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lat. relatio non harmonica, xidhiidhka fausse ee Faransiiska, jeermiska. Questand

Iska hor imaadka u dhexeeya codka tillaabada dabiiciga ah iyo wax ka beddelkeeda chromatic-alternative ee cod ka duwan (ama octave ka duwan). Nidaamka wada noolaanshaha diatonic P. wuxuu badanaa bixiyaa aragtida dhawaaq been abuur ah (non harmonica) - sida tooska ah. xaafad, iyo iyada oo la marayo dhawaaq ama xargaha:

Sidaa darteed, P. waxaa ka mamnuuc ah xeerarka wada noolaanshaha. Isku darka shahaado dabiici ah oo beddelkeedu ma aha P., waase haddii uu codku yahay mid siman, tusaale ahaan:

P. waxaa loo ogol yahay si waafaqsan D ka dib heerka hoose ee labaad, iyo sidoo kale iyada oo loo marayo caesura (eeg tusaalooyinka sare, kol. 244).

Ka fogaanshiyaha P. ayaa horeyba u ahaa mid caadi ah oo ka soo horjeeda qaabka adag (qarnigii 15-aad-16aad). Xilligii Baroque (17-aad - nuskii 1-aad ee qarniyadii 18-aad), heesaha ayaa marmar la oggolaaday - ama saameyn aan la arki karin oo ku saabsan xaaladaha codka horumaray (JS Bach, Brandenburg Concerto 1, qaybta 2, baararka 9 -10), ama sida gaarka ah. farsamada lagu muujinayo k.-l. saamayn gaar ah, tusaale. si loo muujiyo murugo ama xaalad xanuun leh (P. a1 – as2 tusaale A,

JS Bach. Mass in h yar, No 3, bar 9.

JS Bach. Chorale "Singt dem Herrn ein neues Beeneen", baararka 8-10.

hoosta, waxay la xidhiidhaa muujinta ereyga Zagen - hilow). Waagii jaceylka iyo casriga. Muusigga P. waxaa badanaa loo isticmaalaa sidii mid ka mid ah astaamaha ladoharmonics. habka macneheedu (gaar ahaan, iyadoo la adeegsanayo hababka gaarka ah; tusaale ahaan: P. e - es1 ee Stravinsky's The Rite of Spring, lambarka 123, bar 5 - oo ku salaysan habka maalinlaha ah). P. tusaale ahaan B (waxay ka kooban tahay soo jiidashada maandooriyaha ee Kashcheevna) waxaa lagu sharaxay xiriirka ka dhexeeya kuwa aan diatonic ahayn. dhamaadka hoose

JS Bach. Matthew Passion, No 26, bar 26.

Rimsky-Korsakov. "Kashchei the Immortal", goobta II, baararka 28-29.

nidaamka iyo cabbirka tone-semitone ee lagu gartaa. Muusigga qarnigii 20-aad si weyn loo isticmaali jiray (by AN Cherepnin, B. Bartok, iwm.) labada-terts-ka weyn ee-yar-yar (sida: e1-g1-c2-es2), gaar ahaan taas oo ah P. ( e1-es2), iyo sidoo kale xargaha la xidhiidha isaga (eeg tusaalaha sare ee tiirka 245).

HADDII Stravinsky. "Guga xurmada leh".

Caadi ahaan casriga casriga ah ee muusiga, isku dhafka hababka waxay keenaysaa polyscale iyo polytonality, halkaas oo P. (isku xigxiga iyo isku-dhafka) ay noqdaan muuqaal caadi ah ee qaabka qaabka:

HADDII Stravinsky. Qaybo loogu talagalay biyaano "Shan farood". Lento, baararka 1-4.

In waxa loogu yeero. atonality enharmonic. qiyamka tillaabooyinka waa la siman yahay, P. waxay noqotaa mid aan macquul ahayn (A. Webern, concerto ee qalabka 9, op. 24).

