Weyn-yar |

Major-yar, nidaamka weyn-yar yar.

1) Eray tilmaamaya midowga habab iska soo horjeeda oo ka jira hal nidaam. Noocyada ugu caansan waa: magaca weyn ee yar yar (qaabka weyn ee lagu hodmay qoob-ka-ciyaarka iyo soo-jeedinta laxanka yar ee magaca yar) iyo, xoogaa yar oo soo noqnoqota, kuwa yar-yar ee magaca weyn (oo yar oo lagu hodmay xubno ka mid ah magaca weyn); ilaa M.-m. sidoo kale waxaa ku jira isku dhafka hababka isbarbardhigga - harmonic. weyn iyo harmonic. yar. Mm. oo ay la socdaan nidaamka chromatic waa mid ka mid ah noocyada nidaamka modal la fidiyay ("tonality dheerad ah" - sida uu qabo GL Catuar, IV Sposobin).

Major-yar

Minoro weyn

Gaashaanle; isbarbar yaaca habdhiska

Yar; isbarbar yaaca habdhiska

Codsiga is-waafajinta gaarka ah M. - m. (tallaabooyinka VI hooseeya iyo III ee M.-m., Sare III iyo VI ee yaryar-weyn, iwm.) waxay siinaya midab-kala-duwan, dhalaal, waxay ku qurxinaysaa laxanka iyadoo la beddelayo polymodal cusub:

Xildhibaan Mussorgsky. Jacaylka "Buur-sare aamusnaan baa u duulay...".

SV Rachmaninov. Jacaylka "Subaxda".

Taariikh ahaan M.-m. sida nidaam polymodal gaar ah oo lagu sameeyay qoto dheer ee classical. nidaamka tonal. Fikradda diatonic major iyo ka yar si macquul ah ayaa ka horraysa fikradda M.-m. Si kastaba ha ahaatee, qaraabada ifafaale waxa laga helaa shaqooyinka isku-dhejinta badan. ee Renaissance (sida ay ahayd, aasaasiga ah, weli M.-m.), halkaas oo, tusaale ahaan, xeerku ahaa in la dhamaystiro cadences ee Dorian yar, Phrygian iyo Aeolian tones leh saddex weyn (eeg jaantuska chord ee sida Dorian M.-m. ee buugga. Hadhaaga kala duwanaanshuhu wuxuu si dabiici ah u galay nidaamka tonal ee qaabka ugu weyn ee ugu weyn ee ilmaha yar iyo la falgalka ay la leeyihiin chords yaryar ee dabiiciga ah (eeg, tusaale ahaan, baararka 1-1 ee dhaqdhaqaaqa 1941aad ee Bach's Italian Concerto), sida sidoo kale qaabka weyn ("Picardian") saddexaad ee dhamaadka op yar. Waagii Baroque, muujinta M.-m. macnaha saxda ah waxaa loo tixgelin karaa Ch. arr. kala duwanaanshiyaha kuwa waaweyn iyo kuwa yar ee isku magaca ah ee ku jira qaabdhismeedka hal dhismo (hordhac D-dur oo ka socda dhaqdhaqaaqii 399aad ee Bach's Well-Tempered Clavier, vols. 8-11), oo kaliya mararka qaarkood gaarey hordhaca xargaha magac yar oo isku mid ah oo galay magaca weyn (JS Bach, horudhac choral "O Mensch, bewein' dein' Sünde gross" ee xubinta). Marka la joogo qadiimiga Viennese M. - m. wuxuu noqdaa qalab xooggan sababtoo ah kororka farqiga u dhexeeya hababka waaweyn iyo kuwa yar yar ee si cad loo kala saaray. Kala duwanaanshiyaha isla magaca waxaa si heersare ah loogu isticmaalaa saadaasha, qaybaha hore-cadence, dhexda iyo horumarka (DA qaabaynta dhaqdhaqaaqa 2aad ee Beethoven's 1nd symphony), marmarka qaarkood midab leh. Saamaynta (Beethoven's sonata 27aad ee biyaano, qaybta 35). Wok. Muusiga dhexdiisa, soo bandhigida chords hab ka soo horjeeda rabitaanka ayaa sidoo kale u adeegta inay ka tarjumayso gabayada is burinaya. Sawirro (Leporello's aria oo ka socota opera "Don Giovanni" ee Mozart). Waagii wacnaa ee M.-m. dhammaan noocyada kala duwan waxay ku dhacaan xilligii jacaylka (F. Schubert, F. Liszt, R. Wagner, E. Grieg, MI Glinka, MP Mussorgsky, NA Rimsky-Korsakov). Isku darka yaryar-yar-yar ayaa gaaraya cufnaanta ugu weyn iyo casiirka, iyaga oo ku fidaya saamiga furayaasha, chords, iyo laxanka. kacdoonada (fiiri tusaalaha sare). Isku-duubnida midba midka kale, xiriirka M.-m. soo saaro silsiladaha tertian ee caadiga ah ee xilliga (tusaale, dabagal isdabajoog ah: VI hooseeya ilaa VI hooseeya waxay keenaysaa ku noqoshada marxaladda I; qaybta 1aad ee Rimsky-Korsakov's Antar). Muusigga qarnigii 2aad Mm. loo isticmaalo sidii qalab caadi ah oo ay weheliso chromatic ka sii fidsan. nidaamka (by SS Prokofiev, DD Shostakovich, P. Hindemith iyo laxamiistayaal kale).

