Maɓalli |

Harshen Faransanci, maɓallin Ingilishi, ƙwayar cuta. Schlussel

Alama akan ma'aikatan kiɗan da ke ƙayyade suna da tsayi (na ɗaya ko wata octave) na sauti akan ɗayan layinsa; yana saita cikakkiyar ƙimar sautin duk sautin da aka yi rikodin akan sandar. K. yana manne ta yadda daya daga cikin layuka biyar na sandar ya ratsa shi a tsakiya. Sanya a farkon kowane sanda; a yanayin sauyawa daga wannan K. zuwa wani, an rubuta sabon K a daidai wurin sandar. Ana amfani da guda uku daban-daban. maɓalli: G (gishiri), F (fa) da C (yi); sunayensu da rubutunsu sun fito ne daga lat. haruffa masu nuna sautin madaidaicin tsayi (duba Harafin Kiɗa). Ran laraba. ƙarni ya fara amfani da layi, kowannensu yana nuna tsayin wani sauti; sun sauƙaƙa karanta bayanan kiɗan da ba a haɗa su ba, wanda a baya kusan daidaita yanayin waƙar (duba Nevmas). Guido d'Arezzo a farkon 11th c. ya inganta wannan tsarin, wanda ya kawo adadin layukan zuwa hudu. Layin ja na ƙasa yana nuna farar F, layin rawaya na uku yana nuni da farar C. A farkon waɗannan layukan, an sanya haruffa C da F waɗanda ke aiwatar da ayyukan K. Daga baya, an yi watsi da amfani da layukan launi. kuma an sanya madaidaicin ƙimar ƙimar zuwa bayanin kula. haruffa kawai. Da farko, an rubuta su da yawa (har zuwa uku) akan kowane sandar, sannan aka rage adadinsu zuwa sanda ɗaya. Daga cikin haruffan sauti, G, F, da C an fi amfani da su azaman K. Fassarar waɗannan haruffa a hankali sun canza har sai sun sami na zamani. siffofin hoto. Maɓallin G (sol), ko treble, yana nuna wurin da sautin gishirin na farkon octave yake; yana kan layi na biyu na sandar. Wani nau'in gishirin K., abin da ake kira. tsohon Faransanci, wanda aka sanya akan layin farko, na zamani. Mawaƙa ba sa amfani da su, duk da haka, lokacin sake buga ayyukan da aka yi amfani da su a da, ana kiyaye wannan lambar. Maɓallin F (fa), ko bass, yana nuna matsayin sautin fa na ƙaramar octave; an sanya shi a kan layi na hudu na ma'aikata. A cikin tsohuwar kiɗa, K. fa kuma yana samuwa a cikin nau'i na bass-profundo K. (daga Latin profundo - zurfin), wanda aka yi amfani da shi don ƙananan rajista na ɓangaren bass kuma an sanya shi a kan layi na biyar, da kuma baritone. K. - a layi na uku. Maɓalli C (do) yana nuna wurin da sauti yake har zuwa octave na farko; zamani Ana amfani da maɓalli C ta hanyoyi biyu: alto - akan layi na uku da tenor - akan layi na huɗu. A cikin tsoffin maƙiyan choral, an yi amfani da maɓallin C na nau'ikan guda biyar, wato, akan duk layin sandar; ban da waɗanda aka ambata a sama, an yi amfani da waɗannan: soprano K. - a kan layi na farko, mezzo-soprano - a kan layi na biyu, da kuma baritone - a kan layi na biyar.

Ana rubuta makin mawaƙa na zamani a cikin violin da bass k., amma ƙungiyar mawaƙa da mawaƙa. masu gudanarwa koyaushe suna cin karo da clef C lokacin yin ayyukan da suka gabata. An rubuta ɓangaren tenor da treble K., amma ana karanta octave ƙasa da yadda aka rubuta, wanda wani lokaci ana nuna shi da lamba 8 a ƙasan maɓalli. A wasu lokuta, ana amfani da violin sau biyu K. a cikin ma'ana ɗaya don ɓangaren tenor.

