Some aspects of the harmonic vertical in the works of composer Ikrom Akbarov

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Some aspects of the harmonic vertical in the works of composer Ikrom Akbarov

Lutfullayeva Sh.I.

Abstract

This article presents the texts in the works of the composer Ikrom Akbarov and information about the sonorous and expressive properties of the harmonic vertex, which widely covers the principles of coloristic functions of special methods of sound engineering. In the work of the selected composer, some aspects of the harmonic vertical are deeply analyzed for their uniqueness in his works. And this is one of the main factors in understanding the harmonic language of the creator.

Keywords: harmony, polyharmony, monointerval, polyinterval, sonorics, coloristics, phonism, vertical, bifunctional, alteration, ostinatolic, consonance, dissonance, interlude.

Некоторые аспекты гармонической вертикали в творчестве композитора Икрома Акбарова

Лутфуллаева Ш.И.

Аннотация

harmonic vertical sound engineering

В данной статье представлены тексты в произведениях композитора Икрома Акбарова и сведения о звучно-выразительных свойствах гармонической вершины, широко охватывающие принципы колористических функций специальных приемов звукорежиссуры. В творчестве выбранного композитора глубоко анализируются некоторые аспекты гармонической вертикали на предмет их уникальности в его произведениях. И это один из главных факторов понимания гармонического языка творца.

Ключевые слова: гармония, полигармония, моноинтервал, полиинтервал, сонорика, колористика, фонизм, вертикаль, бифункциональность, альтерация, остинатолия, консонанс, диссонанс, интерлюдия.

Uzbek compositors in modern creative practice monointerval and polyinterval [2] chord loudness flow an important method of expression association. Interval structure, its different boundaries of density, with tembr-register locations attention, either phonetic similarity, or phonetic contrast has become the creation factor. The different effects of these tools on the psyche of the listener from them it is explained by the selection directions of use.

Possibilities of a different phonetic Union of a harmonic Vertex often ostinatolicity appears when striving to distinguish leads to be.

Chord complexes attracted the attention of Uzbek composers special location of intervals between their acoustic features evaziga possibility to create certain phonics systems the following:

tertiary and notarial in the main and lateral positions harmonics;

the tertiary triangles "double" with the introduction of auxiliary tones and septacords;

important location interval owning alternated harmonies, chords are a natural leap of lad and the proportionality of the alternated option at once in spite of;

bifunctional proportions;

polygarmonies.

Most often, methods with a significant interval location of harmony with invoice derivatives, with important registry-spatial conditions acts in a complex way.

One of the characteristic complexes in the works of different authors the main and derivative is an chord with a simultaneous ringing of the paws. In it, the seconds increase in number. The L.The A.Enjoyable as noted, "the more the double-digit harmonies, harmony acquires a somewhat dissonant character" [3]. Accordingly, often such chord complexes are sharp in the theme of music, actively-puddles in the expression of violent emblems (they are often fought it harmonizes with the logos).

They Are Ik.Akbarov's dramatic "Samarkand", rich in contrasts the Third Symphony" stories "("Ulugbek Madrasah") widely used in Nomer. The theme of the middle part has many different tonalities marotaba is explained and based on short and compact tones. Of the subject its beauty is significantly created through its vertical structure. Parallel quartets in orchestra bass in relation to the melody at the beginning of the sheet ostinatoli described with Main and derivative turning into a fund the appearance of polyinterval harmonies with the proportions of the paws will be:

It is worth noting that the severe interpretation of the harmonic vertical Kuchay one of the tools is important tembr-register conditions: in the chorus, the middle register is not filled, the top layer and the bass away efforts. Also to the previous harmonic current of harmony relatively certain isolation also attracts attention. He has several marotabali repeat, the highest loudness in the orchestral party zone, which then made with the addition of tremolo to Tony's voice carried:

