Cadence |

Cadence (Italian cadenza, los ntawm Latin cado - Kuv poob, kuv kawg), cadence (Fabkis cadence).

1) kawg harmonic. (zoo li melodic) turnover, lub suab paj nruag zaum kawg. kev tsim kho thiab muab nws tiav, wholeness. Nyob rau hauv lub loj-me me tonal system ntawm 17th-19th centuries. hauv K. feem ntau yog ua ke nrog metrorhythmic. kev txhawb nqa (piv txwv li, ib qho metrical accent nyob rau hauv lub 8th los yog 4th bar ntawm ib lub sij hawm yooj yim) thiab nres ntawm ib qho tseem ceeb functionality harmonies (ntawm I, V, tsawg zaus ntawm IV kauj ruam, qee zaum ntawm lwm cov chords). Tag nrho, piv txwv li, xaus ntawm tonic (T), chord muaj pes tsawg leeg muab faib ua qhabnias (VI) thiab plagal (IV-I). K. yog zoo meej yog T tshwm nyob rau hauv melodic. txoj hauj lwm ntawm lub prima, nyob rau hauv ib tug hnyav ntsuas, tom qab lub dominant (D) los yog subdominant (S) nyob rau hauv lub ntsiab. daim ntawv, tsis nyob rau hauv kev. Yog tias tsis muaj ib qho ntawm cov xwm txheej no, mus rau. suav tias yog tsis zoo tag nrho. K., xaus rau hauv D (los yog S), hu ua. ib nrab (eg, IV, II-V, VI-V, I-IV); ib hom ntawm ib nrab-cov qhabnias. K. tuaj yeem suav hais tias yog hu ua. Phrygian cadence (qhov kawg turnover hom IV6-V nyob rau hauv harmonic me). Ib hom tshwj xeeb yog qhov hu ua. interrupted (false) K. – ua txhaum qhov tseeb. Rau. vim yog hloov tonic. triads hauv lwm cov chords (V-VI, V-IV6, V-IV, V-16, thiab lwm yam).

Tag nrho cadenzas

Ib nrab cadenzas. Phrygian cadence

Interrupted cadences

Los ntawm qhov chaw hauv suab paj nruag. daim ntawv (piv txwv li, nyob rau lub sijhawm) paub qhov nruab nrab K. (hauv kev tsim kho, feem ntau hom IV lossis IV-V), kawg (thaum kawg ntawm qhov tseem ceeb ntawm kev tsim kho, feem ntau VI) thiab ntxiv (nrog rau tom qab lub kawg K., t ie whorls VI or IV-I).

harmonic formulas-K. Keeb kwm precede monophonic melodic. cov lus xaus (piv txwv li, nyob rau hauv essence, K.) nyob rau hauv lub modal system ntawm lig Nrab Hnub nyoog thiab lub Renaissance (saib Medieval hom), lub thiaj li hu ua. clauses (los ntawm lat. claudere – mus xaus). Lub ntsiab lus npog lub suab: antipenultim (antepaenultima; ua ntej penultimate), penultim (paenultima; penultimate) thiab ultima (ultima; kawg); qhov tseem ceeb ntawm lawv yog penultim thiab ultim. Lub ntsiab lus ntawm qhov kawg (finalis) tau suav tias yog K. (clausula perfecta), ntawm lwm lub suab - tsis zoo (clausula imperfecta). Cov nqe lus uas nquag ntsib feem ntau tau muab cais ua "treble" lossis soprano (VII-I), "alto" (VV), "tenor" (II-I), txawm li cas los xij, tsis tau muab rau cov suab sib xws, thiab los ntawm ser. 15 c ua. "bass" (VI). Qhov sib txawv ntawm cov hlau lead-nyob rau hauv kauj ruam VII-I, ib txwm rau cov laus frets, muab lub thiaj li hu ua. "Landino's clause" (los yog tom qab "Landino's cadenza"; VII-VI-I). Kev sib xyaw ua ke ntawm cov no (thiab zoo sib xws) melodic. K. tsim cadence chord progressions:

Nqe lus

Coj "Leej twg koj tsim nyog nyob rau hauv Tswv Yexus." 13c ib.

G. de Macho. Motet. 14 c ua.

G. Vaj. Peb caug instrumental piece. 15 c ua.

J. Okegem. Tsis muaj npe, Kyrie. 15 c ua.

Qhov tshwm sim zoo ib yam li kev sib haum xeeb. turnover VI tau dhau los ua ntau thiab siv ntau dua hauv kev txiav txim siab. K. (los ntawm 2nd ib nrab ntawm lub xyoo pua 15th thiab tshwj xeeb tshaj yog nyob rau hauv lub xyoo pua 16th, nrog rau cov plagal, "lub tsev teev ntuj", K. IV-I). Italian theorists ntawm lub xyoo pua 16th. tau qhia lub sij hawm "K."

Pib nyob ib ncig ntawm lub xyoo pua 17th. cadence turnover VI (ua ke nrog nws "inversion" IV-I) permeates tsis tsuas yog qhov xaus ntawm kev ua si los yog nws ib feem, tab sis tag nrho nws cov kev tsim kho. Qhov no coj mus rau cov qauv tshiab ntawm hom thiab kev sib haum xeeb (nws yog qee zaum hu ua cadence harmony - Kadenzharmonik).

