As a music theory expert with a deep understanding of harmonic progressions and cadences, I can provide a comprehensive explanation of the various types of cadences and their implications in music composition. The question you've asked pertains to the "VII to I" cadence, which is a specific type of harmonic progression that has its own unique characteristics and implications within the context of Western music theory.
Firstly, it's important to clarify that in the diatonic scale, there is no "VII to I" cadence in the traditional sense because the seventh chord (VII) is not a part of the diatonic harmony. The diatonic chords are I, ii, iii, IV, V, vi, and vii° (the superscript ° denotes a diminished chord). However, if we are discussing a chromatic alteration or a non-diatonic chord, the "VII" could be a reference to a dominant seventh chord (V7) or a leading-tone seventh chord (vii°7), which are commonly used in various musical contexts.
Let's explore the different scenarios where a "VII to I" progression might be considered:

1. Dominant Seventh to Tonic (V7 to I): This is a common and strong cadence known as an authentic cadence. The dominant seventh chord (V7) contains a tension that resolves to the tonic triad (I), creating a sense of resolution and finality. The dominant seventh chord is often described as having a "pull" towards the tonic, making this a very satisfying progression to listeners.
2. **Half-Diminished Seventh to Tonic (vii°7 to I)**: This is a less common but still valid progression. The half-diminished seventh chord (vii°7) can resolve to the tonic (I), creating a plagal or deceptive cadence, depending on the voice leading and the context in which it is used. This progression can create a sense of surprise or a more subtle resolution.
3. **Deceptive Cadence (V7 or vii°7 to a Chord Other Than I)**: If the "VII" chord resolves to a chord other than the tonic, such as the subdominant (IV) or the supertonic (ii), it would be considered a deceptive cadence. This creates a sense of expectation that is not fulfilled, which can be a powerful expressive tool in music.
Now, let's address the cadences you've mentioned for reference:
- Authentic Cadence: An authentic cadence is formed by a dominant function chord (V or vii°) moving to the tonic (I). This is one of the most stable and final-sounding cadences in Western music.
- Plagal Cadence: A plagal cadence is characterized by a subdominant function chord (IV or ii) moving to the tonic (I). It is often considered less final than an authentic cadence and can create a more gentle or hymn-like quality.
- Half Cadence: A half cadence is any cadence that ends on the dominant chord (V). It creates a sense of pause or suspension, as the music does not fully resolve at this point, leaving room for continuation or further development.
In conclusion, the "VII to I" cadence, depending on the context and the specific chords involved, can take on different meanings and create various effects in music. Understanding the function of each chord and the tension and resolution they provide is crucial for composers and musicians to effectively use these cadences to convey emotion and structure in their compositions.
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an authentic cadence consists of a dominant function chord (v or vii) moving to tonic. a plagal cadence consists of a subdominant function chord (iv or ii) moving to tonic. a half cadence is any cadence that ends on the dominant chord (v).read more >>