Janar-in-Chief

Jamus Generalbas, Italiyanci. basso generale, lit. - gabaɗaya bass

Muryar bas tare da lambobi masu nuna baƙaƙe a cikin manyan muryoyin. Sunan Dr: Italiyanci basso ci gaba da cikakke-bass, ta hanyar bass - ci gaba da bass. Naz. Hakanan bass na dijital (Basso numerato na Italiya, basse chiffrée na Faransa, bezifferter BaYa na Jamusanci). Tsofaffin sunayen da ba safai ba su da yawa su ne Italiyanci. basso seguente, basso per l'organo, basso prinzipale, partitura d'organo. Tare da kalmar "G.-b." an haɗa al'adar rikodi tare da waƙa. muryoyin a cikin hanyar G.-b., da kuma yi. gwada wasa bass na dijital akan gabo da garaya. Lokacin rarraba G. zai kasance. (1600-1750) galibi ana kiransa “epoch of H.-B.” Samfuran G. ana samun su a C. Monteverdi, G. Schutz, A. Corelli, A. Scarlatti, JS Bach, GF Handel, J. Pergolesi, J. Haydn da sauransu.

Sunan G.-b. an kuma sawa tsoffin koyarwar kan ginawa da haɗin kai (sun yi daidai da koyarwar farko a kan jituwa; don haka an taɓa gane su).

G.-b. a matsayin hanyar gajeriyar rikodi na polyphony ya taso a Italiya a ƙarshen karni na 16. a cikin aikin gabobin jiki da rakiya. Asalin da farkon rarraba G.-b. hade da saurin karuwar luwadi a Turai. kiɗa a ƙarshen karni na 16-17, tare da rawar da ya taka a cikinsa na ingantawa da kayan ado. Har zuwa ƙarni na 17 polyphonic polyphonic abũbuwan amfãni da aka kofe da kuma buga ba a cikin nau'i na maki, amma kawai a cikin nau'i na sassa na sashen. yin muryoyin (mawakan polyphonic har ma sun ɓoye ƙididdiga na abubuwan da suka rubuta don su ɓoye sirrin dabarun hana su). Don shawo kan rashin jin daɗi da ke tasowa daga wannan lokacin koyo da yin samfuran hadaddun, ital. bandmasters da organists a farkon karni na 16. ya fara amfani da taƙaitaccen bayanin rubutun. Ma'anar sabuwar dabarar ita ce, a kowane lokaci na ƙara mafi ƙarancin sauti na muryoyin da ke tare da su, ana yin rikodin sauran sautunan waɗannan muryoyin a lambobi masu nuna tazara daga bass. Wannan. wata sabuwar dabarar rubutun homophonic ta taso: ci gaba da bass (saɓanin ƙaramar murya mai ƙarfi da aka katse ta hanyar dakatarwa) tare da waƙoƙin da ke sama da shi. An yi amfani da wannan dabarar a cikin tsari na polygons. abubuwan da aka tsara don lute ko na murya ɗaya na solo tare da rakiyar lute (al'adar rera ɗaya daga cikin muryoyin abun da ake kira polyphonic da yin sauran sautunan akan kayan kida an daɗe ana amfani da su). A farkon. Karni na 17 mai gudanar da wasan opera (wanda galibi shi ma mawaki ne) ya shirya wasan kwaikwayon, yana rubutawa bisa G.-b. adadin kuri'un da ake bukata bisa la'akari da ma'aikatan da ke aiki a wurinsa. Ayyukan rakiya bisa ga G.-b. a kan gabo da garaya sun haɗa da abubuwa na ingantawa bisa wannan jituwa.

Tun da farko kawai G.-b. an yi amfani da shi a cikin "Church Concerts" ("Concerti ecclesiastici") ta A. Banchieri (1595) da "Wakilin Rai da Jiki" ("La rappresentazione di Anima e di Corpo") na E. Cavalieri (Spanish 1600). Daidaitaccen aikace-aikacen G. - zai kasance. ya samo a cikin L. Viadana's "100 Church Concerts" ("Cento concerti ecclesiastici...") (1602), wanda aka dade ana daukar shi a matsayin wanda ya kirkiro H.-b. A cikin gabatarwar wannan aikin, Viadana ya yi magana game da dalilan da suka sa shi yin amfani da G.-b.; dokokin digitization da kisa bisa ga G.-b. Ana kuma bayyana a can. Irin waɗannan alamun kuma suna cikin ayyukan A. Bankieri (“L' organo suonarino”, 1607), A. Agazzari (“Sacrae cantiones”, 1608), M. Pretorius (“Syntagma musicum”, III, 1619; Faksimile- Nachdruck, Kassel -Basel-L.-NY, 1958).

A matsayin hanyar haɗin G.-b. bayyananniyar magana ce ta jituwa ta homophonic. haruffa, amma a matsayin tsarin rubutu yana ɗauke da tambarin polyphonic. ma'anar a tsaye - fahimtar ma'auni a matsayin hadadden tazara. Hanyoyin ƙididdige ƙididdiga: rashin lambobi (da sauran alamomi) yana nufin diatonic. triad; duk jituwa suna ƙarƙashin digitization, sai diatonic. triads; lamba 6 - na shida.

