Neapolitan sixth chord |
English the neapolitan sixth, нем. Neapolitan sixth chord, Neapolitan six, чеш. neapolsky sextakord, frygicky sextakord
Qhov thib ob qis thib rau chord (los yog me me subdominant nrog rau tus thib rau me me tsis yog thib tsib). Lub sij hawm "N. Nrog." yog txuam nrog cov yam ntxwv siv ntawm no chord ntawm cov composers ntawm lub Neapolitan opera tsev kawm ntawv con. 17th caug xyoo (tshwj xeeb, nrog A. Scarlatti, piv txwv li, hauv Opera Rosaura). Txawm li cas los xij, lub sij hawm yog qhov xwm txheej, txij li H. s. tshwm sim ntev ua ntej lub tsev kawm ntawv Neapolitan (los ntawm J. Obrecht, 2nd ib nrab ntawm lub xyoo pua 15th).
UA. Nws plam mus. Pawg “Salva diva parens”, Credo, Confiteor, takty 34-36.
Nws yog dav siv los ntawm composers ntawm ntau lub teb chaws thiab cov neeg (piv txwv li, los ntawm L. Beethoven). Tus sau lub sij hawm "N. s”, tej zaum, yog L. Busler (1868), txawm hais tias muaj pov thawj (X. Riemann) txog nws txoj kev siv lus Askiv ntev. theorists (hauv lus Askiv terminology muaj peb ntau "sexts": "Italian" - ib tug chord zoo li as-c-fis, "Fabkis" - as-cd-fis thiab "German" - as-c-es-fis). Nyob rau hauv lub suab system ntawm loj-me me harmonic. tonality, tag nrho cov kauj ruam uas yog them los ntawm ib tug saw ntawm 11 thib tsib (los ntawm lub hauv paus tonic. fifths – 5 down and 5 up), tus yam ntxwv suab ntawm N. nrog. - II qib qis - yog ua tiav los ntawm qhov loj tshaj tob tob rau cov flats (thiab yog li ntawd nws yog daim iav-tawm tsam rau lwm qhov tseem ceeb uas tsis yog-diatonic suab - "Lydian" siab IV degree; saib Inclination.) Li no lub thickened-gloomy ntxoov ntxoo yam ntxwv ntawm lub modal (Phrygian) xim ntawm N. s. (ib qho xim tsaus dua yog muaj nyob rau hauv me version ntawm N. nrog, piv txwv li, fes-as-des hauv C-dur lossis c-moll). Functionally N. nrog. - qhov "hnyav" subdominant, qhov txwv ntawm kev txav mus los ntawm qhov kev taw qhia no (uas ua rau nws tuaj yeem siv N. s. raws li qhov tseem ceeb ntawm kev sib haum xeeb; saib, piv txwv li, qhov kawg ntawm c-moll passacaglia rau JS Bach's lub cev).
JS Bach. Passacaglia hauv c-moll rau lub cev.
Nyob rau hauv lub moj khaum ntawm 7-kauj ruam diatonic los yog 10-kauj ruam loj-me system, piv txwv li, nrog cov tonic C - systems:
lub suab ntawm II theem qis, uas tig mus rau sab nraum lub ntsiab. cov kauj ruam, yuav tsum tau piav qhia raws li kev hloov pauv, tsis yog diatonic auxiliary li qiv los ntawm qhov ntsuas ntawm lwm qhov tseem ceeb (me subdominant) lossis los ntawm lwm hom (Phrygian) nrog tib lub tonic (saib cov ntaub ntawv tshuaj xyuas hauv phau ntawv los ntawm VO Berkov). Mn. cov kws tshawb fawb ncaj ncees txhais N. ntawm nplooj ntawv. yuav ua li cas lawv thiaj li ywj siab. kev sib haum xeeb, thiab tsis yog raws li kev hloov kho chromatically (hloov) chord (O. Savard, R. Louis, L. Thuil, thiab lwm yam). Raws li kev soj ntsuam ntawm VO Berkov, nyob rau hauv lub suab paj nruag. yuav luag tsis muaj cov piv txwv ntawm N. txoj kev kawm hauv kev xyaum. lwm txoj kev. Kev txhais lus tseeb tshaj plaws ntawm N. s. Raws li kev sib haum xeeb uas tsis yog hloov pauv ntawm kaum ob lub suab modal system ("chromatic", raws li GL Catuar; "tsib lub suab diatonic", raws li AS Ogolevets). Ntxiv rau N. s, "Neapolitan" kev sib haum xeeb (Czech frygicke akord)
L. Beethoven. 3rd symphony, zog I.
yog siv los ua triad (L. Beethoven, sonata op. 57, part 1, vols. 5-6), quarter-sext chord (F. Liszt, 1st concerto, vol. 4), xya chord (kuj nyob rau hauv kev ncig) thiab txawm ib lub suab cais.
L. Beethoven. Concerto for violin thiab orchestra, part I.
References: Rimsky-Korsakov N., Phau ntawv qhia txog kev sib haum xeeb, St. Petersburg, 1886, tib yam, Poly. coll. soj., vol. IV, M., 1960; Catuar G., Theoretical course of harmony, part 1, M., 1924; Ogolevets AS, Introduction to niaj hnub suab paj nruas xav, M. – L., 1946; Berkov V., Harmony and suab paj nruag daim ntawv, M., 1962, nyob rau hauv lub npe: Formative txhais tau tias kev sib haum xeeb, M., 1971; Riemann H., Vereinfachte Harmonielehre oder die Lehre von den tonalen Funktionen der Akkorde, NY – L., 1893 Reger M., Beiträge zur Modulationslehre, Münch., 1896, 1901 (hauv Russian translation., L1903, Odulation, 1922). Schenker H., Neue musikalische Theorien und Phantasien, Bd 1926, B. – Stuttg., 1, W., 1906; Handke R., Der neapolitanische Sextakkord hauv Bachscher Auffassung, hauv Bach-Jahrbuch, Jahrg. 1956, Ib., 16; Montnacher J., Das Problem des Akkordes der neapolitanischen Sexte…, Lpz., 1920; Piston W., Harmony, NY, 1934; Stephani H., Stadien harmonischer Sinnerfüllung, “Musikforschung”, 1941, Jahrg. 1956, H. 9; Janecek K., Harmonie rozborem, Praha, XNUMX.
Yu. H. Kholopov
