Corelli cadence

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

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^[1] whereas Corelli was born in 1653. It has been described as cliché.^[2]

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

Corelli clash in a cadence on G^[1]

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".

References

^ ^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.

[Violin-1] Apel, Willi and Binkley, Thomas (1990). Italian Violin Music of the Seventeenth Century, p.56. ISBN 0-253-30683-3.

[2] Julie Anne Sadie, ed (1998). Companion to Baroque Music, p.61. ISBN 0-520-21414-5.

[Oxford-3] Latham, Alison, ed. (2002). The Oxford Companion to Music, p.192. ISBN 0-19-866212-2.

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