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Ragewa (Jamus: Ausweichung) yawanci ana bayyana shi azaman tashi na ɗan gajeren lokaci zuwa wani maɓalli, ba a daidaita shi ta hanyar ƙaranci (micromodulation). Koyaya, a lokaci guda, ana sanya abubuwan mamaki a jere ɗaya. oda – gravitation zuwa ga kowa da kowa cibiyar tonal da kuma mafi rauni nauyi zuwa ga gida tushe. Bambanci shine cewa tonic na ch. tonality yana bayyana kwanciyar hankali a cikin nasa. ma'anar kalmar, da kuma tonic na gida a cikin karkacewa (ko da yake a cikin kunkuntar wuri yana kama da tushe na tonal) dangane da babba gaba daya yana riƙe da aikinsa na rashin kwanciyar hankali. Don haka, gabatarwar masu rinjaye na biyu (wani lokaci masu rinjaye) - hanyar da aka saba da ita ta kafa O. - da gaske ba yana nufin canzawa zuwa wani maɓalli ba, tun da yake kai tsaye. ji na sha'awa ga general tonic ya rage. O. yana haɓaka tashin hankalin da ke cikin wannan jituwa, watau yana zurfafa rashin kwanciyar hankali. Saboda haka sabani a cikin ma'anar (yiwuwar karɓuwa da kuma barata cikin darussan horo masu jituwa). Ma'anar mafi daidaitaccen ma'anar O. (wanda ke fitowa daga ra'ayoyin GL Catoire da IV Sposobin) a matsayin kwayar tonal ta biyu (subsystem) a cikin tsarin tsarin gaba ɗaya na wannan yanayin sautin. Yawan amfani da O. yana cikin jumla, lokaci.

Ma'anar O. ba modulation ba ne, amma haɓakar tonality, watau karuwa a yawan adadin jituwa kai tsaye ko a kaikaice ga cibiyar. tonic. Ba kamar O., daidaitawa a cikin kansa. ma'anar kalmar tana kaiwa ga kafa sabuwar cibiyar nauyi, wacce kuma ta mamaye mazauna yankin. O. yana wadatar da jituwa na tonality da aka bayar ta hanyar jawo wadanda ba diatonic ba. sauti da maƙallan maɓalli, waɗanda a kansu suna cikin wasu maɓallai (duba zane a cikin misalin a kan tsiri 133), amma a cikin takamaiman yanayi an haɗa su da babba azaman yanki mai nisa (saboda haka ɗayan ma'anar O .: “ Bari a cikin tonality na biyu, wanda aka yi a cikin babban tonality "- VO Berkov). Lokacin da aka keɓe O. daga gyare-gyare, ya kamata mutum yayi la'akari da: aikin ginin da aka ba a cikin tsari; nisa na tonal da'irar (ƙarar sautin kuma, daidai da haka, iyakokinta) da kasancewar dangantakar tsarin tsarin (koyi da babban tsarin yanayin akan gefensa). Dangane da hanyar wasan kwaikwayon, an raba waƙa zuwa ingantacciyar (tare da alaƙar tsarin DT; wannan kuma ya haɗa da SD-T, duba misali) da plagal (tare da dangantakar ST; ƙungiyar mawaƙa “Tsarki” daga opera “Ivan Susanin”).

Na Rimsky-Korsakov. "Labarin Ganuwa Garin Kitezh da Maiden Fevronia", Dokar IV.

O. yana yiwuwa duka biyu a cikin wuraren da ke kusa (duba misalin da ke sama), da (ƙananan sau da yawa) a cikin nesa (L. Beethoven, violin concerto, sashi na 1, ɓangaren ƙarshe; sau da yawa ana samun su a cikin kiɗa na zamani, misali, a cikin C. S. Prokofiev). O. kuma na iya zama wani ɓangare na ainihin tsarin daidaitawa (L. Beethoven, haɗa ɓangaren sashi na 1 na sonata na 9 don piano: O. a Fisdur lokacin daidaitawa daga E-dur zuwa H-dur).

