Descending movement from minor tonic through bVII and bVI to the dominant. Characteristic flamenco and rock progression. Foundation of Phrygian mode.
The i-VII-VI-V cadence with 4 chords creates an extended harmonic motion. The character depends on context and surrounding harmony.
In the i-VII-VI-V cadence each chord serves a role: i — Tonic, bVII — Subtonic, bVI — Submediant, V — Dominant. The descending bass is one of the strongest melodic patterns. Each step creates anticipation for the next. The final major V (not minor v) adds sharpness and the "Spanish" flavor.
Tension builds through the stepwise motion. The nature of resolution is defined by the final chord of the cadence.
The i-VII-VI-V cadence is typical of modal harmony. Flamenco, Spanish guitar, rock (Stairway to Heaven, Sultans of Swing), metal, classical minor preludes.
Common modifications: replacing one chord with an inversion, adding passing chords, rhythmic variation. Extending the cadence is achieved by adding preceding or following chords.
The i-VII-VI-V cadence is used for creating a particular harmonic color. Flamenco, Spanish guitar, rock (Stairway to Heaven, Sultans of Swing), metal, classical minor preludes. In form, it can appear at the end of a verse, chorus, or section. When analyzing harmony, notice how the cadence affects the perception of form — it can emphasize structural boundaries or blur them.
On guitar, the i-VII-VI-V cadence can be played in open position (keys of C, G, D, A, E) or with barre chords (any key). Pay attention to voice leading — try to keep common tones in place while other voices move smoothly. This creates a more connected and professional sound. Also try playing the cadence on higher frets using partial barres and jazz voicings.