Sequenza VII (composed 1969) is a composition for solo oboe by Luciano Berio, the seventh of his fourteen Sequenze.

In 1975, Berio used Sequenza VII as part of Chemins IV, which included an orchestra of eleven string instruments.

At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff.

[2] The piece calls for various forms of advanced and extended technique, including using five alternate fingerings for one note in a single measure, multiphonics, double tonguing, trills on multiple notes at a time, overblowing, flutter-tonguing, traditional harmonics, and microtonal trills.

Berio's Chemins series took several sequenzas and placed them in orchestral settings in order to give "a commentary organically tied to it and generated by it.

The Sequenza becomes in fact the generator of new instrumental lines, which in turn make explicit its latent polyphony around a pivot – an ever-present B – that puts into perspective all the subsequent harmonic transformations.

Like a reverberating chamber, the development of Chemins IV mirrors and shatters the elements of Sequenza VII, sometimes receiving their anticipated echo in such a way that for the listener the oboe part seems generated by the eleven strings.