Corelli cadence
![\new PianoStaff <<
\new Staff <<
\set Score.tempoHideNote = ##t \tempo 4 = 72
\set Staff.midiInstrument = #"voice oohs"
\new Voice \relative c'' {
\stemUp \clef treble \key a \minor \time 3/4
c4 b4. a8 a2.
}
\new Voice \relative c'' {
\stemDown
a4 a4. gis8 a2.
}
>>
\new Staff <<
\new Voice \relative c' {
\set Staff.midiInstrument = #"voice oohs"
\clef bass \key a \minor \time 3/4
c8 d e4 e, a2.
}
>>
>>](http://upload.wikimedia.org/score/0/4/04xgp9op8trj8ynqfvklnggxod7sf9s/04xgp9op.png)
The Corelli cadence, or Corelli clash, named for its association with the violin music of the Corelli school, is a cadence characterized by a major and/or minor second clash between the tonic and the leading-tone or the tonic and supertonic. The cadence is found as early as 1634 in Steffano Landi's Il Sant'Alessio[1] whereas Corelli was born in 1653. It has been described as cliché.[2]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Corelli_clash_on_G.png/220px-Corelli_clash_on_G.png)
This is created by the voice leading concerns of modal music, specifically the use of anticipation during cadences.[3] The English cadence is another "clash cadence".
See also[edit]
References[edit]
- ^ a b Apel, Willi and Binkley, Thomas (1990). Italian Violin Music of the Seventeenth Century, p.56. ISBN 0-253-30683-3.
- ^ Julie Anne Sadie, ed (1998). Companion to Baroque Music, p.61. ISBN 0-520-21414-5.
- ^ Latham, Alison, ed. (2002). The Oxford Companion to Music, p.192. ISBN 0-19-866212-2.