- kwata-sextakcord; lambobi

- diatonic. madauri na bakwai da rokonsa; 9- Ba a yi ba. Na uku yawanci ba a yiwa alama ba; alamar haɗari (kaifi, becar, lebur) ba tare da lamba ba yana nufin na uku; Alamar bazata kusa da lambar tana nufin chromatic. gyare-gyaren sautin babba na tazara mai dacewa (daga bass). Hakanan ana nuna haɓakar Chromatic ta hanyar ketare lamba ko alamar + bayansa - karuwa a cikin na shida, 4+ - karuwa a cikin na huɗu). Hakanan ana nuna sautunan da ba na lambobi ta lambobi daga bass (4 - triad tare da jinkirta ƙasa zuwa na uku,

– tsare sau uku na kwata, na bakwai da nona tare da ƙudurinsa). Alamun tasto solo ("maɓalli ɗaya", abbr. ts) sun tsara aikin bass ɗaya, ba tare da ƙira ba. A farkon. Aikin karni na 17 G. – b. da sauri ya bazu zuwa Turai. kasashe. An bukace dukkan masu tsara kayan aiki da masu kula da makada don ƙware dabarun wasa da haɓakawa bisa ga G.-b. Gabatarwa G.-b. asali yana da ma'ana mai kyau. Ƙarƙashin rinjaye mafi sauƙi da kuma tsauraran maganin dissonances, G.-b. ya sauƙaƙa ilmantarwa da aiwatar da hadaddun abubuwa.

JS Baci. Sonata don 2 Violins da Bass Digitized, motsi III. Na asali.

Haka, L. Landshoff ya fassara.

A aikace aikace-aikacen G. - zai kasance. ya tashi kuma ya ƙarfafa kalmomi. nadi na babban, mafi yawan abubuwan da ke faruwa akai-akai - maɗaukaki na shida, kwata-sextakchord, maɗaukaki na bakwai (saboda haka al'adar barin bayanin triad wanda aka yi amfani da shi sau da yawa: A wannan zamanin, duk da haka, wannan ba shi da mahimmanci. Kamar yadda dabarun jituwa suka inganta da kuma tsaftace su, an ƙaddamar da sababbin ƙididdiga na dijital (sa hannu) a cikin rayuwar yau da kullum, don haka, a cikin littafin farko na ID kawai 1711 sa hannu, a cikin aikinsa na baya (12) ya riga ya kasance 1728, kuma I. Matteson (32) ya kawo adadin su zuwa 1735.

Yayin da koyaswar jituwa ta haɓaka, an sami ƙarin ingantattun hanyoyin zayyana waƙoƙi. Musanya. yi don ser. Karni na 18 ya watsar da kusantar canja wuri zuwa rakiyar niyyar marubucin kuma ya rage girman aikin ingantawa. G.-b. an daina amfani da shi, ko da yake an daɗe ana ajiye shi a cikin ilimin koyarwa. yi aiki a matsayin horo na ilimi wanda ke haifar da basirar yin kiɗan baroque, kuma a matsayin motsa jiki cikin jituwa. Jagora zuwa G. - b. FE Bach (1752), FV Marpurg (1755), IF Kirnberger (1781), DG Türk (1791), AE Koron (1801), F. Zh. Fetis (1824), Z. Dehn (1840), E. Richter (1860), S. Jadasson (1883), X. Riemann (1889) da sauransu. A cikin Rashanci. harshen da aka fassara "Taƙaice Jagora ga Nazarin G.-B." O. Kolbe (1864).

A halin yanzu A daidai wannan lokacin, ragowar koyarwar G.-B, waɗanda rukunan jituwa suka mamaye, ana samun su a cikin hanyoyin ƙididdige ƙididdiga waɗanda aka yi amfani da su a yawancin litattafai. Wani nau'in farfado da aikin G.-b. ana lura dashi a jazz da haske estra kusa da shi. kiɗa. Abubuwan da ake buƙata don wannan shine haɓaka wasan kwaikwayon, haɗin gwiwar ƙungiyar masu rakiyar (guitar, piano) tare da kayan kida, daidaitaccen nau'in rakiyar. Sau da yawa rikodin waƙa shine gabatar da waƙar waƙa, harmonica. bass tare da dijital da asali. makirce-makircen; ana rubuta rubutun tsakiyar muryoyin ta hanya mai sauƙi, ana ba mai tsarawa da mai yin wasan damar bambanta ta yadda suke so. An lura da maƙallan maɓalli daban-daban.

K. Velebny Daga littafin Jazz Practice.

Mafi na kowa hanyar sanarwa ita ce zayyana babba. Sautunan murya (C - sautin C, C - ina, E - es, da sauransu), nau'in triad (G - triad G-dur, Gm - g-moll, G + - ƙara triad), a cikin ƙirar dijital na sauti da aka ƙara zuwa triad (

- c-es-gad chord,

- fac-es-gis-hd, da dai sauransu); hankali. na bakwai - E dim, da sauransu. Lambobi a cikin ɓangaren piano. a cikin ɗaya daga cikin zaɓuɓɓukan digitization: B maj7 (babban mawaƙa na bakwai) – bdfa maɗaukaki, Emi7 (min. maɗaukaki na bakwai) – eghd, E 7 – es-gb-des, G+ – gh-es (cf. lambobi tare da maƙallan trombone). Wannan nadi yana bayyana ainihin G.-b.; baya nuna cewa yakamata a lura da gh-es chord azaman juzu'i na uv. triads daga es, ba SW ba. triad daga g. G.-b. ya kasance kuma har yanzu yana da taimako. yana nufin ga mai yin, “kiɗa. shorthand” maimakon ka'idar kimiyya.

References: Kelner D., Umarni na gaskiya a cikin abun da ke ciki na bass general…, M., 1791; Czerny K., Haruffa … ko Jagora ga nazarin buga piano…, St. Petersburg, 1842; Ivanov-Boretsky M., Mai karanta kida da tarihi vol. 1-3, M., 1928, sake dubawa. ed., ba. 1-2, M., 1933-1936.

Yu. N. Kholopov