Erayga "P." - soo gaabinta ereyga "non-harmonic P." (Jarmal: unharmonischer Querstand). P. waa qayb ka mid ah kooxda is-daba-marineed ee xaaraanta ah ee sii xajistay muhiimaddeeda, kaas oo, marka lagu daro isbeddelka P., ay sidoo kale ku jiraan xidhiidhada tritone. P. iyo tritone (diabolus in musica) waxay la mid yihiin in labaduba ay ka baxsan yihiin xadka fikirka ee ku salaysan nidaamka hexachords (eeg Solmization), waxayna hoos yimaadaan xeer isku mid ah - Mi contra Fa (in kasta oo aan isku mid ahayn):

J. Tsarlino (1558) wuxuu cambaareeyay laba b. saddex meelood ama m. lixaad oo isku xigta, maadaama aysan "ku jirin xiriir wada socda"; Xidhiidhka aan la isku waafaqsanayn waxa muujiyay isaga (hal tusaale) labadaba P. iyo newts:

Laga soo bilaabo qoraalkii G. Zarlino “Le istitutioni harmonice” (qaybta III, cutubka 30).

M. Mersenne (1636-37), isagoo tixraacaya Tsarlino, wuxuu tilmaamayaa P. "xidhiidhka beenta ah" (xiriirka fausses) oo wuxuu siinayaa tusaalayaal la mid ah triton iyo P.

K. Bernhard waxa uu mamnuucayaa xidhiidhada falsche: tritones, ama "nus-quints" (Semidiapente), "excessive" octaves (Octavae Superfluae), "half-octaves" (Semidiapason), "xad dhaaf" midaysan (Unisonus superfluus), oo bixinaya tusaalooyin ku dhawaad ​​macno ahaan. ku celcelinta kor ku xusan ee Carlino.

I. Mattheson (1713) wuxuu tilmaamayaa isla muddadaas isla ereyo la mid ah sida "cowlaha karaahiyada ah" (widerwärtige Soni). Dhammaan cutubka 9aad ee qaybta 3aad ee "Kapellmeister Perfect" ee loogu talagalay. "inharmonic P." Diidmada mamnuucida qaar ka mid ah aragtida hore sida "cadaalad" (oo ay ku jiraan xeryo gaar ah oo uu soo xigtay Zarlino), Matteson wuxuu u kala saarayaa "aan loo dulqaadan karin" iyo "wanaagsan" P. ee S. Brossard ee “Qamuuska Muusiga”, 1703.) XK Koch (1802) waxa uu P. ku sharaxay “isku xigxiga labada cod, koorsada dhawaaqa kuwaas oo leh furayaal kala duwan.” Haa, wareegga

dhegtu waxay u fahmeysaa fis-tallaabada codka hoose sida G-dur, tallaabada af ee midda sare sida C ama F-dur. "Relatio non harmonica" iyo "non-harmonic P." waxa Koch ku macneeyay ereyo la mid ah, iyo kuwan soo socda

weli iyaga quseeya.

EF Richter (1853) wuxuu taxayaa "non-harmonic P." "dhaqdhaqaaqa aan laxan-lahayn", laakiin waxay caddaysaa qoraalo "qurxinta" (caawin) ah ama mabda'a "dhimista" (isku xidhka dhexe):

Heesta jacaylka dadka Armenian "Garuna" ("Guga").

Dhaqdhaqaaq sameeya koror. rubuc

, Richter waxa uu la xidhiidhaa P. Sida laga soo xigtay X. Riemann, P. waa qoondaynta codka chromatically bedelay, aan fiicnayn maqalka. Wax aan fiicneyn oo ku jira waa mid aan ku filneyn oo ah harmonics. isku xirka, kaas oo la barbar dhigi karo galitaanka nijaasta ah. Is-barbar-dhigga ugu khatarsan waa marka loo dhaqaaqo dhinaca saddex-geesoodka ee isku magaca ah; oo leh tillaabo tritone ah, P. "waa iska caddahay" (tusaale, n II - V); Shayga ku jira saamiga tertsovy (tusaale, I - hVI) waxa uu fadhiyaa boos dhexe.

