Neapolitan ono chord |
English the neapolitan ono, нем. Neapolitan ono chord, Neapolitan ono, чеш. neapolsky sextakord, frygicky sextakord
ʻO ka lua haʻahaʻa haʻahaʻa ʻeono (a i ʻole ka hapa liʻiliʻi me ka ʻeono liʻiliʻi ma kahi o ka hapalima). ʻO ka huaʻōlelo "N. me.” pili i ka hoʻohana ʻana o kēia mele ma waena o nā haku mele o ke kula opera Neapolitan con. ʻO ke kenekulia 17 (ʻo ia hoʻi, me A. Scarlatti, no ka laʻana, ma ka opera Rosaura). Eia naʻe, he kūlana ka huaʻōlelo, ʻoiai ʻo H. s. ua puka lōʻihi ma mua o ke kula Neapolitan (na J. Obrecht, 2nd hapa o ke kenekulia 15).
Я. Pahee aku la ia. Mass "Salva diva parens", Credo, Confiteor, takty 34-36.
Hoʻohana nui ʻia e nā haku mele o nā ʻāina a me nā lāhui like ʻole (e laʻa, na L. Beethoven). ʻO ka mea kākau o ka huaʻōlelo "N. s", paha, ʻo L. Busler (1868), ʻoiai aia nā hōʻike (X. Riemann) e pili ana i kona hoʻohana lōʻihi ʻana i ka ʻōlelo Pelekane. theorists (ma ka ʻōlelo Pelekania he ʻekolu "sexts" hou aʻe: "Italian" - kahi chord like as-c-fis, "French" - as-cd-fis a me "German" - as-c-es-fis). I ka ʻōnaehana kani o ka harmonic major-minor. tonality, ua uhi 'ia na anuu a pau e ke kaulahao o 11 hapalima (mai ke kikowaena tonic. fifths - 5 iho a me 5 iluna), ke ano leo o N. me. – II degere haʻahaʻa – hiki ke loaʻa ma ka hohonu loa i nā palahalaha (a no laila, he aniani ke kūʻē i kekahi leo non-diatonic koʻikoʻi - ʻo ka "Lydian" kiʻekiʻe IV degere; e nānā i ka Inclination.) No laila ke ʻano o ka malu mānoanoa o ke kala kala (Phrygian) o N. s. (ma ka mana liʻiliʻi o N. me ka laʻana, fes-as-des ma C-dur a i ʻole c-moll ka waihoʻoluʻu ʻoi aku ka ʻeleʻele. Functionally N. me. - ka "extreme" subdominant, ka palena o ka neʻe ʻana i kēia kuhikuhi (e hiki ai ke hoʻohana i ka N. s. ma ke ʻano koʻikoʻi o ka hoʻomohala ʻana; e ʻike, no ka laʻana, ka culmination o ka c-moll passacaglia no JS Bach's. kino).
JS Bach. ʻO Passacaglia i ka c-moll no ke kino.
I loko o ke kahua o ka 7-step diatonic a i ʻole 10-step major-minor system, no ka laʻana, me ka tonic C – system:
ke kani o ka II haʻahaʻa haʻahaʻa, i huli mai i waho o ka nui. ʻO nā ʻanuʻu, pono e wehewehe ʻia e like me ka hoʻololi ʻana, nā mea kōkua non-diatonic e like me ka hōʻaiʻē ʻana mai ka pālākiō o kahi kī ʻē aʻe (subdominant liʻiliʻi) a i ʻole mai kahi ʻano ʻē aʻe (Phrygian) me ka tonic like (e nānā i ka loiloi puke ma ka puke na VO Berkov). ʻO Mn. ua wehewehe pono nā mea noiʻi iā N. o ka ʻaoʻao. pehea lākou kūʻokoʻa. 'o ke kuikahi, a 'a'ole ma ke 'ano he chromatically modified (altered) chord (O. Savard, R. Louis, L. Thuil, etc.). Wahi a ka nānā ʻana o VO Berkov, i ka mele. ʻaneʻane ʻaʻohe laʻana o ka hoʻonaʻauao ʻana o N. ma ka hana. ala ʻokoʻa. ʻO ka wehewehe pololei loa o N. s. ma ke ʻano he hui like ʻole i hoʻololi ʻia e pili ana i ka ʻōnaehana modal ʻumikūmālua-leo ("chromatic", e like me GL Catuar; "ʻumikūmālua-sound diatonic", e like me ka AS Ogolevets). Ma waho aʻe o N. s, "Neapolitan" harmony (Czech frygicke akord)
L. Beethoven. 3rd symphony, neʻe I.
Hoʻohana ʻia ʻo ia ma ke ʻano he triad (L. Beethoven, sonata op. 57, ʻāpana 1, vols. 5-6), quarter-sext chord (F. Liszt, 1st concerto, vol. 4), seventh chord ( also in circulation ) a he kani kaawale.
L. Beethoven. Concerto for violin and orchestra, part I.
E hoʻomaopopo ': Rimsky-Korsakov N., Puke aʻo Practical of harmony, St. Petersburg, 1886, like, Poly. coll. soch., vol. IV, M., 1960; ʻO Catuar G., ʻO ke kumu o ka lokahi, ʻāpana 1, M., 1924; Ogolevets AS, Introduction to modern music thinking, M. – L., 1946; Berkov V., Harmony and musical form, M., 1962, ma lalo o ka inoa: Formative means of harmony, 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 (ma ka unuhi Lūkini - O modulation, L., 1903); Schenker H., Neue musikalische Theorien und Phantasien, Bd 1922, B. – Stuttg., 1926, W., 1; Handke R., Der neapolitanische Sextakkord ma Bachscher Auffassung, ma Bach-Jahrbuch, Jahrg. 1906, Lpz., 1956; Montnacher J., Das Problem des Akkordes der neapolitanichen Sexte…, Lpz., 16; Piston W., Harmony, NY, 1920; Stephani H., Stadien harmonischer Sinnerfüllung, “Musikforschung”, 1934, Jahrg. 1941, H. 1956; Janecek K., Harmonie rozborem, Praha, 9.
ʻO Yu. H. Kholopov
