I-Plagal cadence |

I-Plagal cadence (Late Latin plagalis, kusukela ku-Greek plagios - lateral, indirect) - enye yezinhlobo ze-cadence (1), ebonakala ngokucwaninga kokuvumelana S kanye no-T (IV-I, II65-I, VII43-I, njll.); ngokumelene neqiniso. i-cadence (D – T) njengeyinhloko, eyinhloko. uhlobo. Kukhona okugcwele (S – T) kanye nohhafu (T – S) P. kuya. Ngokwe-normative P. to. ithoni ye-tonic yokuxazulula ikhona (noma isho) ekuvumelaneni kuka-S futhi akuwona umsindo omusha ekwethulweni kwe-T; okuhambisana nalokhu kuzoveza. uhlamvu lukaP. ithambe, njengokungathi isenzo esingaqondile (ngokungafani ne-cadence eyiqiniso, ebonakala ngohlamvu oluqondile, oluvulekile, olubukhali). Ngokuvamile P. to. yasetshenziswa ngemva kweqiniso njengesiqiniseko futhi ngesikhathi esifanayo isengezo esithambisayo (“Offertorium” kwethi Requiem kaMozart).

Igama elithi "P. kuye.” ibuyela emuva emagameni eNkathi Ephakathi. ama-frets (amagama athi plagii, plagioi, plagi asevele ekhulunywe ngekhulu lesi-8-9 ezincwadini zika-Alcuin no-Aurelian). Ukudluliswa kwetemu ukusuka kumodi ukuya ku-cadence kusemthethweni kuphela lapho kuhlukaniswa ama-cadence abe abaluleke kakhulu futhi abalulekile kangako, kodwa hhayi lapho kunqunywa ukuxhumana kwesakhiwo (V – I = okuyiqiniso, IV – I = ipulaki), ngoba eNkathini Ephakathi ye-plagal. ama-frets (ngokwesibonelo, ngethoni ye-II, enohlaka lwamathambo: A – d – a) isikhungo kwakungewona umsindo ophansi (A), kodwa isiphetho (d), maqondana ne-Krom, ezimweni eziningi ze-plagal akukho ikota engenhla ayizinzile (bheka i-systematics frets kaG. Zarlino, “Le istitutioni harmoniche”, ingxenye IV, isahluko 10-13).

Njengobuciko. okwenzeka ku-P. ilungiswa ekupheleni kwemigomo eminingi. umculo udlala njengoba icrystallization ngokwayo izophetha. inzuzo (ngasikhathi sinye ne-cadence eyiqiniso). Ngakho, i-motet yenkathi ye-ars antiqua ethi “Qui d'amours” (evela kuyi-Montpellier Codex) iphetha ngokuthi P. k.:

f - gf - c

Ngekhulu le-14 P. kuya. sisetshenziswa njengesiphetho. inzuzo, enombala othile, ukugqama (G. de Machaux, amabhaladi wesi-4 nama-32, i-4th rondo). Kusukela maphakathi nekhulu le-15 P. kuya. iba (kanye neqiniso) enye yezinhlobo ezimbili ezivelele zama-harmonics. iziphetho. P. kube. akuvamile eziphethweni ze-polyphonic. izingoma zeRenaissance, ikakhulukazi eduze kwasePalestrina (bheka, isibonelo, izingoma zokugcina uKyrie, Gloria, Credo, Agnus Dei weMisa likaPapa Marcello); yingakho elinye igama elithi P.k. – “indlu yesonto”. Kamuva (ikakhulukazi ngekhulu le-17 nele-18) uP. ngezindlela. isilinganiso sihlehliselwa eceleni ngesoqobo futhi njengesilinganiso sokugcina sisetshenziswa kancane kakhulu kunasekhulwini le-16. (isibonelo, ukuphela kwesigaba sephimbo se-aria ethi “Es ist vollbracht” kusukela ku-159th cantata ka-JS Bach).

