♭VII–V7 cadence

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).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".
cadencechord progressionsubtonicdominantBilly J. KramerLittle ChildrenOtis Redding(Sittin' On) The Dock of the BayLink Wray and His Ray MenRumbleDuane EddyBecause They're Youngthe Velvet Underground & NicoSunday MorningFemme FataleJoan BaezFare Thee WellAl Caiolaaltered chordsborrowedThe BeatlesSomethingLeroy AndersonSleigh RideNew BornBackdoor progressionCadencesAndalusianCadenzaCorelliEnglishLandiniLydianPicardy thirdTurnaroundii–V–I turnaroundV–IV–I turnaroundChord progressionsBridgeConstant structureDouble tonicNotation (Roman-numeral)Rewrite rulesI–IV–V–IEight-bar bluesTwelve-bar blues"Bird" changesSixteen-bar bluesPassamezzo moderno'50s progressionAndalusian cadenceFolíavi–ii–V–IMontgomery-Ward bridgePassamezzo anticoI–V–vi–IVIV△7–V7–iii7–viRomanescaTadd Dameron turnaroundBackdoorBorrowed (contrafact)CircleColtrane changesOmnibusRagtimeRoyal road progression"Rhythm" changesTadd-DameronChaconneGround bassPachelbel's CanonIrregular resolutionGalant SchemataList of chord progressions