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Cadaynta balaastigga (Late Plagalis Plagalis, oo ka yimid Plagios Giriig - lateral, aan toos ahayn) - mid ka mid ah noocyada cadence (1), oo lagu garto daraasadda harmonies S iyo T (IV-I, II65-I, VII43-I, iwm); ka soo horjeeda dhab ah. cadence (D - T) sida ugu weyn, ugu weyn. nooca. Waxaa jira buuxa (S - T) iyo badh (T - S) P. to. Sida caadiga ah P. ilaa. codka tonic-ka xalinta ayaa ku jira (ama la maldahan) is-waafajinta S mana aha dhawaaq cusub marka la soo bandhigo T; la xidhiidha tani waxay muujin doontaa. dabeecadda P. ilaa. waa la jilciyaa, sida ficil aan toos ahayn (oo lid ku ah caddaymaha dhabta ah, kaas oo lagu garto si toos ah, furfuran, dabeecad fiiqan). Inta badan P. ilaa. waxa loo isticmaalay ka dib markii dhabta ah si la mid ah iyo isla mar ahaantaana la jilciyo ku darida ("Offertorium" ee ku jirta Mozart's Requiem).

Erayga "P. ku.” dib ugu noqda magacyadii qarniyadii dhexe. frets (ereyada plagii, plagioi, plagi ayaa horeba loogu sheegay qarniyadii 8-9aad ee qoraallada Alcuin iyo Aurelian). Wareejinta ereyga ka mid ah qaabka loo beddelo waa sharci kaliya marka loo qaybinayo cadences kuwa ka muhiimsan iyo kuwa ka muhiimsan, laakiin maaha marka la go'aaminayo waraaqaha qaabdhismeedka (V - I = dhab ah, IV - I = plug), sababtoo ah qarniyadii dhexe ee plagal. frets (tusaale ahaan, codka II, oo leh qalfoof: A - d - a) xaruntu ma ahayn codka hoose (A), laakiin finalis (d), marka loo eego Krom, hababka plagal intooda badan ma jiraan. rubuca sare oo aan degganayn (fiiri systematics frets by G. Zarlino, "Le istitutioni harmoniche", qaybta IV, ch. 10-13).

Sida farshaxanka. ifafaalaha P. ilaa. waxa go'an dhamaadka yoolka badan. Muusiggu wuxuu u ciyaaraa sida crystallization laftiisa ayaa soo gabagabeyn doonta. wareejinta (oo isku mar la socota caddaynta dhabta ah). Haddaba, motet of the ars antiqua era “Qui d'amours” (oo ka yimid Montpellier Codex) wuxuu ku dhammaanayaa P.k.:

f - gf - c

Qarnigii 14aad P. ilaa. waxaa lagu dabaqaa gunaanad ahaan. beddelka, kaas oo leh midab gaar ah, muujinta (G. de Machaux, 4th iyo 32nd ballads, rondo 4th). Laga soo bilaabo bartamihii qarnigii 15aad P. ilaa. wuxuu noqdaa (oo ay weheliso dhab ah) mid ka mid ah labada nooc ee harmonics ee ugu sarreeya. gunaanad. P. ku maaha wax aan caadi ahayn gabagabada dhawaaqa badan. Halabuurka Renaissance, gaar ahaan meel u dhow Palestrina (eeg, tusaale ahaan, cadences ugu dambeeya Kyrie, Gloria, Credo, Agnus Dei ee Mass of Pope Marcello); markaa magaca kale P.k. - "Kaniisadda Cadenza". Kadib (gaar ahaan qarniyadii 17aad iyo 18aad) P. to. macne ahaan. cabbirka waxaa gees u riixaya kuwa saxda ah iyo sida cabbirka ugu dambeeya waxaa loo adeegsadaa si ka yar sidii qarnigii 16aad. (tusaale ahaan, dhamaadka qaybta codka ee aria "Es ist vollbracht" ee ka soo jeeda cantata 159 ee JS Bach).

