Tsarin Bayanan Kiɗan Dijital |

Hanyar yin rikodin rubutun kiɗa ta amfani da lambobi (duba rubutun Kiɗa).

Yiwuwar amfani da C. s. saboda ƙima a cikin tsarin sauti na ma'auni na ƙididdigewa, tsari na abubuwa, kamance tsakanin ma'auni na kiɗa-aiki da ƙididdiga. A wasu lokuta, C. s. ya zama mafi amfani fiye da sauran tsarin kiɗa. alamu. A cewar C. s. za a iya nuna sauti, mita da kari, wani lokacin wasu sigogi na kiɗa.

Mafi yawan C. tare da. da ake amfani da shi don zayyana farar, da farko tazara (1 - prima, 2 - na biyu, da sauransu). SI Taneev ya ba da shawarar sabon C. s. tazara, wanda lambobin ke nuna adadin daƙiƙai a cikin tazara (prima - 0, na biyu - 1, na uku - 2, da sauransu); wannan ya ba da damar gina ainihin ka'idar polyphonic ta hanyar lissafi. haɗin kai (duba madaidaicin motsi). Ana amfani da lambobi na Roman (wani lokaci ma Larabci) a cikin tsarin tsarin koyaswar jituwa don zayyana maɗaukaki ta hanyar nuna matakan da suke prima (misali, I, V, nVI, a cikin III, da sauransu), wanda ke ba ku damar. rubuta lambobi a cikin kowane tonality, ba tare da la'akari da takamaiman tsayin prima ba; Larabci (wani lokaci ma Roman) lambobi a cikin mataki da tsarin aiki suna nuna sautunan da aka bayar (misali,

– rinjaye na bakwai maɗaukaki tare da ɗaukaka ta biyar). Nadi na matakai na octave (do, re, da dai sauransu) Larabci ne. alkaluma sun sami wani rarraba a cikin Rashanci. makarantar koyar da mawaƙa. waƙa (bisa ga tsarin dijital na E. Sheve; duba Solmization): matakai a cikin matsakaicin waƙa. octave (1st octave for treble and alto, small - for bass and tenor) - 1, 2, 3, 4, 5, 6, 7 (dakata - 0), a cikin octave mafi girma - tare da digo a saman (

da sauransu), a cikin ƙananan octave - tare da digo a ƙasa (

da sauransu); matakai masu girma -

, saukar -

. Lambobin sun dace da sautunan kowane maɓalli, misali. a cikin F:

(Hoto mai digo ɗaya a dama yana daidai da rabin bayanin kula, tare da dige biyu daidai yake da rabi da digo, kuma tare da dige uku shine cikakken bayanin kula).

C. s. ana amfani da shi a cikin tablature, bass na gabaɗaya, a cikin al'adar koyon wasa akan wasu bunks. kayan aiki (domra, balalaika, chromatic harmonica-jere biyu). Lokacin koyon yin wasa da kirtani. kayan aiki suna amfani da jerin layi na layi daya, adadin wanda ya dace da adadin kirtani na kayan aiki; an rubuta lambobi akan waɗannan layukan daidai da jerin lambobi na frets akan allon yatsa. Layuka suna ƙidaya daga sama zuwa ƙasa. Irin wannan rikodin wani nau'i ne na tablature na dijital. A cikin bayanin kula na harmonica, yawanci ana saukar da lambobi, suna nuna lambar maɓalli na daidai da wannan bayanin kula.

C. s. a ko'ina don tantance metrorhythmic. rabo - daga alamun haila na ƙarni na 14-15. (da F. de Vitry a cikin rubutun "Ars nova" lokacin da yake kwatanta modus perfectus u modus imperfectus) har zuwa zamani. alamomin awo. A ka'idar, ma'auni na gargajiya X. Riemann Ts. amfani dashi don nuna awo. ayyukan agogo:

(inda, alal misali, 4 aiki ne na ƙaramar ƙarshe, rabin-cadence; 8 aiki ne na cikakkiyar ƙarewa; 7 aiki ne na ma'aunin haske, mai tsananin ƙarfi zuwa na gaba, mafi wahala). A cikin kiɗan lantarki, tare da taimakon lambobi, ana iya yin rikodin abubuwan asali. sigogin kiɗa - mita, kuzari, tsawon sautuna. A cikin al'adar kiɗan serial, ana iya amfani da lambobi, alal misali, don canza alaƙar farar fata zuwa masu rhythmic (duba Seriality), don daidaitawa. Bambance-bambance. C. s. ana amfani da su don ƙidaya sauran abubuwan da ke da alaƙa, misali, don yatsa.

References: Albrecht KK, Jagoran waƙar mawaƙa bisa ga hanyar dijital ta Sheve tare da aikace-aikacen waƙoƙin Rasha 70 da ƙungiyar mawaƙa guda 41, galibi don makarantun jama'a, M., 1867, 1885; Taneev SI, Wayar hannu na tsattsauran rubutu, Leipzig, (1909), M., 1959; Galin R., Exposition d'une nouvelle méthode zuba l'enseignement de la musique, P., 1818, id., Ƙarƙashin taken: Méthode du Meloplaste, P., 1824; Chevé E., Méthode élémentaire de musique vocale, P., 1844, 1854; nasa, Méthode Galin-Chevé-Paris, Méthode élémentaire d'harmonie, P., 1846; Kohoutek C., Novodobé skladebné teorie zbpadoevropské hudby, Praha, 1962, a ƙarƙashin taken: Novodobé skladebné smery v hudbe, Praha, 1965 (Fassarar Rashanci - Kohoutek Ts., Fasaha na Haɗawa a cikin Kiɗa na 1976, M.XNUMX) .

Yu. N. Kholopov