Jerin |

lat. relatio non harmonica, Faransanci fausse dangantakar, germ. nema

Sabani tsakanin sautin mataki na halitta da gyare-gyarensa na chromatic-madadin a wata murya dabam (ko a cikin wata octave daban-daban). A cikin tsarin jituwa na diatonic P. yawanci yana ba da ra'ayi na sautin ƙarya (ba harmonica) - kamar a cikin kai tsaye. unguwa, da kuma ta hanyar wucewar sauti ko igiya:

Saboda haka, an haramta P. ta ka'idodin jituwa. Haɗin digiri na dabi'a tare da canjin sa ba P. ba ne, idan har wannan muryar jagorar tana da santsi, misali:

An ba da izinin P. cikin jituwa D bayan ƙananan digiri na biyu, da kuma ta hanyar caesura (duba misalai a sama, Kol. 244).

Nisantar P. ya riga ya zama na hali na tsattsauran ra'ayi (ƙarni na 15-16). A zamanin Baroque (17th - 1st rabin karni na 18th), ana ba da izinin waƙa lokaci-lokaci - ko dai a matsayin sakamako mara kyau a cikin yanayin haɓakar muryar da aka haɓaka (JS Bach, Brandenburg Concerto 1, sashi na 2, sanduna 9 -10), ko a matsayin na musamman. dabara don bayyana k.-l. tasiri na musamman, misali. don nuna baƙin ciki ko yanayi mai raɗaɗi (P. a1 – as2 a misali A,

JS Baci. Mass in h small, No 3, bar 9.

JS Baci. Chorale "Singt dem Herrn ein neues Lied", sanduna 8-10.

a kasa, yana hade da furcin kalmar Zagen - bege). A zamanin soyayya da kuma na zamani. Ana yawan amfani da kiɗan P. azaman ɗayan halayen ladoharmonics. tsarin hanyoyin (musamman, ƙarƙashin rinjayar yanayi na musamman; misali: P. e – es1 a Stravinsky's The Rite of Spring, lamba 123, mashaya 5 - dangane da yanayin yau da kullun). P. a cikin misali B (ya ƙunshi kyawawan abubuwan maye na Kashcheevna) an bayyana shi ta hanyar haɗin gwiwa tare da wadanda ba diatonic ba. low karshen

JS Baci. Matiyu Passion, No 26, Bar 26.

Na Rimsky-Korsakov. "Kashchei the Immortal", scene II, sanduna 28-29.

tsarin da sikelin sa na sautin-semitone. A cikin kiɗa na karni na 20 da aka yi amfani da shi sosai (ta AN Cherepnin, B. Bartok, da dai sauransu) manyan ƙananan ƙananan ƙananan terts biyu (irin su: e1-g1-c2-es2), ƙayyadaddun su shine P. ( e1-es2), da kuma kalmomin da suka danganci shi (duba misali a saman shafi na 245).

Idan Stravinsky. "Sacred spring".

Yawanci na zamani A cikin kiɗa, haɗuwa da hanyoyi yana haifar da polyscale da polytonality, inda P. (a cikin jere da kuma daidaitawa) ya zama yanayin al'ada na tsarin modal:

Idan Stravinsky. Pieces na piano "Yatsu biyar". Lento, sanduna 1-4.

A cikin abin da ake kira. atonality enharmonic. an daidaita ma'auni na matakan, kuma P. ya zama wanda ba a iya ganewa ba (A. Webern, concerto don kayan aikin 9, op. 24).

Kalmar "P." - taƙaitaccen furcin "marasa jituwa P." (Jamus: unharmonischer Querstand). P. wani yanki ne na rukunin haramtattun rarrabuwar kawuna wanda ya kiyaye mahimmancinsa, wanda, ban da canjin P., ya haɗa da alaƙar tritone. P. da tritone (diabolus a musica) suna kama da cewa duka biyun suna waje da iyakokin tunani bisa tsarin hexachords (duba Solmization), kuma suna ƙarƙashin ƙa'idar guda ɗaya - Mi contra Fa (ko da yake ba iri ɗaya ba):

J. Tsarlino (1558) ya hukunta biyu b. uku ko m. kashi shida a jere, tun da ba su "ba su cikin dangantaka mai jituwa"; Ba tare da jituwa da alaƙar da shi ya nuna (a cikin misali ɗaya) duka a cikin P. da a cikin newts:

Daga littafin G. Zarlino “Le istitutioni harmonice” (sashe na uku, babi na 30).

M. Mersenne (1636-37), yana nufin Tsarlino, yana nufin P. zuwa "hulɗar ƙarya" (fausses dangantakar) kuma ya ba da irin wannan misalai ga triton da P.

K. Bernhard ya haramta Falsche Dangantaka: tritones, ko "rabi-quints" (Semidiapente), "wuce kima" octaves (Octavae Superfluae), "half-octaves" (Semidiapason), "wuce kima" unison (Unisonus superfluus), ba da misalai kusan a zahiri. maimaita abin da ke sama daga Carlino.

