Bar-bardhig adag |
bar-bardhig adag - isku-dhafka polyphonic ee codadka la horumariyay (ka duwan ama la mid ah ku dayashada), kaas oo loogu talagalay soo noqnoqda wax ka beddelka contrapuntal, taranka isbeddelka saamiga codadkan (oo ka soo horjeeda counterpoint fudud - Jarmal einfacher Kontrapunkt - isku-dhafka polyphonic ee codadka loo isticmaalo kaliya hal la siiyay isku-darkooda).
Dibadda, ereyga "S. ku.” ma khusayso; isaga ku jira. Suugaanta muusiga waxay isticmaashaa fikradda la xidhiidha mehrfacher Kontrapunkt, oo tilmaamaysa saddex laab iyo afar laab oo toosan oo la dhaqaajin karo. Gudaha S. ilaa codad iyo hal ama in ka badan oo xeryahooda kala soocida - polyphonic. fursadaha asalka ah. Iyada oo ku xidhan nooca isbeddelada, waxaa jira, sida ku cad waxbaridda SI Taneyev, saddex nooc oo counterpoint ugu waaweyn: counterpoint mobile (oo loo qaybiyey si toos ah mobile, horizontal mobile iyo double mobile), counterpoint dib loo beddeli karo (oo loo qaybiyey dhamaystiran oo aan dhamaystirnayn dib loo rogi karo). iyo counterpoint, kaas oo u ogolaanaya labanlaabmay (mid ka mid ah noocyada counterpoint mobile). Dhammaan noocyadan S. ilaa. inta badan waa la isku daraa; tusaale ahaan, fugue Credo (No 12) laga soo bilaabo tirada JS Bach ee h-moll, labada horudhac ee jawaabta (cabbirka 4 iyo 6) waxay sameeyaan isku xirka bilowga ah - stretta oo leh masaafada gelitaanka ee 2 cabbir (oo lagu soo saaray cabbirada 12-17), gudaha baararka 17-21, xidhiidhka derivative wuxuu ku dhawaaqaa bar-koobid laba jibaaran oo la dhaqaajin karo ( fogaanta hordhacu waa cabbirada 11/2 oo leh wareeg toosan oo codka hoose ee asalka ah oo kor u qaadaya duodecime, Codka sare hoos saddex meelood meel ahaan), cabbirada 24-29 xidhiidh derivative ayaa ka samaysmay isku xidhka cabbirada 17-21 ee bar-koobeedka toosan ee dhaqaaqi kara (Iv = – 7 – counterpoint double of octave; lagu soo saaray dherer ka duwan baararka 29 -33), laga bilaabo bar 33 waxay raacdaa stretta ee 4 cod oo leh korodhka mawduuca baska: sare. Labada cod waxay ka dhigan yihiin iskudar laga soo qaatay dariiqii asalka ahaa oo laba jibaaran oo la dhaqaajin karo (masaafada hordhaca ah ee 1/4 bar; lagu ciyaaray garoon ka duwan baararka 38-41) iyadoo la labanlaabayo sare. codadka xagga hoose ee lixaad (tusaale ahaan, codad badan oo aan lagu darin isku-dhafka kore, iyo sidoo kale codka 8-aad ee la socda, ayaa laga saaray). Tusaale ahaan eeg col. 94.
In fp. quintet g-moll op. 30 SI Taneeva, shaqada bilawga ah waxaa lagu fuliyaa isku xirka mawduuca xisbiga ugu weyn oo leh nuqulkiisa dib u noqoshada bilawga dib u soo celinta qaybta 1aad (qiyaastii 2aad ka dib lambarka 72);
Isku darka Contrapuntal ee Credo (No 12) laga bilaabo Mass in h-moll ee JS Bach.
