| 词条 | ♭VII–V7 cadence |
| 释义 |
In music, the {{music|b}}VII–V7 cadence is a cadence using the chord progression from the subtonic ({{music|b}}VII) to dominant seventh (V7). It resolves to I making the full cadence {{music|b}}VII–V7–I. A "mainstay in all rock styles of the '60s",{{cn|date=April 2017}} 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] {{music|♭}}III–V7 cadenceA similar cadence to the {{music|b}}VII–V7 cadence is the {{music|b}}III–V7 cadence. In this cadence the {{music|b}}VII is replaced with the {{music|b}}III. In the key of C this would be E{{music|b}}–G7–C ({{music|b}}III–V7–I). Both the {{music|b}}VII and {{music|b}}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".{{citation needed|date=April 2014}} See also
Sources1. ^Everett, Walter (2009). The Foundations of Rock: from "Blue Suede Shoes" to "Suite: Judy Blue Eyes", p.278. {{ISBN|0-19-531023-3}}. {{Cadences}}{{Chord progressions}}{{DEFAULTSORT:bVII-V7 cadence}} 1 : Cadences |
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