Hess de Calvet (1818) waxay mamnuucday "dhaqdhaqaaqa aan is-qancin" ee u horseedaya tritone furan

, si kastaba ha ahaatee, waxay u ogolaataa "horumar la'aan" haddii ay tagaan "isgoysyada ka dib" (caesuras). IK Gunke (1863) waxa uu ku talinayaa in laga fogaado qaab adag “xidhiidhka kala duwan (Xiriirka) ee miisaanka ka dhasha dhawrid la'aanta dhawaaqyada la xidhiidha" .

PI Tchaikovsky (1872) naz. P. "Dabeecadda is burinaysa ee laba cod." BL Yavorsky (1915) waxa uu P. u turjumayaa sida kala goynta xidhiidhka ka dhexeeya dhawaaqyada isku xidhan: P. - "isku-xidhka isku-xidhka dhawaqyada isku-xidhka ah ee octaves kala duwan iyo codad kala duwan marka cuf-isjiidadka si khaldan loo sameeyo." Tusaale. (codka la xidhiidha - h1 iyo c2):

(sax) laakiin maya

(P.) Sida uu sheegay Yu. N. Tyulin iyo NG Privano (1956), waxaa jira laba nooc oo P.; marka hore, codadka sameeya P. kuma jiraan qaabka guud ee qaabka guud (P. waxay u muuqataa been), marka labaad, waxay qeexayaan qaabka guud ee qaabka (P. waxaa laga yaabaa in la aqbalo).

Tixraacyo: Hess de Calve, Aragtida Muusiga …, qaybta 1, Har., 1818, p. 265-67; Stasov VV, Warqad ku socota Mr. Rostislav oo ku saabsan Glinka, "Warbixinta Masraxa iyo Muusiga", 1857, Oktoobar 27, oo la mid ah buugga: Stasov VV, Maqaallada Muusikada, vol. 1, M., 1974, b. 352-57; Gunke I., Hage dhammaystiran xagga curinta muusigga, St. Petersburg, (1865), b. 41-46, M., 1876, 1909; Tchaikovsky PI, Hagaha daraasadda la taaban karo ee is-waafajinta, M., 1872, isla buugga: Tchaikovsky PI, Poly. col. soch., vol. III-a, M., 1957, b. 75-76; Yavorsky B., Layliyada samaynta laxanka modal, qaybta 1, M., 1915, p. 47; Tyulin Yu. N., Privano NG, Aasaaska Aragtida ee Harmony, L., 1956, b. 205-10, M., 1965, b. 210-15; Zarlino G., Le institutioni harmonice. Farsamo ka mid ah 1558, NY, (1965); Mersenne M., Harmonie universelle. La théorie et la pratique de la musique (P., 1636-37), t. 2, P., 1963, b. 312-14; Brossard S., Qaamuuska de musique…, P., 1703; Mattheson J., Das neu-eröffnete Orchestre…, Hamb., 1713, S. 111-12; isaga, Der vollkommene Capellmeister, Hamb., 1739, S. 288-96, ie, Kassel – Basel, 1954; Martini GB, Esemplare o sia saggio fondamentale pratico di contrappunto sopra il canto fermo, pt. 1, Bologna, 1774, b. XIX-XXII; Koch H. Chr., Musikalisches Lexikon, Fr./M., 1802, Hdlb., 1865, S. 712-14; Richter EF, Lehrbuch der Harmonie, Lpz., 1853 Riemann H., Vereinfachte Harmonielehre, L. – NY, (1868) Müller-Blattau J., Die Kompositionslehre Heinrich Schützens in der Passung seines Schülers, Christophn.154 uu, 57.

Yu. H. Kholopov