Sib sib zog nqus theoretical substantiation ntawm lub system ntawm kev sib haum xeeb los ntawm kev tsom xam ntawm nws cov tub ntxhais - qhabnias. K. - muaj los ntawm JF Rameau. Nws piav txog lub suab paj nruag-logic. kev sib raug zoo chord kev sib raug zoo K., vam khom rau xwm. cov prerequisites nteg nyob rau hauv lub heev xwm ntawm muses. suab: lub suab tseem ceeb yog muaj nyob rau hauv muaj pes tsawg leeg ntawm lub suab ntawm lub tonic thiab, yog li, yog, raws li nws yog, generated los ntawm nws; qhov kev hloov pauv ntawm qhov tseem ceeb rau lub tonic yog qhov rov qab los ntawm qhov muab tau (tsim) rau nws qhov qub. Rameau muab kev faib tawm ntawm K hom uas tseem muaj nyob niaj hnub no: zoo meej (parfaite, VI), plagal (raws li Rameau, "tsis ncaj ncees lawm" - irregulare, IV-I), cuam tshuam (lus "tawg" - rompue, V-VI, V - IV). Qhov txuas ntxiv ntawm qhov thib tsib ntawm qhov tseeb K. ("triple ratio" - 3: 1) rau lwm cov chords, ntxiv rau VI-IV (piv txwv li, nyob rau hauv ib theem ntawm hom I-IV-VII-III-VI- II-VI), Rameau hu ua "kev coj ua ntawm K." (Kev tsim tawm ntawm cadence formula nyob rau hauv khub ntawm chords: I-IV, VII-III, VI-II).

M. Hauptman thiab tom qab ntawd X. Riemann tau nthuav tawm cov lus qhia ntawm qhov piv ntawm lub ntsiab. classical chords. K. Raws li Hauptmann, qhov kev tsis sib haum xeeb sab hauv ntawm thawj tonic muaj nyob rau hauv nws "bifurcation", nyob rau hauv uas nws yog nyob rau hauv opposite kev sib raug zoo rau lub subdominant (muaj lub ntsiab lub suab ntawm lub tonic raws li ib tug thib tsib) thiab rau cov tseem ceeb (muaj lub thib tsib. ntawm tonic raws li lub suab nrov). Raws li Riemann, kev hloov pauv ntawm T thiab D yog qhov yooj yim tsis yog lus. suab tso saib. Hauv kev hloov ntawm T mus rau S (uas zoo ib yam li qhov kev daws teeb meem ntawm D hauv T), muaj tshwm sim, raws li nws tau ua, kev hloov pauv ib ntus hauv nruab nrab ntawm lub ntiajteb txawj nqus. Qhov tshwm sim ntawm D thiab nws qhov kev daws teeb meem hauv T rov ua kom lub siab tshaj plaws ntawm T dua thiab lees tias nws nyob rau theem siab dua.

BV Asafiev piav K. los ntawm qhov kev xav ntawm kev xav ntawm intonation. Nws txhais K. raws li ib tug generalization ntawm cov yam ntxwv ntawm lub hom, raws li ib tug complex ntawm stylistically ib tug neeg intonational meloharmonics. cov qauv, tawm tsam qhov kev ua haujlwm ntawm kev tsim ua ntej "npaj-ua tiav" tau sau tseg los ntawm tsev kawm txoj kev xav thiab theoretical. abstractions.

Lub evolution ntawm kev sib haum xeeb nyob rau hauv con. 19th thiab 20th centuries coj mus rau ib tug radical hloov tshiab ntawm cov qauv K. Txawm hais tias K. tseem ua tiav tib lub ntsiab lus sib xyaw ua ke. yuav kaw qhov haujlwm. turnover, yav dhau los txhais tau tias ntawm kev paub txog qhov kev ua haujlwm no qee zaum tig tawm los hloov tag nrho los ntawm lwm tus, nyob ntawm cov khoom siv suab tshwj xeeb ntawm ib qho khoom muab (yog li ntawd, qhov tseeb ntawm kev siv lo lus "K." Hauv lwm qhov xwm txheej yog qhov tsis ntseeg) . Cov txiaj ntsig ntawm kev txiav txim siab hauv cov xwm txheej zoo li no yog txiav txim siab los ntawm kev vam khom ntawm cov ntsiab lus ntawm kev xaus rau tag nrho cov qauv suab ntawm kev ua haujlwm:

MP Mussorgsky. "Boris Godunov", ua IV.

NWS Prokofiev. “Nyob deb”, No 2.

