Manyan-kananan |

Manyan-kanana, Babban-kananan tsarin.

1) Kalma mai nuna haɗin kai na sabanin karkata a cikin tsari ɗaya. Mafi yawan nau'o'in da aka fi sani da su sune: manya-manyan ƙanana (babban yanayin da aka wadatar da maɗaukaki da jujjuyawar ƙarami) da kuma, ɗan ƙasa kaɗan, ƙanana mai ƙanƙanta (ƙananan masu wadatar da abubuwa na manyan maɗaukaki); ku M.-m. Hakanan sun haɗa da cakuda hanyoyin daidaitawa - masu jituwa. babba kuma masu jituwa. ƙarami. Mm. tare da tsarin chromatic yana daya daga cikin nau'o'in tsarin modal mai tsawo ("tsarin tonality" - bisa ga GL Catuar, IV Sposobin).

Manyan-kanana

Minoro babba

Manyan; layi daya tsarin igiyoyi

Ƙananan; layi daya tsarin igiyoyi

Aikace-aikacen takamaiman jituwa M. - m. (ƙananan matakan VI da na III a cikin M.-m., high III da VI a cikin ƙananan-manyan, da dai sauransu) yana ba da launi mai yawa, haske, ƙawata waƙar tare da sabon polymodal juya:

MP Mussorgsky. Romance "Babban dutse ya tashi a hankali...".

SV Rachmaninov. Romance "Morning".

A tarihi M.-m. a matsayin tsarin polymodal na musamman da aka haɓaka a cikin zurfin na gargajiya. tsarin tonal. Ma'anar diatonic babba da ƙanana a ma'ana ta gabaci manufar M.-m. Duk da haka, dangi ana samun sabon abu a cikin ayyukan homophonic na polyphonic. na Renaissance (kamar yadda yake, na farko, har yanzu ba a bambanta ba M.-m.), inda, alal misali, ka'idar ita ce ta kammala ƙananan ƙananan Dorian, Phrygian da Aeolian sautunan tare da manyan triad (duba ginshiƙi na ginshiƙi na irin wannan Dorian M.-m a cikin littafin. Ragowar wannan rashin bambance-bambance ta hanyar jiki ya shiga tsarin tonal a cikin nau'i na babban rinjaye na ƙananan yara da mu'amalarsa tare da ƙananan ƙididdiga na halitta (duba, misali, sanduna 1-1 na motsi na 1941 na Bach's Italian Concerto), kamar yadda haka kuma a cikin nau'i na manyan ("Picardian") na uku a ƙarshen ƙaramin op. A zamanin Baroque, bayyanar M.-m. a cikin ma'anar da ta dace ana iya la'akari da Ch. arr. da sãɓãwar launukansa manyan da qananan suna guda ɗaya a cikin tsarin ginin guda ɗaya (gabatar da D-dur daga motsi na 399st na Bach's Well-Tempered Clavier, juzu'i 8-11), kawai lokaci-lokaci yana kaiwa ga gabatarwar mawaƙa na ƙananan suna ɗaya cikin manyan (JS Bach, prelude na mawaƙa "O Mensch, bewein' dein' Sünde gross" ga sashin jiki). A Viennese litattafan M. - m. ya zama kayan aiki mai ƙarfi saboda haɓakar bambanci tsakanin manyan da aka ƙayyade a sarari da ƙananan hanyoyi. Ana amfani da bambance-bambancen suna iri ɗaya da kyau a cikin predicates, sassan pre-cadence, a tsakiya da haɓakawa (DA modulation a cikin motsi na 2st na wasan kwaikwayo na Beethoven na 1nd), wani lokacin tare da nuna launi. Tasiri (sonata na 27 na Beethoven don piano, sashi na 35). Wok. A cikin kiɗa, ƙaddamar da maƙallan yanayi wanda ya saba wa son rai shima yana nuna bambancin waƙa. hotuna (Leporello's aria daga opera "Don Giovanni" na Mozart). Ranar farin ciki na M.-m. a cikin dukan iri da dama a kan zamanin romanticism (F. Schubert, F. Liszt, R. Wagner, E. Grieg, MI Glinka, MP Mussorgsky, NA Rimsky-Korsakov). Manyan-kananan gaurayawan sun kai ga mafi girma da yawa da kuma juiciness, suna karawa zuwa rabon maɓalli, ƙwanƙwasa, da karin waƙa. juyin juya hali (duba misali a sama). Ragewa a kan juna, dangantakar M.-m. haifar da tertian sarƙoƙi irin na zamanin (misali, bibiyar bibiyar: ƙananan VI zuwa ƙananan VI yana haifar da komawa zuwa mataki na I; 1st part na Rimsky-Korsakov's Antar). A cikin kiɗa na karni na 2 Mm. ana amfani dashi azaman kayan aiki na al'ada tare da ƙarin chromatic mai tsayi. tsarin (da SS Prokofiev, DD Shostakovich, P. Hindemith da sauran composers).

A matsayin tsarin tsari na musamman M.-m. an gane a cikin con. Karni na 19, musamman a cikin koyarwar rabin na farko. Ƙarni na 1 Masu Ta'addanci na bene na farko. da ser. Karni na 20 (G. Weber, AB Marx, FJ Fetis) ya fahimci yanayin azaman ƙayyadaddun diatonic. tsarin, fassara abubuwan da ke cikin "yan adawa" kamar yadda suka wuce iyakokin tsarin ("leiterfremde" - "baƙi ga ma'auni", bisa ga kalmomin Jamus). A cikin ka'idar tonality na Fetis, tsinkayar tsarin tsarin polysystem ya riga ya zama sananne, wanda M.-m. (ma'anar "pluritonality", "omnitonality"). X. Riemann yayi magana akan "haɗaɗɗen yanayi", yana ba da shawarar kiran su "ƙananan-manyan" da "manyan-ƙananan", amma yana da iyakacin nau'ikan irin waɗannan gaurayawan (alal misali, ƙananan ƙananan a cikin manyan). Cikakken gabatar da koyaswar M.-m. samuwa daga FO Gewart. A cikin ra'ayin lit-re na Rasha M.-m. ya bayyana a cikin BL Yavorsky (sharuɗɗan: da farko "manyan-ƙananan", daga baya - "yanayin sarkar"). Mai kama da ka'idar Gewart na M.-m. GL Catuar ya gabatar (a ƙarƙashin sunan "manyan-kananan tsarin ton-ton") kuma ya ci gaba ta hanyar IV Sposobin.

2) Nadi na classic. tsarin tonal na manya da ƙanana sabanin tsohon, tsarin modal da tsarin atonal na karni na 20.

References: Yavorsky B., Tsarin magana na kiɗa (kayan aiki da bayanin kula), sassan 1-3, M., 1908; Catuar G., Hanyar jituwa ta ka'idar, sashi na 1, M., 1924; Hanyar jituwa mai amfani, sassan 1-2, M., 1934-35 (Sposobin I., Dubovsky I., Evseev S., Sokolov V.); Berkov V., Harmony, sashi na 1-3, M., 1962-1966, 1970; Sposobin I., Laccoci a kan tafarkin jituwa, M., 1969; Kirina K., Manyan Ƙananan a cikin Viennese Classics da Schubert, a cikin Sat: Art da Harsunan Waje, (Fitowa ta 2), A.-A., 1966; nata, tsarin Major-Minor a cikin aikin DB Kabalevsky (bisa ga kayan bincike), ibid.

Yu. N. Kholopov