel minor.

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

See also

Sources

  1. ^ 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.

  This article uses material from the Wikipedia page available here. It is released under the Creative Commons Attribution-Share-Alike License 3.0.

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