rain of water ally stra much ba embarrassment to have to do with Quartet and Quintet in the harmony of modern Uzbek authors vertical structures national with the sum of natural and derivative gradients from the initial stages of the formation of the school of composing compositors by applied quintacordes and this is a complicated view of quartets. Their appearance be notarized, which is typical for many Eastern composers there was a legitimate attempt to create a vertical. Interval structure in principle, regardless of the phonetic characteristics of different harmonies highlight and distinguished Uzbek compositors additional to create a specific national-specific dictionary in the harmony is a sign. Large-scale, regular to quartet or quintet chords visually appealing, as well as quatrain, Quinta, Septima and Sekunda such a location of terse-based chords with emphasis on color not by chance. Long on the foundations of monodic creativity in oral tradition in the performance of the instrumental during historical periods, the bow-click the sound that causes the appearance of such intervals in the instrumental methods of simplification were formed. Excellent consonances, as well, the predominance of dissonances marked the side of the slang. But attention, the distinctive beauty of dissonances in the spirit of performers formed and in general to their mandatory resolution to the consensus addiction did not arise. To confirm this observation The F.LocationTo the traditional instrumental tunes recorded by karomatov let's apply; for example, the groom with the name "the bride went to the water:

Perfect in modern compositional creativity of Uzbekistan it contains a characteristic coloration of consonants and dissonances looking for different sophisticated harmonies reflected ettirilmoq them a certain expressive, which reached the significance of lgargarmonia- spiritual task is handed over.

Also alternated harmonies and their special importance is attached to the passage of ostinatoli. Alternated and chords with a time-lapse of alternating tones tertiary structure complexity in them added it leads to the formation of seconds. These chords the fact of being genetic essence she was in the mask. Custom to become dominantseptakkorda "extra"with a double alternative of Quinta occurs in seconds. Applied by Uzbek compositors the number of dissonant seconds in harmonic complexes is significant the level increases. An important position of alternating chords is also helps their bright color. There are many examples of this. We bring some of them. The IQ.About Tashkent "Akbarov each theme of the people from the oratorium" afsona " is actively moving, it contrasting-tense with some melodic changes in the orchestra section given. He was dropped in mi Tower in ostinato style recurring Quinta and ascending septum passes against the background of a dominantsekundakkord (later on his tonic Harmony also occurs bifunctsional coating provides). Convenient location in the chord cause, the basis of the tertiary is noticeable quaternary, Triton, seconds on the vertical of the bunda proportionality comes first:

It is very beautiful on many sound themes of Uzbek composers the function of alternating chords is unique in that they are homophonic the structure, tone is also simple, has diatonic, pronounced folk roots. Introduction of alternated compounds into the harmonic fan often the expressive change of simple tunes, the isolated embodiment it becomes a method of creation.

Ik like other Uzbek compositors.Also for Akbarov it is characteristic to pay attention to the phonetic signs of Notarial chords, whenever they come as a means of a tune timbre paint. The T.S.Bershadskaya such chords are called chords with a captured structure.

His it is noted that, "such chords... in the process of musical reproduction selected only by maintaining the general principle of the structure may be slightly behind the interval" [4]. In his opinion, "notarized chords range in conditions of color the ringing character is of great importance for the expression of the chord can take. Therefore, during the analysis, it is noted a little it is worthwhile to pay attention to the intervals, their importance repeatability is confirmed by the fact that "caught".

In general, the attention to the chords with the structure is paid in the XX century the characteristic of the harmonic language of many composites who lived and created a sign can be considered. He particularly emphasized that the national culture of the people rely on the wealth of the melody and look for new chord-phonetic instruments it is typical for those who seek. In Particular, I.The Russian period of Stravinsky and The B.For Bartok, the surface as a specific thickening of the line of the melody a significant axiom of the incoming vertical bars has a remarkable character. The IQ.In Akbarov's works, the methods of "multi-voice melody" are organically through the parallel, ribbon movement of Notarial chords, and tertiary based sophisticated, alternated harmonics also expressed in the tool. His name is "Samarkand

VII6, II64 is a harmonic color in its subsequent transitions- the cause of stagnation is more individualized. Subject alternatives specific between, as many marotaba recurring Intermedia the next moment single in harmony connecting coming:

natural and high-cut parallel non-cutters, natural and lower Septima with "painted". They tonality one key after another - do minor it is formed on the sixth leg, then the lateral of the sixth leg the subdominant turns into nonaccordant.

Melodic line and harmonic, which are diatonic in character chromatic movement proportionality in stock two lad based synchronous highlighting the coloristic possibilities of stories" musical accompaniment in the form of a symphony "Registan Square" different tonal of the theme, which relies largely on folk song-dance tunes many marotabas in their heights are built on redevelopment. On holiday chords to the subject, which expresses the unstoppable movement of the crowd functional mobility in change, lane sound direction it gives brightness and aspiration. Harmony first of all, tune in from the factual point of view, to the enrichment tool, its place is a beautiful timbre BR converted into conditions. From the first passage of the main tonality of the topic parallel triangles that tighten the tone in the upper layer of the invoice Surface: compatibility, Ik.Akbarov creativity belonging to them individualize the appearance of many themes of the first Genesis folk-dance folklore tones, the second is the Uzbek lyrical melody.

