leexashada |

weecasho (Jarmalka: Ausweichung) waxaa badanaa lagu qeexaa bixitaan gaaban oo fure kale ah, oo aan lagu hagaajin cadence (micromodulation). Si kastaba ha ahaatee, isla mar ahaantaana, ifafaalaha waxaa lagu dhejiyaa hal saf. habaynta - cufisjiidadka dhanka xarun tonal-ka ah iyo cufisjiid aad u daciif ah oo ku wajahan aasaaska deegaanka. Farqiga ayaa ah in tonic ee ch. tonality waxay muujinaysaa xasilloonida tonal lafteeda. dareenka ereyga, iyo tonic maxaliga ah ee leexashada (inkasta oo aag cidhiidhi ah ay la mid tahay aasaaska tonal) marka la eego midka ugu muhiimsan wuxuu si buuxda u hayaa shaqadiisa xasilloonida. Sidaa darteed, soo bandhigida maamulayaasha sare (mararka qaarkood maamul-hoosaadyada) - habka caadiga ah ee samaynta O. - asal ahaan macnaheedu maaha u gudubka furaha kale, maadaama ay toos tahay. Dareenka soo jiidashada tonic guud ayaa hadha. O. Waxay wanaajisaa xiisadda ka dhex jirta is-waafajintan, tusaale ahaan waxay sii qoto dheeraysaa xasillooni-darrada. Sidaa awgeed iska hor imaadka qeexitaanka (laga yaabo in la aqbali karo oo lagu caddeeyo koorsooyinka tababarka iswaafaqsan). Qeexitaan dheeri ah oo sax ah O. (oo ka imanaya fikradaha GL Catoire iyo IV Sposobin) oo ah unug tonal labaad ah (nidaamka hoose) ee nidaamka guud ee habkan codka ah. Isticmaalka caadiga ah ee O. waa jumlad, muddo.

Nuxurka O. ma aha habayn, laakiin balaadhinta tonality, ie kororka tirada is-waafajinta si toos ah ama si aan toos ahayn uga hoosaysa xarunta. tonic. Si ka duwan O., habaynta iskeed macnaha ereyga ayaa horseedaya in la sameeyo xarun cusub oo cufisjiideed, taas oo sidoo kale hoos geysata dadka deegaanka. O. waxay xoojisaa iswaafajinta codka la bixiyay iyadoo soo jiidanaysa kuwa aan diatonic ahayn. dhawaaqyada iyo xargaha, kuwaas oo laftoodu ay ka tirsan yihiin furayaasha kale (eeg jaantuska tusaalaha ku yaal xariijinta 133), laakiin xaalado gaar ah waxay ku xiran yihiin midka ugu weyn sida aagga fog (marka mid ka mid ah qeexitaannada O .: " Ka tagitaanka tonality-ka sare, oo lagu sameeyay codka ugu weyn "- VO Berkov). Marka la xaddidayo O. qaab-dhismeedka, waa in la tixgeliyo: shaqada dhismaha la bixiyay ee foomka; ballaca wareegga tonal (mugga codka iyo, si waafaqsan, xuduudaheeda) iyo joogitaanka xidhiidhada nidaamka hoose (ku dayashada qaabdhismeedka ugu muhiimsan ee habka ku yaal hareeraheeda). Marka loo eego habka wax-qabadka, heesuhu waxay u qaybsan yihiin kuwo run ah (oo leh xiriir hoose DT; tani sidoo kale waxaa ku jira SD-T, fiiri tusaale) iyo plagal (oo leh xiriirka ST; heesta "Glory" oo ka socota opera "Ivan Susanin").

Rimsky-Korsakov. "Sheekada Magaalada aan la arki karin ee Kitezh iyo gabadha Fevronia", Sharciga IV.

O. waa suurtogal labadaba meelaha dhaw ee tonal (eeg tusaalaha sare), iyo (in ka yar inta badan) kuwa fog (L. Beethoven, concerto violin, qaybta 1, qaybta kama dambaysta ah; inta badan laga helo muusikada casriga ah, tusaale ahaan, C. S. Prokofiev). O. waxa kale oo ay noqon kartaa qayb ka mid ah habka habaynta dhabta ah (L. Beethoven, isku xidhka qayb ka mid ah qaybta 1aad ee sonata 9aad ee biyaano: O. gudaha Fisdur marka laga beddelayo E-dur ilaa H-dur).

