Cadence |

Cadence (Cadenza na Italiyanci, daga Latin Cado - Na faɗi, na ƙare), kasance (Faransanci).

1) Karshe masu jituwa. (kazalika da melodic) juyawa, kiɗan ƙarshe. ginawa da ba shi cikakke, cikakke. A cikin manyan-kananan tonal tsarin na 17th-19th ƙarni. a cikin K. yawanci ana haɗa metrorhythmic. goyan bayan (misali, lafazin ma'auni a cikin 8th ko 4th mashaya na lokaci mai sauƙi) da tsayawa a ɗaya daga cikin mahimman jituwa masu aiki (akan I, V, ƙasa da sau da yawa akan mataki na IV, wani lokacin akan wasu ƙididdiga). Cikak, watau, yana ƙarewa akan tonic (T), abun da ke ciki ya kasu zuwa na kwarai (VI) da plagal (IV-I). K. cikakke ne idan T ya bayyana a cikin karin waƙa. Matsayin prima, a cikin ma'auni mai nauyi, bayan rinjaye (D) ko mai rinjaye (S) a cikin babba. tsari, ba a wurare dabam dabam. Idan ɗaya daga cikin waɗannan sharuɗɗan ba ya nan, to. ana ganin ajizi ne. K., yana ƙarewa a cikin D (ko S), wanda ake kira. rabi (misali, IV, II-V, VI-V, I-IV); wani irin rabin gaske. K. ana iya la'akari da abin da ake kira. Phrygian cadence (nau'in juzu'i na ƙarshe na IV6-V a cikin ƙarami masu jituwa). Nau'i na musamman shine abin da ake kira. katse (ƙarya) K. - take hakki na kwarai. Zuwa saboda maye gurbin tonic. triads a cikin sauran maƙallan (V-VI, V-IV6, V-IV, V-16, da dai sauransu).

Cikakken cadenzas

Half cadenzas. Phrygian cadence

Kaddamar da katsewa

Ta wurin wuri a cikin kiɗa. nau'i (alal misali, a cikin lokaci) rarrabe tsaka-tsakin K. (a cikin ginin, yawanci nau'in IV ko IV-V), na ƙarshe (a ƙarshen babban ɓangaren ginin, yawanci VI) da ƙari (wanda aka haɗa bayan karshe K., t watau whorls VI ko IV-I).

Harmonic dabara-K. tarihi ya riga ya zama waƙar monophonic. Ƙarshe (watau, a zahiri, K.) a cikin tsarin modal na ƙarshen Tsakiyar Tsakiyar Tsakiyar Tsakiya da Renaissance (duba yanayin Tsakiyar Tsakiya), abin da ake kira. jumla (daga lat. claudere - don kammalawa). Salon ya ƙunshi sautuna: antipenultim (antepaenultima; gabaɗaya penultimate), penultim (paenultima; penultimate) da ultima (ultima; ƙarshe); mafi mahimmancin su shine na ƙarshe da na ƙarshe. An yi la'akari da jumla a kan finalis (finalis) cikakke K. (clausula perfecta), a kan kowane sautin - mara kyau (clausula imperfecta). An rarraba sassan da aka fi ci karo da su a matsayin "treble" ko soprano (VII-I), "alto" (VV), "tenor" (II-I), duk da haka, ba a sanya su ga muryoyin da suka dace ba, kuma daga ser. 15 c. "bass" (VI). Bambanci daga mataki-mataki VII-I, na yau da kullum don tsofaffin frets, ya ba da abin da ake kira. "Landino's clause" (ko kuma daga baya "Landino's cadenza"; VII-VI-I). Haɗin haɗaɗɗen waɗannan (da makamantansu) melodic. K. Ƙaddamar da ci gaban kadence:

Magana

Yi “Wanda kuka cancanci cikin Kristi.” 13 c.

G. de Macho. Motet. 14 c.

G. Monk. Kayan kayan aiki kashi uku. 15 c.

J. Okegem. Missa sine nomina, Kyrie. 15 c.

Tashi a cikin irin wannan hanya masu jituwa. juyawa VI ya zama ana amfani da shi cikin tsari a cikin ƙarshe. K. (daga rabi na 2 na karni na 15 kuma musamman a cikin karni na 16, tare da plagal, "coci", K. IV-I). Masana ilimin Italiyanci na karni na 16. ya gabatar da kalmar "K."