derivative ee qaabka canon (lambarka 78) ayaa la sameeyay iyadoo ay sabab u tahay isbeddel toosan iyo isla mar ahaantaana codka sare ee kor u kaca; bilowga koodhka (cabbirka 3aad ka dib tirada 100) derivative ah oo ku jira bar-koobid labajibaaran oo la dhaqaajin karo ( fogaanta gelitaanka waa 1 cabbir, codka hoose waxaa dhaqaajiya jajab jajab, kan sarena quintdecima hoos); Kala duwanaanshiyaha ka hortagga ah wuxuu ku dhamaanayaa codadka kama dambaysta ah, halkaas oo wax ka beddelka dhawaaqyada canonical. isku xigxiga (lambarka 219), oo ka dhigan xidhiidh ka-soo-jeed ah oo laba-jibbaaran oo la dhaqaajin karo (fog fogaanta 2 cabbirrada, labada cod ee dhaqdhaqaaqa tooska ah); Dheeraad ah (barka 4aad ee ka dambeeya lambarka 220) xidhiidhka ka-soo-saarku waa canon leh dhaqdhaqaaq toosan iyo toosan isla mar ahaantaana leh koror afar laab ah oo bas ah (cod la socda iyo laba-laabansho ayaa laga saaray tusaalaha):
Isku darka contrapuntal ee piano quintet g-moll op. 30 SI Taneeva.
Gabagabo Kanonka ka soo horjeeda fugue b-moll ee mugga 2aad ee JS Bach's Well-Tempered Clavier ayaa tusaale u ah bar-koobid aan dhammaystirnayn oo dib loo rogi karo oo leh labanlaab. Nambarka shanaad ee Bach's "Soo bandhigida Muusika" waa canon aan dhammaad lahayn oo wareeg ah oo la socda codkan, halkaas oo isku xirka bilowga ahi uu ka samaysan yahay dusha sare. cod iyo fudud (P), deris ah meel aan dhamaystirnayn oo toosan oo la dhaqaajin karo - isla cod iyo risposta (R Compound counterpoint):
S. ku - meesha ugu cad ee la xidhiidha dhinaca macquulka ah ee hal-abuurka. habka curiyaha, kaas oo inta badan go'aamiya sawirka u dhigma ee muusika. hadal. S. ku - Saldhigga qaabaynta polyphony, mid ka mid ah hababka ugu muhiimsan ee dhawaaqa badan. horumarinta iyo kala duwanaanta. Suurtagalnimadeeda ayaa la xaqiiqsaday oo ay horumariyeen sayidyada qaab adag; xilliyada soo socda ee horumarinta muusikada. dacwad iyo in casriga ah. Muusiga S. ayaa si weyn loogu isticmaalaa cod-baahiyaha. iyo foomamka khaniisnimada.
Tusaalaha muusiga ee nooca hordhaca ah ee Taneyev's Mobile Counterpoint of Strict Writing.
xoriyada harmonic ee muusikada casriga ah waxay u ogolaataa halabuurayaasha inay adeegsadaan kuwa ugu adag ee farsamada. ku saabsan noocyada kala duwan ee S. si. iyo isku darkooda. Sidaas darteed, tusaale ahaan, in lambarka 23 ee ka Shchedrin's Polyphonic Notebook, isku darka bilowga ah ee labada mawduuc ee fugue double (baararka 1-5) waxay siinayaa set (eeg baararka 9, 14, 19 iyo 22, 30, 35., 40). .
Saddexda nooc ee S. ee la tilmaamay. SI Taneyev tixgeliyey kuwa ugu muhiimsan, laakiin ma aha kuwa kaliya ee suurtogalka ah. Jajabka la daabacay ee ka mid ah nooca hordhaca ah ee buugga "Mobilada counterpoint of qoraal adag" waxay muujineysaa in Taneyev lagu daray aagga uXNUMXbuXNUMXbS. k. sidoo kale noocaas oo kale ah, halkaas oo xarun ka soo jeeda ay ka sameysan tahay natiijada isticmaalka dhaqdhaqaaqa rakish.