Taariikh ahaan, horumarka O. waxa uu inta badan la xidhiidha samaynta iyo xoojinta habka tonal-ka yar ee dhexe ee Yurub. muusiga (arryada ugu weyn ee qarniyadii 17-aad-19aad). Dhacdo la xidhiidha Nar. iyo qadiimiga Yurub prof. muusikada (choral, Ruush Znamenny hees) - isbeddelka moodada iyo tonal - waxay la xiriirtaa maqnaanshaha soo jiidashada xooggan oo joogto ah xarun hal ah (sidaas darteed, si ka duwan O. habboon, halkan dhaqanka maxalliga ah ma jiro soo jiidasho guud) . Horumarinta nidaamka dhawaaqyada hordhaca ah (musica ficta) waxay mar hore u horseedi kartaa O. dhab ah (gaar ahaan muusikada qarnigii 16aad) ama, ugu yaraan, horudhacyadooda. Sida ifafaale caadiga ah, O. waxay ku qotomeen qarniyadii 17-aad -19aad. waxaana lagu kaydiyaa qaybtaas muusiga qarniga 20-aad, halkaas oo caadooyinku sii wadaan inay horumaraan. qaybaha fikirka tonal (SS Prokofiev, DD Shostakovich, N. Ya. Myaskovsky, IF Stravinsky, B. Bartok, iyo qayb P. Hindemith). Isla mar ahaantaana, ka-qaybgalka is-waafajinta ee furayaasha hoose ee qaybta ugu weyn ee taariikh ahaan waxay gacan ka geysatey chromatization ee nidaamka tonal, waxay u rogtay non-diatonic. wada noolaanshaha O. ee xarunta tooska ah ee hoos timaada. tonic (F. Liszt, baararka ugu dambeeya ee sonata ee h-moll; AP Borodin, cadano kama dambaysta ah ee "Polovtsian Dances" ka opera "Prince Igor").

Ifafaale la mid ah O. (iyo sidoo kale modulations) ayaa sifo u ah noocyada bari ee horumarsan qaarkood. muusiga (laga helay, tusaale ahaan, mughams Asarbayjaan "Shur", "Chargah", eeg buugga "Aasaaska Muusigga Asarbayjaan" ee U. Hajibekov, 1945).

Sida aragti ahaan fikradda O. waxaa laga yaqaan dabaqa 1aad. Qarnigii 19aad, markii ay ka baxday fikradda "habaynta". Erayga qadiimiga ah ee "habaynta" (laga bilaabo modus, hab - fret) sida loo dabaqay hab-raac. taxanaha asal ahaan waxa loola jeedaa geynta hab, dhaqdhaqaaq gudaha ah ("wax soo socda ee wada noolaanshaha ka dib" - G. Weber, 1818). Tani waxay la macno noqon kartaa in si tartiib ah looga tago Ch. furayaasha dadka kale oo ku soo celi dhamaadka, iyo sidoo kale ka gudubka furaha mid kale (IF Kirnberger, 1774). AB Marx (1839), isaga oo u yeedhaya dhammaan qaab-dhismeedka tonal ee qaab-dhismeedka gabal, isla markaana kala saaraya kala-guurka (ereybixintayada, habaynta lafteeda) iyo leexinta ("ka fogaanshaha"). E. Richter (1853) waxa uu kala soocaa laba nooc oo wax-is-beddelka ah - "ku-gudbid" ("aan gebi ahaanba ka tagin nidaamka ugu muhiimsan", ie O.) iyo "kordhinta", si tartiib tartiib ah loo diyaariyey, oo leh caddaynta furaha cusub. X. Riemann (1893) wuxuu u arkaa tonics-ka sare ee codadka inay yihiin hawlo sahlan oo furaha muhiimka ah, laakiin kaliya sida hordhaca ah "kuwa ugu sarreeya" (tani waa sida uu u qeexayo maamulayaasha sare iyo kuwa hoose). G. Schenker (1906) waxa uu O. u tixgaliyaa nooc ka mid ah hal-tone isku xigxiga oo xitaa waxa uu tilmaamayaa kan labaad ee ugu weyn. codka sida tillaabo Ch. tonality. O. waxay soo baxdaa, sida uu qabo Schenker, taas oo ay sabab u tahay u janjeersiga qoob-ka-ciyaarka ee tonicize. Fasiraadda O. sida uu qabo Schenker:

L. Beethoven. Xadhiga afar geesoodka op. 59 No 1, qaybta I.

A. Schoenberg (1911) waxa uu xooga saarayaa asal ahaan ka taliyaasha dhinaca "qaababka kaniisadda" (tusaale ahaan, nidaamka C-dur ee qaabka Dorian, tusaale ahaan qarnigii II, taxanaha ah-cis-dcb waxay yimaadaan -a iyo la xidhiidha chords e-gb, gbd, a-cis-e, fa-cis, iwm.); Sida Schenker's, maamulayaasha sare waxaa loo qoondeeyay ugu weyn. codka furaha muhiimka ah (tusaale ahaan, C-dur egb-des=I). G. Erpf (1927) waxa uu dhaleeceeyay fikradda O., isaga oo ku doodaya in "calaamadaha codka qof kale aysan noqon karin halbeegga leexashada" (tusaale: mawduuca dhinaca ee qaybta 1aad ee Beethoven's 21st sonata, baararka 35-38).

