Corelli cadence - Misplaced Pages

$\new PianoStaff << \new Staff << \set Score.tempoHideNote = ##t \tempo 4 = 72 \set Staff.midiInstrument = #"voice oohs" \new Voice \relative c'' { \stemUp \clef treble \key a \minor \time 3/4 c4 b4. a8 a2. } \new Voice \relative c'' { \stemDown a4 a4. gis8 a2. } >> \new Staff << \new Voice \relative c' { \set Staff.midiInstrument = #"voice oohs" \clef bass \key a \minor \time 3/4 c8 d e4 e, a2. } >> >>$

A Corelli clash in a cadence on A

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 whereas Corelli was born in 1653. It has been described as cliché.

$\fixed c' { \omit Staff.TimeSignature \partial 2 << { a4. g8 2. } \\ { g4. fis8 g4 2 } >> }$

Corelli clash in a cadence on G

This is created by the voice leading concerns of modal music, specifically the use of anticipation during cadences. The English cadence is another "clash cadence".

References

^ 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.

v t e Cadences
Andalusian Backdoor progression Cadenza Corelli English Landini Lydian Picardy third Turnaround ii–V–I turnaround V–IV–I turnaround ♭VII–V cadence

Category:

Cadences

See also

References