Sab laug |

Fabkis sau ntxiv, nem. Zoo, Zusatzton

Lub suab ntawm lub chord uas tsis yog los ntawm (yog ntxiv rau) nws cov qauv tsim. Hauv lwm qhov kev txhais lus, P. t. yog "ib lub suab tsis chord (xws li, tsis suav nrog tertian qauv ntawm chord), uas tau txais lub ntsiab lus sib haum xeeb hauv ib qho kev sib raug zoo raws li nws cov ntsiab lus" (Yu. N. Tyulin); Ob qho kev txhais lus tuaj yeem ua ke. Feem ntau, P. t. yog hais txog kev sib raug zoo rau lub suab uas tsis suav nrog hauv tertian qauv ntawm chord (piv txwv li, thib rau hauv D7). Ib qho kev sib txawv yog ua los ntawm kev hloov pauv (tau hloov pauv ntawm chordal cuam tshuam) thiab nkag mus (ua ke nrog nws).

F. Chopin. Mazurka op. 17 nr4.

PI Tchaikovsky. 6th symphony, zog IV.

P. t. Nws yog ua tau nyob rau hauv kev sib raug zoo tsis tau tsuas yog rau peb chords, tab sis kuj rau chords ntawm ib tug txawv qauv, nrog rau cov polychords:

Qhov sib ntxiv ntawm P. tones (tshwj xeeb tshaj yog ob lossis peb lub suab P.) feem ntau ua rau kev hloov pauv ntawm chord rau hauv ib qho polychord. P. t. tsim kom muaj peb lub ntsiab lus sib txawv hauv cov qauv ntawm chord: 1) lub ntsiab. tone ("hauv paus" ntawm chord), 2) lwm tones ntawm lub ntsiab. cov qauv (ua ke nrog lub suab nrov "core" ntawm chord) thiab 3) cov suab nrov thib ob (nyob rau hauv kev sib raug zoo nrog P. t., "core" plays lub luag haujlwm zoo ib yam li "lub suab tseem ceeb" ntawm kev txiav txim siab dua). Yog li, qhov yooj yim tshaj plaws kev sib raug zoo tuaj yeem khaws cia txawm tias muaj qhov sib txawv ntawm qhov sib txawv:

NWS Prokofiev. “Romeo thiab Juliet” (10 daim rau fp. op. 75, No 5, “Masks”).

Raws li ib tug tshwm sim ntawm harmonic xav P. t. yog sib txuas nrog keeb kwm ntawm dissonance. Lub xya yog Ameslikas kho nyob rau hauv chord (D7) raws li ib yam ntawm "kub" dhau lub suab. Lub kinetics ntawm chord dissonance yog ib qho kev ceeb toom ntawm nws keeb kwm, ntawm nws "sab-tone" xwm. Crystallized nyob rau hauv lub 17-18 centuries. tertsovye chords (ob qho tib si consonant thiab dissonant) tau tsau, txawm li cas los xij, raws li tus qauv consonances. Yog li ntawd, P. t. yuav tsum tau qhov txawv tsis nyob rau hauv xws li chords li V7 los yog II6 / 5, tab sis nyob rau hauv structurally complex consonances (xws li consonances, lub suab uas yuav tsum tau teem nyob rau hauv peb, piv txwv li, "tonic nrog ib tug thib rau"). P. t. Nws muaj feem xyuam rau acciaccatura, ib qho kev ua yeeb yam ntawm 17th thiab 18th centuries. (nrog D. Scarlatti, L. Couperin, JS Bach). P. t. tau txais qee qhov kev faib tawm hauv kev sib haum xeeb ntawm xyoo pua 19th. (cov nyhuv ntawm lub tonic nrog rau thib rau hauv lub ntsiab lus thib ob ntawm qhov kawg ntawm Beethoven's 27th sonata rau piano, "Chopin's" dominant nrog rau thib rau, thiab lwm yam). P. t. tau los ua ib qho cuab yeej siv hauv kev sib haum xeeb ntawm lub xyoo pua 20th. Pom tau thaum xub thawj li "cov ntawv ntxiv" (VG Karatygin), piv txwv li tsis yog chord suab "pob" hauv chord, P. t. qeb, sib npaug rau pawg chord thiab tsis-chord suab.

Raws li ib tug theoretical lub tswvyim ntawm P. t. rov qab mus rau lub tswv yim ntawm u1bu1bthe "ntxiv rau" (sixte ajoutée) los ntawm JP Rameau (hauv kev ua raws f2 a2 c1 d1 - c2 g2 c1 e1 lub suab nrov ntawm 1 chord yog f, tsis yog d, uas yog ib tug PT, ib tug dissonance ntxiv rau lub triad f2 a4 cXNUMX). X. Riemann suav hais tias yog P. t. (Zusdtze) yog ib qho ntawm XNUMX txoj hauv kev tsim cov chords tsis sib haum xeeb (nrog rau cov suab tsis yog chord ntawm qhov hnyav thiab lub teeb, nrog rau kev hloov pauv). O. Messiaen muab P. t. ntau daim ntawv. GL Catuar tsim lub sij hawm "P. t." tsis yog chord suab, tab sis tshwj xeeb xav txog "kev sib raug zoo ua ke los ntawm sab tones". Yu. N. Tyulin muab P. t. ib tug zoo sib xws txhais, subdividing lawv mus rau hauv hloov thiab noj paus.

References: Karatygin VG, tus kws ntaus nkauj Impressionist. (Rau kev tsim khoom ntawm Debussy's Peléas et Melisande), Hais Lus, 1915, Tsis muaj 290; Catuar GL, Theoretical course of harmony, ntu 2, M., 1925; Tyulin Yu. N., Phau ntawv ntawm kev sib haum xeeb, ntu 2, M., 1959; nws tus kheej, Niaj hnub nimno kev sib haum xeeb thiab nws keeb kwm keeb kwm, hauv kev sau: Cov Lus Nug Txog Kev Kawm Txuj Ci, L., 1963, tib yam, hauv phau ntawv: Theoretical Problems of Music of the 1th Century, vol. Xyoo 1967, M., 2; Rashinyan ZR, Phau ntawv ntawm kev sib haum xeeb, phau ntawv. 1966, Er., 1 (hauv Armenian); Kiseleva E., Secondary TONES In Prokofiev's harmony, in: Theoretical problems of music of the 1967th century, vol. 4, M., 1973; ib. Rivano NG, Reader in harmony, ntu 8, M., 18, ch. yim; Gulyanitskaya NS, Qhov teeb meem ntawm chord nyob rau hauv niaj hnub kev sib raug zoo: txog ib co Anglo-American lub tswv yim, nyob rau hauv: Cov lus nug ntawm Musicology, Proceedings ntawm lub xeev. Lub koom haum suab paj nruag thiab pedagogical. Gnesins, nr. 1976, Moscow, 1887; Riemann H., Handbuch der Harmonielehre, Lpz., 1929, 20; Carner M., Kev kawm txog 1942th century harmony, L., (1944); Messiaen O., Technique de mon langage suab paj nruag. P., (1951); Sessions R., Harmonic xyaum, NY, (1961); Rersichetti V., Twentieth century harmony NY, (1966); Ulehla L., Kev sib haum xeeb. Romanticism los ntawm kaum ob kab, NY-L., (XNUMX).

Yu. H. Kholopov