Farawa kusan karni na 17. cadence turnover VI (tare da "inversion" IV-I) ya mamaye ba kawai ƙarshen wasan ko ɓangaren sa ba, amma duk abubuwan da aka gina su. Wannan ya haifar da sabon tsarin yanayi da jituwa (wani lokaci ana kiransa jituwa jituwa - Kadenzharmonik).

Ƙididdigar ƙa'idodi mai zurfi na tsarin jituwa ta hanyar nazarin ainihin sa - ingantacce. K. - mallakar JF Rameau. Ya bayyana ma'anar kida. haɗin gwiwar haɗin gwiwa K., dogara ga yanayi. sharuddan da aka shimfida a cikin ainihin yanayin muses. sauti: rinjayen sauti yana ƙunshe a cikin tsarin sauti na tonic kuma, don haka, kamar yadda yake, ya haifar da shi; Canjin rinjaye zuwa tonic shine dawowar abin da aka samo (wanda aka samar) zuwa asalinsa na asali. Rameau ya ba da rarrabuwa na nau'in K da ke wanzuwa a yau: cikakke (parfaite, VI), plagal (bisa ga Rameau, "ba daidai ba" - rashin bin ka'ida, IV-I), katsewa (a zahiri "karya" - rompue, V-VI, V - IV). Ƙaddamar da rabo na biyar na ingantaccen K. ("kashi uku" - 3: 1) zuwa wasu ƙididdiga, ban da VI-IV (misali, a cikin jerin nau'in I-IV-VII-III-VI- II-VI), Rameau da ake kira "kwaikwayo na K." (haɓaka dabarar cadence a cikin nau'i-nau'i na maɗaukaki: I-IV, VII-III, VI-II).

M. Hauptman sannan X. Riemann ya bayyana yare na rabon babba. na gargajiya chords. K. A cewar Hauptmann, sabani na ciki na tonic na farko ya ƙunshi a cikin "bifurcation", a cikin cewa yana cikin kishiyar dangantaka da mai mulki (wanda ya ƙunshi babban sautin tonic a matsayin na biyar) da kuma rinjaye (wanda ya ƙunshi na biyar). na tonic a matsayin babban sautin). A cewar Riemann, canjin T da D abu ne mai sauƙi mara yare. nunin sautin. A cikin canji daga T zuwa S (wanda yayi kama da ƙuduri na D a cikin T), ana faruwa, kamar dai, motsi na wucin gadi a tsakiyar nauyi. Bayyanar D da ƙudurinsa a cikin T yana sake dawo da ɗaukakar T kuma yana tabbatar da shi a matsayi mafi girma.

BV Asafiev ya bayyana K. daga ra'ayi na ka'idar shiga. Ya fassara K. a matsayin gabaɗaya na halayen halayen yanayin, a matsayin hadaddun stylistically mutum intonational meloharmonics. dabara, adawa da injiniyoyin da aka riga aka kafa "shirye-shiryen bunƙasa" wanda ka'idar makaranta da ka'idar ta tsara. abstractions.

Juyin Halittu a cikin con. Ƙarni na 19 da na 20 sun haifar da sabuntawar ƙididdiga na K.. Ko da yake K. ya ci gaba da cika maƙasudin haɗaɗɗiyar gabaɗaya iri ɗaya. zai rufe aikin. juyawa, tsohuwar hanyar gane wannan aikin wani lokaci yakan zama maye gurbinsu gaba ɗaya da wasu, ya danganta da takamaiman kayan sauti na yanki da aka bayar (saboda haka, halaccin amfani da kalmar “K.” a wasu lokuta yana da shakku) . Tasirin ƙarshe a cikin irin waɗannan lokuta an ƙaddara ta hanyar dogaro da hanyoyin ƙaddamarwa akan duk tsarin sauti na aikin:

MP Mussorgsky. "Boris Godunov", Dokar IV.

SS Prokofiev. "Fleeting", No 2.

