Reduced fret |

A type of symmetrical fret based on a low-end chord (a diminished seventh chord; hence the name).

Structure U. l. can be represented by three types, depending on 3 Ch. forms of presentation of the sound material of the mode (cf. Increased mode): chordal, melodic, group. Chord U. l. characterized by the sequence of 4 chords (usually of the same type in structure), osn. tones to-rykh form a low-end series. For melodic U. l. typically melodic. specific movement. a scale formed by dividing the twelve semitones of an octave into four parts equal and uniform in structure (in semitones: 2+1, 2+1, 2+1, 2+1). Group U. l. characterized by the use of specific scale U. l. in a mixed, “diagonal” (horizontal-vertical) dimension. Samples of U. l .:

N. A. Rimsky-Korsakov. “Sadko”. Picture 2.

I. F. Stravinsky. “Symphony of Psalms”. Part 1.

Like other symmetrical frets, U. l. can obey its center. element (reduced seventh chord) as a tonic in its dispersed (beginning of the 2nd picture of “Sadko” by Rimsky-Korsakov) or full form (see the snowstorm scene from “Kashchei the Immortal” by Rimsky-Korsakov). The function of the tonic can be (according to the model of the key of the major-minor type) one center. tone (“e” in the example from Stravinsky’s “Symphony of Psalms”) or a chord built on it (see the chord with the main tone “a” in the example from Scriabin’s 8th sonata, column 728).

Due to the structural similarity of low-frequency four-tone and tritone two-tone, the similarity of the modes built on them is revealed – U. l. and tritone. A.H. Scriabin. 8th piano sonata, bars 5-8.

The term “U. l.” proposed by B. L. Yavorsky (however, Yavorsky attributed it to a mode with a center in the form of a mind triad, and not a mind seventh chord). See “Rimsky-Korsakov’s scale”, Symmetric modes, Tritone mode, Modal rhythm.

References: see at Art. Symmetrical frets.

Yu. N. Kholopov