Sau npe |

lat. Relatio non harmonica, Fabkis txoj kev sib raug zoo, kab mob. Questand

Qhov kev tsis sib haum xeeb ntawm lub suab ntawm cov kauj ruam ntuj thiab nws cov chromatic-alternative hloov kho nyob rau hauv ib lub suab sib txawv (los yog nyob rau hauv ib tug txawv octave). Nyob rau hauv lub diatonic P. kev sib haum xeeb system feem ntau muab lub tswv yim ntawm ib tug cuav suab (tsis yog harmonica) - raws li nyob rau hauv qhov ncaj. zej zog, thiab dhau lub suab los yog chord:

Yog li ntawd, P. raug txwv los ntawm cov cai ntawm kev sib haum xeeb. Kev sib xyaw ua ke ntawm ib qho kev kawm zoo nrog nws qhov kev hloov pauv tsis yog P., yog tias lub suab ua tau zoo, piv txwv li:

P. raug tso cai nyob rau hauv kev sib raug zoo D tom qab qib qis thib ob, nrog rau los ntawm caesura (saib cov piv txwv saum toj no, col. 244).

Kev zam ntawm P. yog twb raug nruj-style counterpoint (15th-16th centuries). Nyob rau hauv Baroque era (17th - 1st ib nrab ntawm lub 18th centuries), kev hu nkauj tau raug tso cai nyob rau qee lub sij hawm - xws li ib tug inconspicuous tshwm sim nyob rau hauv tej yam kev mob ntawm tsim lub suab (JS Bach, Brandenburg Concerto 1, part 2, tuav 9 -10), los yog raws li qhov tshwj xeeb. txheej txheem qhia k.-l. cov teebmeem tshwj xeeb, np. los piav txog kev tu siab lossis qhov mob (P. a1 – as2 piv txwv A,

JS Bach. Mass in h minor, No 3, bar 9.

JS Bach. Chorale “Singt dem Herrn ein neues Lied”, tuav 8-10.

hauv qab no, yog txuam nrog kev qhia ntawm lo lus Zagen - ntev). Nyob rau hauv lub era ntawm romanticism thiab nyob rau hauv niaj hnub. P. lub suab paj nruag feem ntau yog siv los ua ib qho ntawm cov yam ntxwv ladoharmonics. system ntawm txhais tau tias (tshwj xeeb, nyob rau hauv tus ntawm cov hom tshwj xeeb; piv txwv li: P. e - es1 nyob rau hauv Stravinsky's The Rite of Spring, tus naj npawb 123, bar 5 - raws li niaj hnub hom). P. piv txwv li B (embodies lub intoxicating charms ntawm Kashcheevna) yog piav qhia los ntawm kev sib txuas nrog cov tsis-diatonic. qis kawg

JS Bach. Matthew Passion, No 26, bar 26.

NA Rimsky-Korsakov. “Kashchei lub Immortal”, scene II, tuav 28-29.

system thiab nws cov yam ntxwv tone-semitone nplai. Nyob rau hauv lub suab paj nruag ntawm lub xyoo pua 20th tau siv dav (los ntawm AN Cherepnin, B. Bartok, thiab lwm yam) ob-terts loj-me chord (xws li: e1-g1-c2-es2), qhov tshwj xeeb ntawm uas yog P. ( e1-es2), nrog rau cov chords cuam tshuam rau nws (saib qhov piv txwv saum toj ntawm kab 245).

Yog Stravinsky. “Sacred spring”.

Yam zoo rau niaj hnub Hauv suab paj nruag, kev sib xyaw ntawm cov qauv ua rau polyscale thiab polytonality, qhov twg P. (nyob rau hauv succession thiab simultaneity) ua ib tug qauv ntawm cov qauv modal:

Yog Stravinsky. Pieces rau piano "Tsib ntiv tes". Lento, bars 1-4.

