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kusuka ku-lat. modulatio - kukalwa

Ukushintsha ukhiye ngokushintshwa kwesikhungo se-tonal (tonics). Kumagugu omculo, i-M. esebenza kakhulu, esekelwe ku-harmonic. ukuhlobana kokhiye: amachords ajwayelekile kokhiye asebenza njengabalamuli; lapho lawa ma-chords ebonakala, imisebenzi yawo ibuyekezwa kabusha. Ukulinganisa ngokweqile kubangelwa ukubukeka kwama-harmonics. inzuzo, isici sokhiye omusha, kanye nechord yokumodulatha nokuguqulwa okuhambisanayo iba yisinqumo:

Ukuguquguquka kukanxantathu ovamile kungenzeka uma ukhiye omusha uku-1st noma 2nd degree of affinity to the original (bona. Ubudlelwano bokhiye). M. kokhiye abakude abangenawo unxantathu abavamile kukhiqizwa ngokhiye abahlobene ngokuvumelana (ngokuhambisana nohlelo olulodwa noma olunye lokumodela):

M. naz. ipheleliswe ngokulungiswa kokugcina noma okuhlobene kwe-tonic entsha (M. - transition). Okungaphelele M. kufaka phakathi ukuchezuka (ngokubuyela kukhiye oyinhloko) nokudlula u-M. (ngokunyakaza kokushintshashintsha okwengeziwe).

Uhlobo olukhethekile lokusebenza kwe-M. yi-enharmonic M. (bona i-Enharmonism), lapho i-chord yokulamula ivamile kubo bobabili okhiye ngenxa ye-enharmonic. ukucabanga kabusha ngesakhiwo sayo se-modal. Ukushintshashintsha okunjalo kungaxhuma kalula amathoni akude kakhulu, kwakha ukuphenduka okungalindelekile, ikakhulukazi uma i-anharmonic. ukuguqulwa kwechord yesikhombisa eyinhloko ibe i-subdominant eguquliwe:

F. Schubert. I-String Quintet op. 163, ingxenye II.

I-Melodic-harmonic M. kufanele ihlukaniswe ku-M. esebenzayo, exhumanisa amathoni ngezwi eliziholayo ngaphandle kwechodi evamile yokulamula. Nge-M., i-chromatism yakheka ngethonili eseduze, kuyilapho uxhumo olusebenzayo luhlehliselwa ngemuva:

Isici esibaluleke kakhulu se-melodic-harmonic. M. kokhiye abakude ngaphandle kokuxhumana okusebenzayo. Kulokhu, ngezinye izikhathi kwakhiwa i-anharmonism ecatshangelwayo, esetshenziswa ekubhalweni komculo ukuze kugwenywe inani elikhulu lezinhlamvu kukhiye olinganayo we-anharmonic:

Ngokunyakaza kwe-monophonic (noma i-octave), i-melodic M. (ngaphandle kokuvumelana) ngezinye izikhathi itholakala, engaya kunoma yimuphi ukhiye:

L. Beethoven. I-Sonata ye-piano op. 7, ingxenye II

M. ngaphandle kokulungiselela, ngemvume eqondile ye-tonic entsha, ebizwa. ukuhlangana kwamathoni. Ivamise ukusetshenziswa lapho uzulazulela esigabeni esisha sefomu, kodwa kwesinye isikhathi itholakala ngaphakathi kwesakhiwo:

MI Glinka. Ezothando “Ngikhona, Inezilla”. Imephu yokushintshashintsha (ushintsho ukusuka ku-G-dur ukuya ku-H-dur).

Kusukela ku-tonal M. ecatshangelwe ngenhla, kuyadingeka ukuhlukanisa i-modal M., lapho, ngaphandle kokushintsha i-tonic, kuphela ushintsho ekuthambekeni kwemodi kukhiye ofanayo.

Ushintsho olusuka kokuncane luye kokukhulu luyisici ikakhulukazi se-IS Bach's cadences:

JC Bach. The Well-Tempered Clavier, vol. I, ndulela ku-d-moll

Ukuguqulwa okuhlanekezelwe kuvame ukusetshenziswa njengenhlanganisela yama-tonic triad, okugcizelela umbala omncane we-modal wakamuva:

L. Beethoven. I-Sonata ye-piano op. 27 No 2, ingxenye I.

M. banenkulumo ebaluleke kakhulu. okusho emculweni. Zicebisa umculo nokuzwana, ziletha ukuhlukahluka okumibalabala, zandise ukuxhumana okusebenzayo kwamachords, futhi zifake isandla ekuguquguqukeni kwezingoma. ukuthuthukiswa, ukuthuthukiswa okubanzi kwezobuciko. okuqukethwe. Ekuthuthukisweni kokuguquguquka, ukuhlobana okusebenzayo kwamathoni kuyahlelwa. Indima ka-M. ekuqanjweni komculo ibaluleke kakhulu. umsebenzi uwonke futhi ngokuphathelene nezingxenye zawo. Amasu ahlukahlukene we-M. athuthukiswe ngenqubo yomlando. ukuthuthukiswa kokuzwana. Nokho, kakade i-monophonic endala Nar. izingoma ezimnandi. ukuguquguquka, okuvezwe ngoshintsho lwamathoni ayireferensi emodi (bona Imodi eguquguqukayo). Amasu okushintshashintshashintsha abonakala kakhulu ngeminye iminyuziyamu eyodwa noma enye. isitayela.

References: Rimsky-Korsakov HA, Incwadi ewusizo yokuvumelana, 1886, 1889 (ku-Poln. sobr. soch., vol. IV, M., 1960); Inkambo esebenzayo yokuvumelana, vol. 1-2, M., 1934-35 (Umbhali: I. Sopin, I. Dubovsky, S. Yevseev, V. Sokolov); Tyulin Yu. N., Incwadi yokuvumelana, M., 1959, 1964; Zolochevsky VH, Pro-modulation, Kipp, 1972; Riemann H., Systematische Modulationslehre als Grundlage der musikalischen Formenlehre, Hamb., 1887 (ngenguqulo yesiRashiya - Ukufundisa okuhlelekile kokuguquguquka kwezwi njengesisekelo samafomu omculo, M., 1898, Nov. ed., M., 1929) .

Yu. N. Tyulin