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", 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).
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| - 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", 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). (en)
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| - 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", 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). (en)
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