2) Daga karni na 16. Ƙarshen ingantaccen sauti na solo vocal (opera aria) ko kiɗan kayan aiki, wanda mai yin ya inganta ko marubuci ya rubuta. wasa. A cikin karni na 18 wani nau'i na musamman na K. ya samo asali a cikin instr. wasan kwaikwayo. Kafin farkon karni na 19 ya kasance yana kasancewa a cikin coda, tsakanin mawaƙin kwata-shida na cadence da maƙallan D-bakwai, yana bayyana azaman ƙawata farkon waɗannan jituwa. K. shine, kamar yadda yake, ƙaramin solo virtuoso fantasy akan jigogi na wasan kwaikwayo. A cikin zamanin da Viennese classics, K.'s abun da ke ciki ko inganta shi a lokacin wasan kwaikwayon da aka bayar ga mai wasan kwaikwayo. Don haka, a cikin ƙayyadaddun ƙayyadaddun rubutun aikin, an ba da wani sashe, wanda marubucin bai kafa shi da ƙarfi ba kuma wani mawaƙi zai iya haɗa shi (ingantawa). Daga baya, mawaƙa da kansu sun fara ƙirƙirar lu'ulu'u (fara daga L. Beethoven). Godiya ga wannan, K. yana haɗuwa da ƙari tare da nau'in abubuwan da aka tsara gaba ɗaya. Wani lokaci K. kuma yana yin ayyuka mafi mahimmanci, wanda ya zama wani muhimmin ɓangare na ra'ayi na abun da ke ciki (misali, a cikin 3rd concerto na Rachmaninov). Wani lokaci, K. kuma ana samunsa a cikin wasu nau'ikan.

References: 1) Smolensky S., "Music Grammar" na Nikolai Diletsky, (St. Petersburg), 1910; Rimsky-Korsakov HA, Harmony Textbook, St. Petersburg, 1884-85; nasa, Littafi Mai Tsarki na jituwa, St. Petersburg, 1886, sake buga littattafai biyu: Cikakken. kull. suke., vol. IV, M., 1960; Asafiev BV, Tsarin kiɗa a matsayin tsari, sassan 1-2, M. - L., 1930-47, L., 1971; Dubovsky I., Evseev S., Sposobin I., Sokolov V. (a sa'a 1), Hanyar jituwa mai amfani, sashi na 1-2, M., 1934-35; Tyulin Yu. N., Koyarwar jituwa, (L. – M.), 1937, M., 1966; Sposobin IV, Lakcoci akan tafarkin jituwa, M., 1969; Mazel LA, Matsalolin jituwa na gargajiya, M., 1972; Zarino G., Le istitutioni harmoniche (Terza parte Cap. 1), Venetia, 51, fax. ed., NY, 1558, Rashanci. per. babin “A kan cadence” duba a ranar Sat.: Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwaƙwalwa na Yammacin Turai da Ƙarfafawa , comp. VP Shestakov, M., 1965, p. 1966-474; Rameau J. Ph., Traité de l'harmonie…, P., 476; nasa, Génération harmonique, P., 1722; Hauptmann M., Die Natur der Harmonik und der Metrik, Lpz., 1737; Riemann H., Musikalische Syntaxis, Lpz., 1853; nasa, Systematische Modulationslehre…, Hamburg, 1877; Fassara na Rasha.: Tsarin koyarwar daidaitawa a matsayin tushen koyarwar nau'ikan kiɗa, M. - Leipzig, 1887; nasa, Vereinfachte Harmonielehre …, V., 1898 (Fassarar Rashanci – Sauƙaƙawar jituwa ko koyaswar ayyukan tonal na mawaƙa, M., 1893, M. – Leipzig, 1896); Casela A., L'evoluzione della musica a traverso la storia della cadenza perfetta (1901), hausa, transl., L., 11; Tenschert R., Die Kadenzbehandlung bei R. Strauss, “ZfMw”, VIII, 1919-1923; Hindemith P., Unterweisung im Tonsatz, Tl I, Mainz, 1925; Chominski JM, Historia harmonii i kontrapunktu, t. I-II, Kr., 1926-1937; Stockhausen K., Kadenzrhythmik im Werk Mozarts, a cikin littafinsa: “Texte…”, Bd 1958, Köln, 1962, S. 2-1964; Homan FW, Ƙarshe da alamu na ciki a cikin waƙar Gregorian, "JAMS", v. XVII, No 170, 206; Dahhaus S., Untersuchungen über die Entstehung der harmonischen Tonalität, Kassel – (ua), 1. Duba kuma lit. karkashin labarin Harmony.

2) Schering A., The Free Cadence a cikin 18th Century Instrumental Concerto, «Majalisa na International Music Society», Basilea, 1906; Knцdt H., A kan tarihin ci gaban cadences a cikin kide kide kide kide da wake-wake, «SIMG», XV, 1914, p. 375; Stockhausen R., Cadenzas zuwa wasan kwaikwayo na piano na litattafan Viennese, W., 1936; Misch L., Nazarin Beethoven, В., 1950.

Yu. H. Kholopov