A tarihi, ci gaban O. yana da alaƙa da haɓakawa da ƙarfafa tsarin manyan-kananan tonal na tsakiya a Turai. kiɗa (babban arr. a cikin ƙarni na 17th-19th). Wani al'amari mai alaƙa a cikin Nar. da tsohowar Turawa Prof. kiɗa (choral, Rashanci Znamenny waƙa) - modal da tonal sauye-sauye - yana hade da rashin ƙarfi da ci gaba da jan hankali zuwa cibiyar guda ɗaya (saboda haka, ba kamar O. dace ba, a nan a cikin al'adar gida babu wani abin sha'awa ga kowa) . Ci gaban tsarin sautin gabatarwa (musica ficta) na iya riga ya haifar da ainihin O. (musamman a cikin kiɗa na karni na 16) ko, aƙalla, zuwa ga preforms. A matsayin al'ada na al'ada, O. ya kasance mai tushe a cikin ƙarni na 17th-19th. kuma ana adana su a cikin ɓangaren kiɗa na karni na 20, inda al'adu ke ci gaba da bunkasa. Categories na tonal tunani (SS Prokofiev, DD Shostakovich, N. Ya. Myaskovsky, IF Stravinsky, B. Bartok, da kuma wani bangare P. Hindemith). A lokaci guda, shigar da haɗin kai daga maɓallan maɓalli a cikin sararin babban tarihi ya ba da gudummawa ga chromatization na tsarin tonal, ya juya maras diatonic. Amincewar O. a cikin cibiyar da ke ƙarƙashin ƙasa kai tsaye. tonic (F. Liszt, sanduna na ƙarshe na sonata a h-moll; AP Borodin, cadano na ƙarshe na "Polovtsian Dances" daga opera "Prince Igor").

Abubuwan al'amura masu kama da O. (kazalika da gyare-gyare) halaye ne na wasu ci gaban siffofin gabas. kiɗa (wanda aka samo, alal misali, a cikin mughams na Azerbaijan "Shur", "Chargah", duba littafin "Asali na Azabaijan Folk Music" na U. Hajibekov, 1945).

A matsayin ka'idar manufar O. an san shi daga bene na 1st. Karni na 19, lokacin da ya rabu da manufar "modulation". Tsohuwar kalmar "modulation" (daga modus, yanayin - fret) kamar yadda aka yi amfani da shi zuwa jituwa. jerin asali suna nufin ƙaddamar da yanayin, motsi a cikinsa ("biyan jituwa ɗaya bayan wani" - G. Weber, 1818). Wannan na iya nufin tashi a hankali daga Ch. maɓallai ga wasu kuma komawa zuwa gare shi a ƙarshe, da kuma sauyawa daga maɓalli ɗaya zuwa wani (IF Kirnberger, 1774). AB Marx (1839), yana kiran dukkan tsarin tonal na juzu'in juzu'i, a lokaci guda kuma ya bambanta tsakanin sauyi (a cikin kalmomin mu, daidaitawa kanta) da karkacewa ("kaucewa"). E. Richter (1853) ya bambanta nau'i-nau'i guda biyu - "wucewa" ("ba gaba daya barin babban tsarin ba", watau O.) da kuma "tsara", a hankali an shirya, tare da ƙaranci a cikin sabon maɓalli. X. Riemann (1893) yayi la'akari da tonics na biyu a cikin muryoyin su zama ayyuka masu sauƙi na babban maɓalli, amma kawai a matsayin "masu rinjaye a cikin shinge" (wannan shine yadda ya zayyana masu rinjaye na biyu da masu rinjaye). G. Schenker (1906) ya ɗauki O. wani nau'in jerin sautin guda ɗaya kuma har ma ya zayyana babban rinjaye bisa ga babban sa. sautin a matsayin mataki a cikin Ch. tonality. O. ya taso, a cewar Schenker, a sakamakon hali na ƙwanƙwasa don tonicize. Fassarar O. bisa ga Schenker:

L. Beethoven. Zauren quartet op. 59 No 1, part I.

A. Schoenberg (1911) ya jaddada asalin masu rinjaye na gefe "daga yanayin coci" (misali, a cikin tsarin C-dur daga yanayin Dorian, watau daga karni na II, jerin ah-cis-dcb sun zo -a kuma masu dangantaka. e-gb, gbd, a-cis-e, fa-cis, da sauransu); kamar na Schenker, masu rinjaye na biyu ana naɗa su ta babba. sautin cikin babban maɓalli (misali, a cikin C-dur egb-des=I). G. Erpf (1927) ya soki ra'ayin O., yana jayayya cewa "alamomin tonality na wani ba zai iya zama ma'auni don karkata ba" (misali: jigon gefen sashe na 1st na Beethoven's 21st sonata, sanduna 35-38).

PI Tchaikovsky (1871) ya banbanta tsakanin “gujewa” da “modulation”; a cikin asusun a cikin shirye-shiryen jituwa, ya bambanta a fili "O." da "canzawa" a matsayin nau'ikan daidaitawa daban-daban. NA Rimsky-Korsakov (1884-1885) ya bayyana O. a matsayin "modulation, wanda sabon tsarin ba a daidaita shi ba, amma kawai dan kadan ya shafa kuma ya bar nan da nan don komawa tsarin asali ko don sabon sabawa"; prefixing diatonic chords. da dama daga cikin masu rinjayensu, yana karɓar “sauƙi na gajeren lokaci” (watau O.); ana kula da su a matsayin "ciki" ch. gini, tonic to-rogo ana adana shi a cikin ƙwaƙwalwar ajiya. Dangane da haɗin tonal tsakanin tonics a cikin ɓarna, SI Taneev ya gina ka'idarsa na "ƙaddamar da tonality" (90s na karni na 19). GL Catuar (1925) ya jaddada cewa gabatar da muses. tunani, a matsayin mai mulkin, yana hade da rinjaye na tonality guda ɗaya; saboda haka, O. a cikin mabuɗin diatonic ko manyan-ƙananan dangi an fassara shi da “tsakiyar tonal”, babba. ba a watsar da tonality; Catoire a mafi yawan lokuta yana danganta wannan ga sifofin lokacin, sassa biyu- da uku-uku. IV Sposobin (a cikin 30s) ya ɗauki magana a matsayin wani nau'i na gabatar da sautin daya (daga baya ya watsar da wannan ra'ayi). Yu. N. Tyulin yayi bayanin shiga cikin babban. tonality na canji na sautunan gabatarwa (alamu na tonality masu alaƙa) ta "mai canzawa tonicity" resp. triads.

References: Tchaikovsky PI, Jagora ga nazarin aiki na jituwa, 1871 (ed. M., 1872), guda, Poln. kull. suke., vol. III a, M., 1957; Rimsky-Korsakov HA, Harmony Textbook, St. Petersburg, 1884-85, guda, Poln. kull. suke., vol. IV, M., 1960; Catuar G., Hanyar jituwa na ka'idar, sassa 1-2, M., 1924-25; Belyaev VM, "Analysis of modulations a Beethoven's sonatas" - SI Taneeva, a cikin littafin: Littafin Rasha game da Beethoven, M., 1927; Hanya mai dacewa ta jituwa, sashe na 1, M., 1935; Sposobin I., Evseev S., Dubovsky I., Haɗin kai na Aiki, Sashe na 2, M., 1935; Tyulin Yu. N., Koyarwa game da jituwa, aya 1, L., 1937, M., 1966; Taneev SI, Wasika zuwa HH Amani, "SM", 1940, No7; Gadzhibekov U., Muhimman abubuwan kiɗan jama'a na Azerbaijan, Baku, 1945, 1957; Sposobin IV, Lakcoci akan tafarkin jituwa, M., 1969; Kirnberger Ph., Die Kunst des reinen Satzes a cikin 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 (Fassarar Rashanci, Richter E., Littafin Harmony, St. Petersburg, 1876); Riemann H., Vereinfachte Harmonielehre …, L. – NY, (1893) (Fassarar Rashanci, Riemann G., Sauƙaƙe Harmony, 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