C.As Grigoriev noted, the phonetic functions of the harmony among the conditions that impede the functioning of the polymeric proportionality significant features attention worth it. According to the researcher's truthful opinion, they are "specific lad-functional distinguished by" significant phonetic brightness during weight and statics cost [5]. Polyphonic harmonics Ik.In the works of Akbarov a little colorful. Especially characteristic for its harmonic loom formed from incomplete septacords or triangles in the ratio of seconds introducing a variety of vertical bars into a specific category you can. The first two categories of vertical coatings separation astinato, main chord elevated register the reason for the placement, the first in the symphonic syuit "Mail" in the Muqaddima section of Nomer his expressive integrity highlights. Polyphonic harmonies are described in such a way that, in it, the triangles, seconds, which are tense in terms of acoustic basis on account of that the expression of the mustache is "spoiled". Specific interval the location somewhat disguised the origin of the melody (he it occurs as a result of the covering of two incomplete septacords). Harmony and its uniqueness to the tool in the form of a portrait- description turns into:

The Ik.Akbarov often Polygonum aviculare vertical unifying please note the specific sound height of the consonants, the state of the lad he sees. This is also the tonal zone of polygmonies in a certain sense it is indicative of the coloristic interpretation. The orchestra in his works tonics in many subjects and developing plaques on the fabric and on the principle of Neapolitan harmony (one-sided lad) in mutual proportions si-bemol major and Si major (or do-bemol major) Trinity, also, the interaction of the triad of Si-major (or SI- minor) and do major it is possible to notice the merger. Depending on the general expressive conditions, such polygonies Goh landscape-image, Goh dynamic thanks alligator 8 actively participates in the creation of circles polygmonies basic and sometimes derivative steps lead to the addition of chords ,iziztovushkachareaching is complicated.

Specific methods of puddings by Uzbek compositors from General multilayer chord fabric in a vertical structure to the row strict separation of separate harmonic intervals from the resulting he belongs. This is some kind of instrumental group or general of Har timbre vocal-is performed through the separation of the orchestra from the vocals. The IQ.Lad in Akbarov's works and Sonor of the harmonic Vertex- again the intersection, while completing the data on the expressive properties sound like (sometimes intersecting, especially on its bright active topics ) the colorist function of special methods of direction, as well as tonics colorful principles of organ punctures in terms of texture in particular, it is also worth mentioning. They are in themselves formative and coloristic summarizing aspects: strictly from the general category of musical development look, he or she prefers masterpieces; sometimes they are unique they will be in a" balanced " relationship. This is especially Ik.Akbarov many of the works of the orchestra, belonging to the pen, in the orchestral-harmonic fabric it is typical for thematic developments. Changing tonal centers abundance, sophistication each new tonality-sometimes tonal (or microtonal) clearly define the planilashni difficult. Height different types of Tonic organ punches contribute to the tonal process in many ways it will "clarify". Organ punks also develop musical form strengthens, and at once a new "color" tonal color highlights. Even IQ.Relatively short, used by Akbarov lad-tonal embodiment of harmonic instruments their enormous psychological, embodiment-the importance of descriptive, chord verticals of authors and lad distinguishes its enormous attention to the phonetic features allows you to show. Harmony, characteristic of the tonal writing of the XX century exactly large scale use of different elements, selected melodically in the composition the circle of the melody of national folklore the most important in the embodiment of the musical theme associated with it has become a factor. Alga vertical Direct Horizontal impact on many topics makes and updates the tone process.

References / Список литературы

1. Berkov V. Harmony. М., 1962.

2. Slonimsky S. Symphonies by S. Prokofiev. М., 1964.

3. Karklinsh L. Harmony by N.Ya.Myaskovsky. М., 1971.

4. Bershadskaya Т. Lectures on harmony. М., 1981.

5. Grigoriev S. Theoretical course of harmony. М., 1981.

6. Tyulin Yu. Harmony. М., 1953.

7. Gulyaniskaya N. Modern harmony: theory and practice. Doctoral dissertation abstract. М., 1968.

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