PI Tchaikovsky (1871) waxa uu kala saarayaa "ka baxsiga" iyo "modulation"; Akoonka ku jira barnaamijyada iswaafajinta, wuxuu si cad u barbar dhigayaa "O." iyo "transition" sida noocyada kala duwan ee habaynta. NA Rimsky-Korsakov (1884-1885) wuxuu qeexayaa O. sida "modulation, kaas oo nidaam cusub aan la hagaajin, laakiin kaliya wax yar ayaa saameeya oo isla markiiba ka tagay si uu ugu soo laabto nidaamka asalka ah ama leexasho cusub"; horgalayaasha chords diatonic. tiro ka mid ah maamulayaashooda, waxa uu helayaa "wax-ka-beddelka muddada-gaaban" (ie O.); waxaa loola dhaqmaa sidii "gudaha" ch. dhismaha, tonic to-rogo waxa lagu kaydiyaa xusuusta. Iyada oo ku saleysan xiriirka tonal ee u dhexeeya tonics ee leexashada, SI Taneev wuxuu dhisaa aragtidiisa "midaynta tonity" (90-meeyadii qarnigii 19-aad). GL Catuar (1925) wuxuu ku nuuxnuuxsaday in soo bandhigida muusikyada. fikradda, sida caadiga ah, waxay la xiriirtaa xukunka hal tonality; sidaas darteed, O. ee furaha diatonic ama xigaalnimada-yar-yar waxa uu u fasiray "mid-tonal", ugu weyn. tonality aan la dayacin; Catoire inta badan waxay la xiriirtaa tan qaababka xilliga, laba-iyo saddex-qaybood oo fudud. IV Sposobin (30-meeyadii) ayaa hadalka u arkayay nooc ka mid ah bandhigga hal-tone (kadibna wuu ka tagay aragtidan). Yu. N. Tyulin wuxuu sharxayaa ka-qaybgalka ugu weyn. tonality ee beddelka dhawaaqa hordhaca ah (calaamadaha tonality la xidhiidha) by "tonicity doorsoon" resp. saddex-geesoodka

Tixraacyo: Tchaikovsky PI, Hagaha daraasadda la taaban karo ee wada noolaanshaha, 1871 (ed. M., 1872), isku mid, Poln. col. soch., vol. III a, M., 1957; Rimsky-Korsakov HA, Harmony Textbook, St. Petersburg, 1884-85, isku mid, Poln. col. soch., vol. IV, M., 1960; Catuar G., Koorsada is-waafajinta aragtida, qaybaha 1-2, M., 1924-25; Belyaev VM, "Falanqaynta modulations ee Beethoven's sonatas" - SI Taneeva, ee buugga: Buugga Ruushka ee Beethoven, M., 1927; Koorsada wax ku oolka ah ee wada noolaanshaha, qaybta 1, M., 1935; Sposobin I., Evseev S., Dubovsky I., Koorsada la taaban karo ee wada noolaanshaha, qaybta 2, M., 1935; Tyulin Yu. N., Barista ku saabsan wada noolaanshaha, aayadda 1, L., 1937, M., 1966; Taneev SI, Warqadaha HH Amani, "SM", 1940, No7; Gadzhibekov U., Aasaaska muusiga dadweynaha ee Asarbayjaan, Baku, 1945, 1957; Sposobin IV, Muxaadarooyin ku saabsan koorsada wada noolaanshaha, M., 1969; Kirnberger Ph., Die Kunst des reinen Satzes ee der Musik, Bd 1-2, B., 1771-79; Weber G., Versuch einer geordneten Theorie der Tonsezkunst…, Bd 1-3, Mainz, 1818-21; Marx, AV, Allgemeine Musiklehre, Lpz., 1839; Richter E., Lehrbuch der Harmonie Lpz. 1853 (Turjumaadda Ruushka, Richter E., Buug-yaqaannada Harmony, St. Petersburg, 1876); Riemann H., Vereinfachte Harmonielehre …, L. – NY, (1893) (tarjumaad Ruush, Riemann G., Harmony la fududeeyay, M. – Leipzig, 1901); Schenker H., Neue musikalische Theorien und Phantasien, Bd 1-3, Stuttg. - V. - W., 1906-35; Schönberg A., Harmonielehre, W., 1911; Erpf H., Studien zur Harmonie und Klangtechnik der neueren Musik, Lpz., 1927.

Yu. H. Kholopov