Qarnigii 19-aad P. qiimihiisu. kordhiyaa. L. Beethoven aad buu u isticmaali jiray. VV Stasov ayaa si sax ah u tilmaamay in shaqooyinka "xilligii Beethoven ee ugu dambeeyay midna uusan ku guuldareysan karin inuu ogaado doorka muhiimka ah ee ay ciyaaraan "cadences plagal". Qaababkan, wuxuu ku arkay "xidhiidh weyn oo dhow oo la leh nuxurka buuxiyey naftiisa (Beethoven)." Stasov wuxuu soo jiitay dareenka isticmaalka joogtada ah ee P. si. ee muusiga jiilka soo socda ee laxamiistaha (F. Chopin iyo kuwa kale). P.k. Waxa uu muhiimad weyn ka helay MI Glinka, oo si gaar ah hal-abuur u lahaa helida foomamka balaayada ah ee lagu soo gebagebeeyey qaybo badan oo ka mid ah hawlaha hawlgalka. Tonic waxaa ka horeeya heerka hoose ee VI (dhamaadka ficilka 1aad ee opera Ruslan iyo Lyudmila), iyo marxaladda IV (Susanin's aria), iyo heerka II (dhamaadka ficilka 2aad ee opera Ivan Susanin) , iwm Express dabeecadda P. ilaa. Glinka inta badan waxa ay raacdaa mawduuca. intonations ( gabagabada "Kooxda Faaris" ee opera "Ruslan iyo Lyudmila") ama laga bilaabo isdaba-marinta is-waafajinta, oo ay ku midoobeen midnimada dhaqdhaqaaqa (hordhaca Ruslan's aria ee isla opera).

Marka laga hadlayo is-waafajinta Glinka, VO Berkov waxay aragtay "isbeddellada iyo saamaynta is-waafajinta heesaha dhaqanka Ruushka iyo jacaylka reer galbeedka." Iyo in shaqada Ruush dambe. classics, plagality ayaa inta badan lala xiriirin jiray afka Ruush. heesta, midabaynta qaabka dabeecadda. Tusaalooyinka muujinta waxaa ka mid ah heesaha tuulooyinka iyo heesta boyars "Anaga, amiirad, maaha markii ugu horeysay" ee opera "Prince Igor" ee Borodin; Dhamaystirka heesta Varlaam ee "Sidii ay ahayd magaalada Kazan" ee opera "Boris Godunov" ee Mussorgsky oo leh taxane II hooseeya - I tillaabooyin iyo harmonica xitaa ka sii dhiiran. leexashada: V hooseeyo - Waxaan ku tallaabsaday hobolada "La kala firdhiyey, laga nadiifiyey" isla opera; Heesta Sadko "Oh, kaynta madow ee madow" ee opera "Sadko" ee Rimsky-Korsakov, chords ka hor inta uusan quusin Kitezh ee opera u gaar ah "The Legend of the Invisible City of Kitezh".

Sababtoo ah joogitaanka codka hordhaca ah ee qoob-ka-cayaarka ka hor tonic, kiiska dambe, isku-dhafka gaarka ah ee jilicsanaanta iyo xaqiiqada ayaa soo baxa. Foomkan wuxuu dib ugu noqdaa P. k. hore, oo ka kooban isku xigxiga terzquartaccord ee darajada XNUMXth iyo seddexaad ee darajada XNUMXaad oo leh dhaqdhaqaaqa codka hordhaca ah ee tonic.

Guulaha Ruushka ee Classics-ka ee ku saabsan duurka plagality ayaa lagu sii horumariyay muusiga guushooda - guumaystaha. halabuurayaal. Gaar ahaan, SS Prokofiev wuxuu si weyn u cusbooneysiiyaa xudunta gabagabada, tusaale ahaan. gudaha Andante caloroso ee sonata 7aad ee biyaano.

Baaxadda P. to. Waxay ku sii socotaa in la tayeeyo oo lagu horumariyo muusigii ugu dambeeyay, kaas oo aan lumin xidhiidhka qadiimiga. qaab harmonic ah. shaqeynta.

Tixraacyo: Stasov VV, Lber einige neue Form der heutigen Musik, "NZfM", 1858, No 1-4; isla afka Ruushka. lang. Hoosta cinwaanka: Noocyada muusikada casriga ah qaarkood, Sobr. soch., aayadda 3, St. Petersburg, 1894; Berkov VO, Glinka's Harmony, M.-L., 1948; Trambitsky VN, Plagality iyo xidhiidhada la xidhiidha wada noolaanshaha heesaha Ruushka, gudaha: Su'aalaha Muusiga, vol. 2, M., 1955. eeg sidoo kale shiday. Hoosta maqaallada Saxda ah Cadence, Harmony, Cadence (1).

V. Protopov, Yu. Haa Kholopov