2) Los ntawm lub xyoo pua 16th. ib tug virtuoso xaus ntawm ib tug solo suab (opera aria) los yog instrumental music, improvised los ntawm ib tug ua yeeb yam los yog sau tawm los ntawm ib tug composer. ua si. Nyob rau hauv lub xyoo pua 18th ib daim ntawv tshwj xeeb ntawm zoo sib xws K. tau tsim nyob rau hauv instr. kev hais kwv txhiaj. Ua ntej pib lub xyoo pua 19th nws feem ntau yog nyob rau hauv coda, nruab nrab ntawm lub cadence quarter-rau chord thiab D-seventh chord, tshwm sim raws li ib tug embellishment ntawm thawj ntawm cov harmonies. K. yog, raws li nws yog, me me solo virtuoso fantasy ntawm cov ntsiab lus ntawm kev hais kwv txhiaj. Nyob rau hauv lub era ntawm Viennese classics, K. tus muaj pes tsawg leeg los yog nws improvisation thaum ua yeeb yam tau muab rau tus neeg ua yeeb yam. Yog li, nyob rau hauv cov ntawv nruj nruj ntawm kev ua haujlwm, ib ntu tau muab, uas tsis ruaj khov los ntawm tus sau thiab tuaj yeem tsim (improvised) los ntawm lwm tus kws ntaus nkauj. Tom qab ntawd, cov kws sau ntawv lawv tus kheej pib tsim cov muaju (pib nrog L. Beethoven). Ua tsaug rau qhov no, K. sib koom ua ke ntau ntxiv nrog rau daim ntawv sau ua ke tag nrho. Qee lub sij hawm K. kuj ua haujlwm tseem ceeb dua, ua ib feem tseem ceeb ntawm lub tswv yim ntawm kev muaj pes tsawg leeg (piv txwv li, hauv Rachmaninov's 3rd concerto). Qee zaum, K. kuj pom nyob rau hauv lwm yam.

References: 1) Smolensky S., “Music Grammar” los ntawm Nikolai Diletsky, (St. Petersburg), 1910; Rimsky-Korsakov HA, Harmony Textbook, St. Petersburg, 1884-85; nws tus kheej, Phau ntawv qhia txog kev sib haum xeeb, St. Petersburg, 1886, rov luam tawm ntawm ob phau ntawv: Tag Nrho. coll. soj., vol. IV, M., 1960; Asafiev BV, Musical form as a process, ntu 1-2, M. – L., 1930-47, L., 1971; Dubovsky I., Evseev S., Sposobin I., Sokolov V. (thaum 1 teev), Xyaum kawm txog kev sib haum xeeb, ntu 1-2, M., 1934-35; Tyulin Yu. N., Cov lus qhuab qhia ntawm kev sib haum xeeb, (L.–M.), 1937, M., 1966; Sposobin IV, Lectures on the course of harmony, M., 1969; Mazel LA, Teeb meem ntawm classical harmony, M., 1972; Zarino G., Le istitutioni harmoniche (Terza parte Cap. 1), Venetia, 51, fax. ed., NY, 1558, Rus. rau. tshooj "Nyob rau hauv cadence" saib nyob rau hauv Sat.: Suab paj nruag Aesthetics ntawm Western European Middle Ages thiab lub Renaissance, comp. VP Shestakov, M., 1965, p. 1966-474; Rameau J. Ph., Traité de l'harmonie…, P., 476; nws tus kheej, Génération harmonique, P., 1722; Hauptmann M., Die Natur der Harmonik und der Metrik, Lpz., 1737; Riemann H., Musikalische Syntaxis, Lpz., 1853; nws tus kheej, Systematische Modulationslehre…, Hamburg, 1877; Lavxias teb sab trans.: Cov lus qhuab qhia ntawm kev hloov kho raws li lub hauv paus ntawm cov lus qhuab qhia ntawm cov ntaub ntawv suab paj nruag, M. – Leipzig, 1887; nws tus kheej, Vereinfachte Harmonielehre …, V., 1898 (Lavxias teb sab txhais – Simplified harmony los yog cov lus qhuab qhia ntawm lub tonal functions ntawm chords, M., 1893, M. – Leipzig, 1896); Casela A., L'evoluzione della musica a traverso la storia della cadenza perfetta (1901), engl, transl., L., 11; Tenschert R., Die Kadenzbehandlung bei R. Strauss, “ZfMw”, VIII, 1919-1923; Hindemith P., Unterweisung im Tonsatz, Tl I, Mainz, 1925; Chominski JM, Historia harmonii thiab kontrapunktu, t. I-II, Kr., 1926-1937; Stockhausen K., Kadenzrhythmik im Werk Mozarts, nyob rau hauv nws phau ntawv: “Texte…”, Bd 1958, Köln, 1962, S. 2-1964; Homan FW, Final and internal cadential patterns in Gregorian chant, “JAMS”, v. XVII, No 170, 206; Dahhaus S., Untersuchungen über die Enstehung der harmonischen Tonalität, Kassel – (ua), 1. Saib kuj lit. nyob rau hauv tsab xov xwm Harmony.

2) Schering A., Tus Dawb Cadence nyob rau hauv 18th Century Instrumental Concerto, «Congress of the International Music Society», Basilea, 1906; Knцdt H., On the history of the development of the cadences in the instrumental concerto, «SIMG», XV, 1914, p. 375; Stockhausen R., Lub cadenzas rau piano concertos ntawm Viennese classics, W., 1936; Misch L., Beethoven Studies, В., 1950.

Yu. H. Kholopov