I-Neapolitan sixth chord |
IsiNgisi the neapolitan sixth, нем. Ichodi yesithupha ye-Neapolitan, i-Neapolitan yesithupha, чеш. neapolsky sextakord, frygicky sextakord
Ichord yesibili ephansi yesithupha (noma i-subdominant encane enesithupha esikhundleni sesihlanu). Igama elithi "N. Kanye.” ihlotshaniswa nokusetshenziswa okuyisici kwaleli culo phakathi kwabaqambi be-Neapolitan opera school con. Ikhulu le-17 (ikakhulukazi, no-A. Scarlatti, isibonelo, ku-opera Rosaura). Nokho, leli gama linemibandela, njengoba u-H. yavela kudala ngaphambi kwesikole saseNeapolitan (ngu-J. Obrecht, ingxenye yesi-2 yekhulu le-15).
Я. Wanyonyoba. IMisa “Salva diva parens”, Credo, Confiteor, takty 34-36.
Isetshenziswa kabanzi ngabaqambi bamazwe ahlukahlukene nabantu (isibonelo, nguL. Beethoven). Umbhali wegama elithi “N. s”, mhlawumbe, nguL. Busler (1868), nakuba kukhona ubufakazi (X. Riemann) mayelana nokusetshenziswa kwayo isikhathi eside kwesiNgisi. ama-theorists (ngesisho samagama esiNgisi kuneminye emithathu “imibhalo yocansi”: “isiNtaliyane” – iculo elifana ne-as-c-fis, “isiFulentshi” – as-cd-fis kanye “nesiJalimane” – as-c-es-fis). Esimisweni somsindo we-harmonic enkulu-encane. i-tonality, zonke izinyathelo zazo ezimbozwe uchungechunge lwezingxenye eziyi-11 (kusuka ku-tonic emaphakathi. okwesihlanu - 5 phansi no-5 phezulu), umsindo wesici se-N. nge. - II degree eliphansi - lifinyelelwa ngokujula okukhulu maqondana namaflethi (ngakho-ke liphikisana nesibuko somunye umsindo obalulekile ongewona we-diatonic - i-"Lydian" high IV degree; bheka i-Inclination.) Ngakho-ke isici somthunzi oshubile umbala we-modal (Phrygian) we-N. s. (umbala omnyama nakakhulu utholakala enguqulweni encane ye-N., isibonelo, i-fes-as-des in C-dur noma c-moll). Ngokusebenza N. nge. – i-subdominant “extreme”, umkhawulo wokunyakaza kule ndlela (okwenza kube nokwenzeka ukusebenzisa i-N. s. njengephuzu elibalulekile lentuthuko evumelanayo; bheka, isibonelo, isiphetho se-c-moll passacaglia ye-JS Bach's isitho).
JS Bach. I-Passacaglia ku-c-moll yesitho.
Ngaphakathi kohlaka lwe-7-step diatonic noma i-10-step major-minor system, isibonelo, nge-tonic C - amasistimu:
umsindo wezinga eliphansi le-II, elivele lingaphandle kwe-main. izinyathelo, kufanele ngabe zichazwe njengokuguqulwa, insiza engeyona ye-diatonic njengokuboleka esikalini somunye ukhiye (i-subdominant encane) noma kwenye imodi (Phrygian) ene-tonic efanayo (bheka ukubuyekezwa kwezincwadi encwadini ka-VO Berkov). UMn. abacwaningi bahumushe kahle i-N. yekhasi. zizimele kanjani. ukuvumelana, futhi hhayi njengechord eshintshwe i-chromatically (eshintshiwe) (O. Savard, R. Louis, L. Thuil, njll.). Ngokusho kokubonwa kwe-VO Berkov, emculweni. cishe azikho izibonelo zemfundo ka-N. enye indlela. Incazelo enembe kakhulu ye-N. s. njengokuvumelana okungaguquki okuyingxenye yohlelo lwemodali yemisindo eyishumi nambili (“chromatic”, ngokusho kuka-GL Catuar; “i-diatonic yemisindo eyishumi nambili”, ngokusho kwe-AS Ogolevets). Ngokungeziwe ku-N. s, “Neapolitan” ukuvumelana (Czech frygicke akord)
L. Beethoven. I-symphony yesi-3, ukunyakaza I.
isetshenziswa njenge-triad (L. Beethoven, i-sonata op. 57, ingxenye 1, ama-vols. 5-6), i-quarter-sext chord (F. Liszt, i-concerto yoku-1, i-vol. 4), i-chord yesikhombisa (nayo esakazwayo) kanye ngisho umsindo ohlukile.
L. Beethoven. Ikhonsathi ye-violin ne-orchestra, ingxenye I.
References: Rimsky-Korsakov N., Incwadi ewusizo yokuvumelana, iSt. Petersburg, 1886, efanayo, iPoly. khola. usho., vol. IV, M., 1960; Catuar G., Inkambo yethiyori yokuvumelana, ingxenye 1, M., 1924; Ogolevets AS, Isingeniso sokucabanga komculo wesimanje, M. - L., 1946; I-Berkov V., I-Harmony kanye nefomu lomculo, M., 1962, ngaphansi kwesihloko esithi: Izindlela zokwakha zokuvumelana, 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 (ngenguqulo yesiRashiya - L1903); Schenker H., Neue musikalische Theorien und Phantasien, Bd 1922, B. - Stuttg., 1926, W., 1; Handke R., Der neapolitanische Sextakkord e-Bachscher Auffassung, e-Bach-Jahrbuch, Jahrg. 1906, Lpz., 1956; Montnacher J., Das Problem des Akkordes der neapolitanischen Sexte…, Lpz., 16; Piston W., Harmony, NY, 1920; UStephani H., Stadien harmonischer Sinnerfüllung, “Musikforschung”, 1934, Jahrg. 1941, H. 1956; UJanecek K., uHarmonie rozborem, uPraha, 9.
Yu. H. Kholopov