Sida nidaam modal gaar ah M.-m. ayaa la ogaaday in con. Qarnigii 19-aad, gaar ahaan casharradii qeybtii 1-aad. Qarnigii 20-aad Aragtiyahannada dabaqa 1aad. iyo ser. Qarnigii 19-aad (G. Weber, AB Marx, FJ Fetis) waxay u fahmeen qaabka inuu yahay diatonic xaddidan. nidaamka, fasiraadda canaasiirta "mucaaradku" sida ka baxsan xadka nidaamka ("leiterfremde" - "lien to the scale", marka loo eego ereybixin Jarmal ah). Aragtida Fetis ee tonality, horu-marinta nidaamyada poly waa horeba la dareemi karo, kaas oo M.-m. (fikradaha "pluritonality", "omnitonality"). X. Riemann wuxuu ka hadlayaa "dareenka isku dhafan", isagoo soo jeedinaya in loogu yeero "yar-yar" iyo "yar-yar", laakiin waxa uu maskaxda ku hayaa noocyo aad u xaddidan oo isku dhafan oo noocaas ah (tusaale, kuwa yar yar ee waaweyn). Soo bandhigid faahfaahsan oo ku saabsan caqiidada M.-m. laga heli karo FO Gewart. Afka Ruushka lit-re fikrad M.-m. Waxay ka muuqataa BL Yavorsky (ereyada: markii hore "major-yar", ka dib - "qaabka silsiladda"). La mid ah aragtida Gewart ee M.-m. oo uu soo bandhigay GL Catuar (oo hoos yimaada magaca "nidaamka toban ton-ton ee ugu weyn") waxaana sii horumariyay IV Sposobin.

2) Magacaabista classic. nidaamka tonal ee waaweyn iyo kuwa yar oo ka soo horjeeda gaboobay, habka modal iyo nidaamka atonal ee qarnigii 20aad.

Tixraacyo: Yavorsky B., Qaab-dhismeedka hadalka muusiga (qalabka iyo qoraallada), qaybaha 1-3, M., 1908; Catuar G., Koorsada is-waafajinta aragtida, qaybta 1, M., 1924; Koorsada wax ku oolka ah ee is-waafajinta, qaybaha 1-2, M., 1934-35 (Sposobin I., Dubovsky I., Evseev S., Sokolov V.); Berkov V., Harmony, qaybta 1-3, M., 1962-1966, 1970; Sposobin I., Muxaadarooyin ku saabsan koorsada wada noolaanshaha, M., 1969; Kirina K., Major Minor in Viennese Classics iyo Schubert, ee Sat: Farshaxanka iyo Luuqadaha Ajaanibka ah, (Caddiga 2), A.-A., 1966; iyada u gaar ah, nidaamka Major-yar ee shaqada DB Kablevsky (ku salaysan qalabka cilmi), ibid.

Yu. N. Kholopov