Passing sound |

ital. note di passagio, French note de passage passing note, germ. Durchgangsnote

A non-chord sound on a weak beat that progresses step by step from one chord to another (see Non-chord sounds). (The abbreviated designation in the musical example below is p.) P. z. give harmony melody, mobility. Distinguish P. z. diatonic and chromatic. They can also be double, triple (sext or quartsextaccords); in opposition – and in a greater number of voices:

P. I. Tchaikovsky. “The Queen of Spades”, 5th scene, No 19.

Between P. z. and chordal, to which melodic is directed. movement, chord and other non-chord sounds can be introduced (delayed resolution of P. z.). Getting on a strong share (especially at the time of the entry of a new harmony), P. z. acquire the character of an unprepared detention. P. z. can form passing chords (for example, in the code of the 2nd part of the 2nd skr. sonata of Prokofiev, the chain of chromatic passing chords occupies the 12-6th measures from the end). In modern music gradualism P. z. sometimes it is torn apart by their transfer to another octave (Prokofiev, 6th sonata for pianoforte, reprise of the finale, theme A-dur).

As a technical reception P. z. appears already in the earliest monuments of Western Europe. polyphony (the organum of the 9th-10th centuries; see Rex coeli domine in chapter 17 “Musica enchiriadis” on the syllable coe-; especially in the melismatic organum of the 12th-13th centuries). The concept “P. h.” arose later in the doctrine of counterpoint, where it was interpreted as a kind of dissonance, passing from one consonant interval to another. In Tinktoris (“Liber de arte contrapuncti”, 1477, cap. 23), among examples of dissonances on light beats, one can find P. z. N. Vicentino (“L’antica musica ridotta alla moderna prattica”, 1555) describes it under the title. dissonanze sciolte. J. Tsarlino (“Le istitutioni harmoniche”, 1558, p. III, cap. 42) indicates that P. z. go step by step (per grade). P. z. called also commissure (comissura; y X. Dedekind, 1590, and I. Burmeister, 1599-1606). G. Schutz’s student K. Bernhard (“Tractatus compositionis augmemtatus”, cap. 17) covers P. z in detail. like transitus. With the development of the doctrine of the harmony of P. z. began to be considered in relation to the chord.

References: see at Art. non-chord sounds.

Yu. N. Kholopov