Ma'anar aikace-aikacen darika. K. ya ƙunshi nisanta gwargwadon yuwuwar adadin ƙarin layuka masu yawa a cikin bayanin sauti kuma ta haka yana sauƙaƙa karanta bayanin kula. Ana amfani da Alto K. don lura da ɓangaren viola na ruku'u da viol d'amour; tenor - don bayanin sashin trombone na tenor da wani bangare na cello (a cikin rajista na sama).

A cikin abin da ake kira. "Kyiv banner" (square music notation), wanda ya zama tartsatsi a Ukraine da kuma Rasha a cikin 17th karni, daban-daban. nau'ikan maɓallin C, gami da cefaut K., wanda ya sami mahimmanci na musamman lokacin yin rikodin waƙoƙin monophonic na yau da kullun. Sunan cefaut K. ya fito ne daga wanda ake amfani da shi a cikin coci. aikin kiɗa na tsarin hexachordal na solmization, bisa ga abin da sautin ya yi (C), wanda aka ɗauka a matsayin tushen mahimmin bayanin martaba, ya lissafta sunayen fa da ut.

Tsarin hexachord na solmization kamar yadda aka yi amfani da shi zuwa ma'aunin coci. Cikakken ƙarar ma'auni, bayaninsa a cikin maɓalli na cefout da solmization sunayen matakai.

Tare da taimakon cefaut K., an rubuta duk sautunan cikakken coci. ma'auni wanda ya dace da ƙarar muryar maza (duba ma'auni na yau da kullum); daga baya, lokacin zuwa coci. Samari, sannan mata suka fara sha’awar rera waka, ana kuma amfani da cefaut K. a wajen bukukuwan nasu, wanda aka yi octave sama da na maza. A zane-zane, cefaut K. wani nau'i ne na bayanin murabba'i tare da kwantar da hankali; an sanya shi a kan layi na uku na sandar, yana ba shi wurin da yake mataki na 4 na coci. sikelin - har zuwa farkon octave. Buga na farko da aka buga, wanda a cikinsa aka tsara tsarin rera cefaut, shine ABC na Sauƙaƙan Waƙar Kiɗa bisa ga Maɓallin Cefaut (1772). Tare da gabatar da waƙoƙin monophonic na waƙoƙin yau da kullun, cefaut K. yana riƙe da mahimmancinsa har yau.

References: Razumovsky DV, Waƙar Coci a Rasha (Kwarewar gabatarwar tarihi da fasaha) …, vol. 1-3, M., 1867-69; Metallov VM, Maƙala akan tarihin waƙar cocin Orthodox a Rasha, Saratov, 1893, M., 1915; Smolensky SV, Akan Tsohuwar Bayanan Waƙar Rasha St. Petersburg, 1901; Sposobin IV, Ka'idar Elementary na kiɗa, M., 1951, posl. ed., M., 1967; Gruber R., Tarihin al'adun kiɗa, vol. 1, sashi na 1, M.-L., 1941; Wolf J., Handbuch der Notationskunde, Bd 1-2, Lpz., 1913-19; Ehrmann R., Die Schlüsselkombinationen im 15. und 16. Jahrhundert, "AMw", Jahrg. XI, 1924; Wagner P., Aus der Frühzeit des Liniensystems, "AfMw", Jahrg. VIII, 1926; Smits van Waesberghe J., Bayanan kiɗa na Guido na Arezzo, "Musica Disciplina", v. V, 1951; Arel W., Die Note der Polyphonen Music, 900-1600, Lpz., 1962; Federshofer H., Hohe und tiefe Schlüsselung im 16. Jahrhundert, a cikin: Festschrift Fr. Blume…, Kassel, 1963.

Vakhromeev