matsakanci |

Matsakaicin Faransanci, daga Late Lat. tsakiya, jinsi. case mediantis - located a tsakiya, mai shiga tsakani

1) Ƙididdigar ƙididdiga waɗanda ke da kashi ɗaya bisa uku sama ko ƙasa daga tonic, watau III da digiri na VI na yanayin; a cikin kunkuntar hankali, M. (ko babba M.) - suna. madaidaicin digiri na III (digiri na VI a cikin wannan yanayin ana kiransa submediant, ko ƙananan M.). Hakazalika ana zayyana madaidaicin sautunan ta wannan hanya - digiri na III da VI na yanayin. masu jituwa aikin M. chords an ƙaddara shi da farko ta matsakaicin matsayi tsakanin babban. lambobi: III - tsakanin I da V, VI - tsakanin I da IV. Don haka duality na aikin M. chords: III shine mafi girman girman da aka bayyana, VI shine mai rauni da aka bayyana, yayin da duka III da VI zasu iya yin wasu ayyuka na tonic. Saboda haka ma ma'anar ma'anar M. chords - taushi, lullube da bambancin su da tonic, laushi na tertian yana canzawa lokacin da aka haɗa shi da tonic, mai rinjaye, da rinjaye. A cikin sauran haɗin gwiwa (misali, VI-III, III-VI, VI-II, II-III, VI-III, da dai sauransu), M. harmonies sa dogara da maƙarƙashiya a kan tonic na yanayin kasa da hankali, bayyana su. ayyuka na gida (masu canzawa) ) suna ba da gudummawa ga samuwar canjin tonal (alal misali, a cikin Prince Yuri's arioso "Oh ɗaukaka, dukiyar banza" daga opera "The Legend of the Invisible City of Kitezh and the Maiden Fevronia").

A mataki na jituwa. ka'idar (G. Weber, 1817-21; PI Tchaikovsky, 1872; NA Rimsky-Korsakov, 1884-85) M. chords suna cikin diatonic bakwai. matakai, ko da yake a matsayin na gefe sun fi ko žasa rabuwa da manyan (I da V). A cikin ka'idar aiki (X. Riemann), M. ana fassara su azaman gyare-gyare na "jituwa masu mahimmanci guda uku kawai" - T, D da S: a matsayin daidaitattun su (misali, a cikin C-dur egh - Dp) ko kuma a matsayin haɗin kai na Canjin gabatarwa (misali a cikin C-dur kuma na iya zama:

), ya danganta da ainihin adadin waɗannan maƙallan a cikin mahallin. A cewar G. Schenker, ma'anar M. chords (da sauran) ya dogara da farko akan takamaiman jagorar motsi, akan layin muryoyin tsakanin sautin farko da manufa. GL Catoire ya fahimci M. sakamakon ƙaura na prim da na biyar a cikin manyan triads (misali, a cikin C - dur.

)

A cikin ra'ayi na marubuta na "Practical Course of Harmony" (IV Sposobina, II Dubovsky, SV Evseev, VV Sokolov, 1934-1935), gauraye mataki-aikin darajar da aka sanya zuwa M chords (a cikin C-dur egh - DTIII, a-c-e-TS VI)

(A lokaci guda, fassarar mataki ya sake samun nauyi mafi girma, kuma dukkanin ra'ayi yana komawa ba kawai ga Riemann ba, amma, zuwa ga Rimsky-Korsakov). A cikin ka'idar masu canji, ayyukan Yu. N. Tyulin, mataki na uku a cikin manyan zai iya yin ayyukan T da D, da VI - T, S da D; a cikin ƙananan III - T, S da D, da VI - T da S. (Misalan fassarori daban-daban na jeri iri ɗaya):

2) A cikin tsarin waƙoƙin Gregorian, M. (matsakaici; wasu sunaye - metrum) - ƙarshe na tsakiya (bisa ga BV Asafiev - "caesura rabin-cadence"), rarraba duka zuwa kashi biyu masu daidaitawa:

References: 1) Tchaikovsky PI, Jagora ga nazarin aiki na jituwa, M., 1872, guda, Poln. kull. cit., vol. III a, M., 1957, Rimsky-Korsakov HA, Littafi Mai Tsarki na jituwa, St. Petersburg, 1886, sake bugawa. a Cikakkun. kull. suke., vol. IV, M., 1960; Catuar GL, Hanyar jituwa ta ka'idar, sashi na 1, M., 1924; Hanyar jituwa mai amfani, sashe na 1, M., 1934 (ed. Sposobin I., Dubovsky I., Evseev S., Sokolov V.; Berkov V., Harmony, sashe na 1-3, M., 1962-66, M. ., 1970; Tyulin Yu., Privavo N., Theoretical Foundations of Harmony, M., 1965, Weber G., Versuch einer geordneten Theorie der Tonsetzkunst, Bd 1-3, Mainz, 1818-21; Riemann H., Vereinhrenhhre Schenker H., Neue musikalische Theorien und Phantasien, Bd 1893-1896, Stuttg.-BW, 1901-1, 3.

2) Gruber RI, Tarihin al'adun kiɗa, vol. 1, Kashi na 1, M.-L., 1941, shafi. 394

Yu. N. Kholopov