Ngekhulu le-19 inani likaP. iyanda. L. Beethoven wayisebenzisa kaningi. U-VV Stasov wabonisa kahle ukuthi emisebenzini "yenkathi yokugcina ye-Beethoven umuntu akanakuhluleka ukuqaphela indima ebalulekile edlalwa "i-plagal cadences". Kulawa mafomu, wabona “ubuhlobo obukhulu nobuseduze nokuqukethwe okwagcwalisa umphefumulo wakhe (kaBeethoven). U-Stasov wadonsela ukunakekela ekusetshenzisweni njalo kwe-P. to. emculweni wesizukulwane esilandelayo sabaqambi (F. Chopin nabanye). P. k. ithole ukubaluleka okukhulu ku-MI Glinka, owasungula ngokukhethekile amafomu e-plagal okuphetha izingxenye ezinkulu zemisebenzi yokuhlinza. I-tonic yandulelwa yisiteji esiphansi se-VI (isiphetho sesenzo sokuqala se-opera uRuslan noLyudmila), kanye nesiteji se-IV (i-aria kaSusanin), kanye nesiteji sesi-II (isiphetho sesenzo se-1 se-opera u-Ivan Susanin) , njll. imishwana ye-plagal (i-choir yama-Poles esenzweni sesi-2 se-opera efanayo). Express. uhlamvu lukaP. U-Glinka uvame ukulandela kusukela esihlokweni. izingoma (isiphetho se- "Persian Choir" ku-opera "Ruslan noLyudmila") noma ngokulandelana okushelelayo kokuvumelana, okuhlanganiswe ubunye bokunyakaza (isingeniso se-aria kaRuslan ku-opera efanayo).

Endabeni yokuvumelana kukaGlinka, u-VO Berkov wabona “imikhuba namathonya okuvumelana kwezingoma zomdabu zaseRussia kanye nokuthandana kwaseNtshonalanga.” Futhi emsebenzini kamuva Russian. zakudala, plagality wayevame ukuhlotshaniswa iphimbo Russian. ingoma, isici sombala we-modal. Phakathi kwezibonelo ezibonisayo kukhona ikhwaya yabahlali kanye nekhwaya yabafana "Kithina, nkosazana, hhayi okokuqala" kusukela ku-opera ethi "Prince Igor" kaBorodin; ukuphothulwa kwengoma kaVarlaam ethi “Njengoba kwakunjalo edolobheni eKazan” ku-opera ethi “Boris Godunov” kaMussorgsky elandelanayo ethi II low – I izinyathelo kanye ne-harmonica enesibindi nakakhulu. i-turnover: V low – ngingena ekwayeni ethi “Bahlakazekile, basuliwe” ku-opera efanayo; Ingoma kaSadko ethi “Oh, wena hlathi le-oki elimnyama” ku-opera ethi “Sadko” kaRimsky-Korsakov, izingoma ngaphambi kokucwila kweKitezh ku-opera yakhe ethi “The Legend of the Invisible City of Kitezh”.

Ngenxa yokuba khona kwethoni yesethulo kuma-chords ngaphambi kwe-tonic, esimweni sokugcina, inhlanganisela engavamile yokukhohlisa nobuqiniso ivela. Leli fomu libuyela emuva ku-P. k. endala, ehlanganisa ukulandelana kwe-terzquartaccord yeziqu ze-XNUMX kanye neziqu ezithathu ze-XNUMXst degree ngokuhamba kwethoni yesingeniso ku-tonic.

Izimpumelelo zaseRussia zakudala emkhakheni we-plagality zathuthukiswa kakhulu emculweni wabalandela esikhundleni - izikhova. abaqambi. Ikakhulukazi, i-SS Prokofiev ivuselela ngokuphawulekayo i-chord eziphethweni ze-plagal, isibonelo. ku-Andante caloroso kusukela ku-sonata yesi-7 yepiyano.

Umkhakha we-P. to. iyaqhubeka nokucebisa futhi ithuthukiswe kumculo wakamuva, ongalahlekelwa ukuthintana nowakudala. ifomu le-harmonic. ukusebenza.

References: Stasov VV, Lber einige neue Form der heutigen Musik, “NZfM”, 1858, No 1-4; okufanayo ngesiRashiya. lang. ngaphansi kwesihloko: Kwezinye izinhlobo zomculo wesimanje, Sobr. soch., v. 3, St. Petersburg, 1894; I-Berkov VO, i-Glinka's Harmony, i-M.-L., i-1948; Trambitsky VN, Plagality kanye nokuxhumana okuhlobene ekuvumelaneni kwengoma yesiRashiya, ku: Questions of Musicology, vol. 2, M., 1955. Bheka nelithi lit. ngaphansi kwezihloko ze-Authentic Cadence, Harmony, Cadence (1).

V. V. Protopopov, Yu. Yebo. Kholopov