Plagal cadence |
Plagal cadence (Late Latin plagalis, daga Girkanci plagios - a kaikaice, kaikaice) - daya daga cikin nau'o'in cadence (1), wanda aka kwatanta da nazarin jituwa S da T (IV-I, II65-I, VII43-I, da dai sauransu); sabawa na kwarai. cadence (D - T) a matsayin babba, babba. nau'in. Akwai cikakkun (S - T) da rabi (T - S) P. zuwa. A al'ada P. zuwa. sautin tonic mai warwarewa yana nan (ko ma'ana) a cikin jituwa S kuma ba sabon sauti bane a gabatarwar T; hade da wannan zai bayyana. halin P. to. yana tausasa, kamar na wani aiki kai tsaye (saɓanin ingantacciyar ƙwaƙƙwaran, wanda ke da halin kai tsaye, buɗe, mai kaifi). Yawancin lokaci P. zuwa. An yi amfani da shi bayan ingantacce a matsayin tabbatacce kuma a lokaci guda ƙari mai laushi ("Offertorium" a cikin Mozart's Requiem).
Kalmar "P. ku.” ya koma sunayen tsakiyar zamanai. frets (kalmomin plagii, plagioi, plagi an riga an ambata su a cikin ƙarni na 8-9 a cikin littattafan Alcuin da Aurelian). Canja wurin kalmar daga yanayin zuwa matakin doka yana da halal ne kawai lokacin da aka raba cadences zuwa mafi mahimmanci da marasa mahimmanci, amma ba lokacin da aka ƙayyade tsarin tsarin ba (V - I = ingantaccen, IV - I = toshe), saboda a cikin shekarun Tsakiyar plagal. frets (misali, a cikin sautin II, tare da kwarangwal: A - d - a) cibiyar ba ƙananan sauti ba (A), amma finalis (d), dangane da Krom, a mafi yawan nau'in plagal babu wani abu. babba kwata unsteady (duba systematics frets na G. Zarlino, "Le istitutioni harmoniche", sashe IV, ch. 10-13).
Kamar fasaha. lamarin P. to. an gyara shi a ƙarshen burin da yawa. kiɗa yana kunna kamar yadda crystallization kanta zai ƙare. juyawa (lokaci guda tare da ingantaccen cadence). Don haka, motet na zamanin ars antiqua “Qui d'amours” (daga Montpellier Codex) ya ƙare da P.k.:
f - gf - c
A cikin karni na 14 P. zuwa. ana amfani da shi azaman ƙarshe. juzu'i, wanda ke da wani launi, bayyanawa (G. de Machaux, 4th da 32nd ballads, 4th rondo). Daga tsakiyar karni na 15 P. zuwa. ya zama (tare da ingantacce) ɗaya daga cikin manyan nau'ikan jituwa guda biyu. ƙarshe. P. ku. ba sabon abu ba ne a cikin ƙarshen polyphonic. abubuwan da aka tsara na Renaissance, musamman a kusa da Palestrina (duba, alal misali, ƙaramar ƙarshe Kyrie, Gloria, Credo, Agnus Dei na Mass na Paparoma Marcello); don haka dayan sunan P.k. - "Church cadenza". Daga baya (musamman a karni na 17 da 18) P. to. cikin nufin. ma'aunin an ture shi a gefe ta ingantaccen kuma a matsayin ma'auni na ƙarshe ana amfani da shi ƙasa da yawa fiye da na karni na 16. (misali, ƙarshen sashin murya na aria “Es ist vollbracht” daga cantata na 159 na JS Bach).
