The minor "rock cadence." bVI and bVII are aeolian chords, giving a dark, "heavy" sound. The most characteristic ending in hard rock and metal.
The bVI-bVII-i cadence with 3 chords creates an extended harmonic motion. The character depends on context and surrounding harmony.
In the bVI-bVII-i cadence each chord serves a role: bVI — Submediant, bVII — Subtonic, i — Tonic. Two major chords (bVI, bVII) before the minor tonic create powerful "dark" motion. This is a "power" resolution without traditional tonal-functional logic. This is why it's characteristic of rock and metal.
Tension builds through the stepwise motion. The nature of resolution is defined by the final chord of the cadence.
The bVI-bVII-i cadence is typical of minor. Hard rock, metal, heavy metal. Riff endings, verse closings, choruses with dark mood.
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 bVI-bVII-i cadence is used for creating a particular harmonic color. Hard rock, metal, heavy metal. Riff endings, verse closings, choruses with dark mood. 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 bVI-bVII-i 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.