I. Mattheson (1713) yana siffanta tazara iri ɗaya a cikin sharuɗɗa iri ɗaya da “sauti masu banƙyama” (widerwärtige Soni). Gaba ɗaya babi na 9 na kashi na 3 na "Cikakken Kapellmeister" da aka sadaukar don. "inharmonic P." Yin watsi da wasu haramcin tsohuwar ka'idar a matsayin "rashin adalci" (ciki har da wasu mahadi da Zarlino ya ambata), Matteson ya bambanta tsakanin "marasa jurewa" da "mafi kyau" P. a cikin “Musical Dictionary” na S. Brossard, 1703.) XK Koch (1802) ya bayyana P. a matsayin “sautin muryoyi biyu, tsarin sautin da ke cikin maɓalli daban-daban.” Ee, a zagayawa.

kunne yana fahimtar fis-mataki a cikin ƙananan murya kamar G-dur, matakin af a cikin babba kamar C ko F-dur. "Relatio non harmonica" da "non-harmonic P." Koch ya bayyana su azaman ma'ana, kuma masu zuwa

har yanzu ya shafi su.

EF Richter (1853) ya lissafa "marasa jituwa P." zuwa “motsi mara sauti”, amma yana ba da hujjar wasu bayanan “ƙawata” (taimako) ko ka’idar “raguwa” (hanyar tsaka-tsaki):

Ƙaunar jama'ar Armenian "Garuna" ("Spring").

Yunkurin da ke haifar da karuwa. kwata kwata

, Richter yana da alaƙa da P. A cewar X. Riemann, P. shine rabon sautin da aka canza, mara daɗi don ji. M a ciki shi ne kasa assimilation na harmonics. haɗin gwiwa, waɗanda za a iya kwatanta su da rashin tsabta. Mafi haɗari paradox shine lokacin motsawa zuwa ga triad mai suna iri ɗaya; tare da mataki na tritone, P. "yana da kyau sosai" (misali, n II - V); Abun da ke tertsovy rabo (misali, I — hVI) ya mamaye matsakaicin matsayi.

Hess de Calvet (1818) ya hana "yunƙurin da ba na jituwa ba" wanda ke kaiwa ga buɗaɗɗen tritone.

, duk da haka, yana ba da damar "ci gaba ba tare da jituwa ba" idan sun tafi "bayan intersection" (caesuras). IK Gunke (1863) ya ba da shawarar gujewa cikin tsauraran salon "dangantaka daban-daban (dangantakar) na ma'auni sakamakon rashin kiyaye sautunan da ke da alaƙa" (misali na P. da ya ba shi nazari ne daga b. kashi uku kuma daga m. sext) .

PI Tchaikovsky (1872) naz. P. "halayen da suka saba wa muryoyin biyu." BL Yavorsky (1915) ya fassara P. a matsayin hutu a cikin haɗin kai tsakanin sautunan haɗin gwiwa: P. - "juxtaposition na juxtaposition na conjugate sautuna a cikin daban-daban octaves da daban-daban muryoyi lokacin da nauyi aka yi ba daidai ba." Misali. (sautuna masu alaƙa - h1 da c2):

(daidai) amma ba

(P.). A cewar Yu. N. Tyulin da NG Privano (1956), akwai nau'ikan P. guda biyu; a cikin farko, muryoyin da ke samar da P. ba a haɗa su a cikin tsarin tsarin tsari na gaba ɗaya (P. sauti na ƙarya), a cikin na biyu, sun tsara tsarin tsarin tsarin (P. na iya zama yarda).

References: Hess de Calve, Ka'idar Kiɗa…, Sashe na 1, Har., 1818, shafi na. 265-67; Stasov VV, Wasika zuwa ga Mr. Rostislav game da Glinka, "Theatrical and Musical Bulletin", 1857, Oktoba 27, iri ɗaya a cikin littafin: Stasov VV, Articles on Music, vol. 1, M., 1974, shafi. 352-57; Gunke I., Cikakken jagora ga tsara kiɗa, St. Petersburg, (1865), p. 41-46, M., 1876, 1909; Tchaikovsky PI, Jagora ga nazarin aiki na jituwa, M., 1872, iri ɗaya a cikin littafin: Tchaikovsky PI, Poly. kull. suke., vol. III-a, M., 1957, p. 75-76; Yavorsky B., Ayyuka a cikin samuwar modal rhythm, sashi na 1, M., 1915, p. 47; Tyulin Yu. N., Privano NG, Tushen Ka'idojin Harmony, L., 1956, p. 205-10, M., 1965, shafi. 210-15; Zarlino G., Le institutioni harmonice. Fassara na 1558, NY, (1965); Mersenne M., Harmonie universelle. La théorie et la pratique de la musique (P., 1636-37), t. 2, P., 1963, shafi. 312-14; Brossard S., Dictionaire de musique…, P., 1703; Mattheson J., Das neu-eröffnete Orchestre…, Hamb., 1713, S. 111-12; nasa, Der vollkommene Capellmeister, Hamb., 1739, S. 288-96, watau, Kassel – Basel, 1954; Martini GB, Esemplare o sia saggio fondamentale pratico di contrappunto sopra il canto fermo, pt. 1, Bologna, 1774, p. XIX-XXII; Koch H. Chr., Musikalisches Lexikon, Fr./M., 1802, Hdlb., 1865, S. 712-14; Richter EF, Lehrbuch der Harmonie, Lpz., 1853 Riemann H., Vereinfachte Harmonielehre, L. - NY, (1868) Müller-Blattau J., Die Kompositionslehre Heinrich Schützens in der Passung seines Schülers, Christophn. uwa, 154.

Yu. H. Kholopov