Hauv lub npe. atonality enharmonic cov. qhov tseem ceeb ntawm cov kauj ruam yog sib npaug, thiab P. dhau los ua tsis tau (A. Webern, concerto rau 9 instruments, op. 24).

Lub sij hawm "P." - Cov ntawv luv ntawm cov lus "tsis yog-kev sib haum xeeb P." (German: unharmonischer Querstand). P. yog ib feem ntawm pawg txwv tsis pub muaj kev sib cav sib ceg uas tau khaws nws qhov tseem ceeb, uas, ntxiv rau kev hloov pauv P., kuj suav nrog kev sib raug zoo ntawm tritone. P. thiab tritone (diabolus hauv suab paj nruag) zoo sib xws hauv qhov uas ob leeg nyob sab nraud ntawm kev xav raws li qhov system ntawm hexachords (saib Solmization), thiab raug rau tib txoj cai - Mi contra Fa (txawm tsis zoo ib yam):

J. Tsarlino (1558) rau txim ob b. peb or m. thib rau hauv kab, vim lawv "tsis nyob hauv kev sib raug zoo"; inharmonious qhov kev sib raug zoo yog qhia los ntawm nws (hauv ib qho piv txwv) ob qho tib si hauv P. thiab hauv newts:

Los ntawm G. Zarlino's treatise “Le istitutioni harmonice” (ib ntu III, tshooj 30).

M. Mersenne (1636-37), xa mus rau Tsarlino, hais txog P. rau "kev sib raug zoo" (fausses kev sib raug zoo) thiab muab cov piv txwv zoo sib xws rau triton thiab P.

K. Bernhard txwv tsis pub muaj kev sib raug zoo: tritones, lossis "ib nrab-quints" (Semidiapente), "ntau" octaves (Octavae Superfluae), "ib nrab-octaves" (Semidiapason), "ntau" unison (Unisonus superfluus), muab piv txwv yuav luag. rov hais dua qhov saum toj no los ntawm Carlino.

I. Mattheson (1713) qhia txog tib lub sijhawm nyob rau tib lub ntsiab lus xws li "suab nrov nrov" (widerwärtige Soni). Tag nrho tshooj 9 ntawm ntu 3 ntawm "Perfect Kapellmeister" mob siab rau. "inharmonic P." Kev tawm tsam rau qee qhov kev txwv ntawm txoj kev xav qub uas yog "tsis ncaj ncees" (xws li qee cov ntsiab lus hais los ntawm Zarlino), Matteson qhia qhov txawv ntawm "tsis tuaj yeem" thiab "zoo heev" P. (Kev faib "kev sib raug zoo tsis ncaj ncees" rau "ua siab ntev" thiab "tsis kam lees" kuj pom. nyob rau hauv S. Brossard's “Musical Dictionary”, 1703.) XK Koch (1802) piav txog P. raws li “kev sib txuas ntawm ob lub suab, cov lus ntawm cov suab uas yog cov yuam sij sib txawv.” Yog, hauv kev ncig.

Lub pob ntseg nkag siab txog fis-ib kauj ruam hauv lub suab qis li G-dur, af kauj ruam nyob rau sab sauv ib yam li C lossis F-dur. "Relatio non harmonica" thiab "non-harmonic P." tau piav qhia los ntawm Koch raws li cov lus sib dhos, thiab cov hauv qab no

tseem siv tau rau lawv.

EF Richter (1853) teev "non-harmonic P." mus rau "tsis-melodic txav", tab sis ua kom pom tseeb qee qhov "embellishing" (auxiliary) sau ntawv lossis lub hauv paus ntsiab lus ntawm "txo" (nruab nrab txuas):

Armenian pej xeem nyiam zaj nkauj "Garuna" ("Lub Caij Nplooj Hlav").