A cikin karni na 19 P. darajar zuwa. yana ƙaruwa. L. Beethoven ya yi amfani da shi sau da yawa. VV Stasov daidai ya nuna cewa a cikin ayyukan "lokacin Beethoven na ƙarshe wanda ba zai iya kasa kula da muhimmiyar rawar da" plagal cadences ta taka ba". A cikin waɗannan sifofin, ya ga “babban dangantaka ta kud da kud tare da abubuwan da suka cika ruhinsa (Beethoven).” Stasov ya ja hankali ga yawan amfani da P. zuwa. a cikin kidan na gaba tsara na composers (F. Chopin da sauransu). P.k. ya sami mahimmanci mai girma daga MI Glinka, wanda ya kasance mai ƙirƙira musamman don nemo fom ɗin plagal don kammala manyan sassan ayyukan opera. The tonic aka riga VI low mataki (karshen na 1st act na opera Ruslan da Lyudmila), da kuma IV mataki (Susanin's aria), da kuma II mataki (karshen na 2nd act na opera Ivan Susanin). , da sauransu. jimlolin plagal (mawaƙa na Poles a cikin aiki na 4 na opera iri ɗaya). Bayyana. halin P. to. Glinka yakan biyo baya daga jigo. intonations (ƙarshen "Persian Choir" a cikin opera "Ruslan da Lyudmila") ko kuma daga santsi na jituwa na jituwa, tare da haɗin kai na motsi (gabatarwa zuwa Ruslan's aria a cikin opera guda).
A cikin rashin daidaituwa na jituwa na Glinka, VO Berkov ya ga "hanyoyi da tasirin jituwa na waƙoƙin jama'a na Rasha da kuma soyayya ta Yamma." Kuma a cikin aikin daga baya Rasha. litattafai, plagality yawanci yana hade da intonations na Rashanci. waƙa, canza launi na halaye. Daga cikin misalan nunin su ne mawaƙa na ƙauyen da mawaƙa na boyars "A gare mu, gimbiya, ba a karon farko ba" daga opera "Prince Igor" na Borodin; kammala waƙar Varlaam "Kamar yadda yake a cikin birni a Kazan" daga wasan opera "Boris Godunov" na Mussorgsky tare da jerin II low - I matakai da harmonica mai ban tsoro. juyawa: V low - Na shiga cikin mawaƙa "Watsewa, sharewa" daga opera iri ɗaya; Waƙar Sadko "Oh, ku dajin itacen oak mai duhu" daga wasan opera "Sadko" na Rimsky-Korsakov, ƙwararrun waƙa kafin nutsewar Kitezh a cikin wasan opera nasa "The Legend of the Invisible City of Kitezh".
Saboda kasancewar sautin gabatarwa a cikin maɗaukaki kafin tonic, a cikin yanayin na ƙarshe, haɗuwa na musamman na plagality da sahihanci ya taso. Wannan nau'i yana komawa zuwa tsohuwar P. k., wanda ya ƙunshi maye gurbin terzquartaccord na digiri na XNUMX da triad na digiri na XNUMX tare da motsi na sautin gabatarwa a cikin tonic.
Nasarar da aka samu na Rasha a fagen fasikanci sun kara haɓaka a cikin kiɗan magajin su - owls. mawaƙa. A musamman, SS Prokofiev muhimmanci updates da maƙarƙashiya a plagal ƙarshe, misali. a cikin Andante caloroso daga sonata na 7 don piano.
Yanayin P. to. yana ci gaba da haɓakawa da haɓakawa a cikin sabbin kiɗan, wanda baya rasa alaƙa da na gargajiya. harmonic form. ayyuka.
References: Stasov VV, Lber einige neue Form der heutigen Musik, "NZfM", 1858, No 1-4; iri daya a Rasha. kasa. ƙarƙashin taken: A kan wasu nau'ikan kiɗan zamani, Sobr. soch., v. 3, St. Petersburg, 1894; Berkov VO, Glinka's Harmony, M.-L., 1948; Trambitsky VN, Plagality da alaƙa masu alaƙa a cikin jituwar waƙar Rasha, a cikin: Tambayoyi na Kiɗa, vol. 2, M., 1955. Duba kuma lit. ƙarƙashin labarin Ingantattun Cadence, Harmony, Cadence (1).
V. Protopov, Yu. Ya. Kholopov