Ib qho kev txav uas tsim kev nce ntxiv. ib quart

, Richter hais txog P. Raws li X. Riemann, P. yog ib qho kev faib tawm ntawm lub suab hloov chromatically, tsis zoo rau lub rooj sib hais. Tsis kaj siab nyob rau hauv nws yog tsis txaus assimilation ntawm harmonics. kev sib txuas, uas tuaj yeem muab piv nrog impure intonation. Qhov txaus ntshai paradox yog thaum tsiv mus rau lub triad ntawm tib lub npe; nrog ib kauj ruam tritone, P. "yog qhov tseeb ntawm tus kheej" (piv txwv li, n II - V); Cov khoom ntawm tertsovy piv (piv txwv li, kuv - hVI) occupies ib nrab txoj hauj lwm.

Hess de Calvet (1818) txwv tsis pub "kev txav tsis sib haum xeeb" ua rau qhib tritone

Txawm li cas los xij, tso cai rau "kev ua tsis zoo" yog tias lawv mus "tom qab kev sib tshuam" (caesuras). IK Gunke (1863) pom zoo kom tsis txhob nyob rau hauv ib tug nruj style "ntau yam kev sib raug zoo (Kev sib raug zoo) ntawm scales uas tshwm sim los ntawm tsis-saib cov suab hais txog" (ib qho piv txwv ntawm P. muab los ntawm nws yog ib qho kev kawm los ntawm b. thib peb thiab los ntawm m. sext) .

PI Tchaikovsky (1872) naz. P. "tus cwj pwm tsis sib haum xeeb ntawm ob lub suab." BL Yavorsky (1915) txhais P. raws li kev tawg ntawm kev sib txuas ntawm cov suab sib txuas: P. - "kev sib txuas ntawm cov suab sib txuas hauv cov octaves sib txawv thiab cov suab sib txawv thaum lub ntiajteb txawj nqus ua tsis raug." Piv txwv. (cov suab sib txuas - h1 thiab c2):

(yog) tab sis tsis yog

(P.). Raws li Yu. N. Tyulin thiab NG Privano (1956), muaj ob hom P.; nyob rau hauv thawj, cov suab uas tsim tus P. tsis suav nrog hauv cov qauv qauv dav dav (P. suab tsis tseeb), nyob rau hauv qhov thib ob, lawv qhia txog cov qauv qauv dav dav (P. tej zaum yuav siv tau).

References: Hess de Calve, Theory of Music …, part 1, Har., 1818, p. 265–67; Stasov VV, Tsab ntawv rau Mr. Rostislav txog Glinka, “Theatrical and Musical Bulletin”, 1857, Kaum Hli Ntuj Tim 27, tib yam nyob rau hauv phau ntawv: Stasov VV, Cov Khoom ntawm Suab paj nruag, vol. 1, M., 1974, nr. 352–57; Gunke I., Phau ntawv qhia ua tiav rau kev sau nkauj, St. Petersburg, (1865), p. 41–46, M., 1876, 1909; Tchaikovsky PI, Guide to the practical study of harmony, M., 1872, the same in the book: Tchaikovsky PI, Poly. coll. soj., vol. III-a, M., 1957, p. 75–76; Yavorsky B., Exercises in the form of modal rhythm, part 1, M., 1915, p. 47; Tyulin Yu. N., Privano NG, Theoretical Foundations of Harmony, L., 1956, p. 205-10, M., 1965, ib. 210–15; Zarlino G., Le institutioni harmonice. Ib tug facsimile ntawm 1558, NY, (1965); Mersenne M., Harmonie universelle. La théorie et la pratique de la musique (P., 1636-37), t. 2 Ib., 1963, p. 312–14; Brossard S., Dictionaire de musique…, P., 1703; Mattheson J., Das neu-eröffnete Orchestre…, Hamb., 1713, S. 111-12; nws, Der vollkommene Capellmeister, Hamb., 1739, S. 288-96, ie, Kassel – Basel, 1954; Martini GB, Esemplare o sia saggio fondamentale pratico di contrappunto sopra il canto fermo, pt. 1, Bologna, 1774, nr. 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, 154 L. Christoph. ua, 57.

Yu. H. Kholopov