Qoraalladiisa, SI Taneev ma tixgelineynin mid dib loo celin karo (in kasta oo tani ay qayb ka ahayd qorshayaashii cilmi-baaristiisa sayniska) ama ka-hortagga (sida, sida muuqata, ma aysan lahayn muhiimad la taaban karo waqtigaas). Aragtida polyphony, iyada oo la tixgelinayo sifooyinka casriga ah. ku-dhaqanka curiyaha, waxa uu ballaadhiyaa fikradda S. ilaa. oo ay u arkaan sida ay noocyada madax banaan counterpoint rakohodny ah, iyo sidoo kale jidaynayey korodhka ama dhimista xarunta derivative ah. laga bilaabo codadka laxan ee asalka ah. Tusaale ahaan, final-ka rondo-qaabeeya ee riwaayaddii 3aad ee Karaev, diidmada bilawga ah waxay u qoran tahay qaab 3-gool ah. ikhtiraacida halka codadka soo galaya (laf-dhabar la mid ah mawduuca) lagu daray ka-hortagga-ku-darka dhawaaqa taxanaha dodecaphone; Haysashada 2-aad ee celiska (lambarka 4) waa isku-darka ka-soo-baxa ee ku yaal barta dib-u-celinta; Qaybta 2aad, oo ku qoran qaabka fugue, dib-u-celinta stretta (16 cabbir ilaa tirada 10) waxay ka kooban tahay fulinta dulucda dhaqdhaqaaqyada hore iyo dhinaca; Bilawga dib-u-celinta qaybta 1-aad ee riwaayadda (lambarka 16), goolka 3aad waa dhawaaq. Canon aan dhammaad lahayn, meeday sare. codku waa mawduuc-taxane ah oo toos ah, codka dhexe wuxuu ku jiraa dhaqdhaqaaq jeexjeex ah, kan hoosena wuxuu ku jiraa dhaqdhaqaaq rogan.
Counterpoint, ogolaanaysa korodhka ama hoos u dhaca hal ama dhowr. codad, aragti ahaan la bartay wax yar.
HA Rimsky-Korsakov. "Sheekada Magaalada aan la arki karin ee Kitezh...", falka 3, muuqaalka 2.
Tusaalayaal badan oo ka soo jeeda muusiga qadiimiga ah iyo kuwa casriga ah ayaa muujinaya in isku-dhafka korodhka ama hoos u dhaca inta badan ay soo baxaan xisaabin hordhac ah, si aan ula kac ahayn (fiiri tusaalaha kore ee Bach's Credo; "Dhismaha" - qaybta 2aad ee L. Grabowski's "Little Chamber Music No. 1" - waxay ka kooban yihiin qabashada mawduuca dodecaphonic, kaas oo kala duwanaanshaheeda lagu daro 2-15-laab dhimis). Si kastaba ha ahaatee, shaqooyinka qaarkood, helitaanka isku-dhafka kala duwan ee noocaan ah, sida cad, waxay ahayd qayb ka mid ah ujeeddada asalka ah ee curiyaha, taas oo caddaynaysa lahaanshaha aasaasiga ah ee aagga s. Bach; Qaybta 1-aad ee heesaha 1-aad ee Glazunov, derivative (lambarka 8) wuxuu ku salaysan yahay xaruntii asalka ahayd (lambarka 30) oo aan dhammaystirnayn oo rogaal celin ah oo leh kororka mid ka mid ah codadka; isku darka adag oo leh mawduuca sii kordhaya waxay ka samaysan yihiin xeryahooda kala duwan ee FP. Taneyev's g-moll quintet (lambarada 31 iyo 78; eeg tusaale kol. 220).
V. Tormis. "Maxay Jaan u sugayaan" (Maya 4 ee wareegga heesta "Heesaha Maalinta Jannaayo").
Aragtida casriga ah ee polyphony waxay hagaajinaysaa tarjumaadda counterpoint, taas oo u oggolaanaysa in la labanlaabo, tan iyo is-waafajinta. heerarka muusiga ee qarnigii 20aad. laakiin ku xaddid isticmaalka nuqullada.-l. difaac durugsan ama chords. Tusaale ahaan, goobta 2aad ee ficilka 3aad ee opera "The Legend of the Invisible City of Kitezh and Maiden Fevronia" by Rimsky-Korsakov (lambar 210), ku dayashada Tataarka 'leitmotif waxaa lagu soo bandhigay by maskax isbarbar socda. chords toddobaad (eeg tusaale a); heesta "Sababta ay u sugayaan Yaan" (Maya 4 ee wareegga chorus "Heesaha Maalinta Yaan" ee V. Tormis), codadku waxay u socdaan shan meelood oo siman ("is-waafajinta tooska ah ee dhaqdhaqaaqa", sida lagu qeexay SS Grigoriev; fiiri tusaale b), ee No 7 ee isku wareeg ah oo labalaabmaya waxay leeyihiin dabeecad kooxeed (eeg tusaale c);
V. Tormis. "Heesta Maalinta Jannaayo" (No 7 ee wareegga heesta "Heesaha Maalinta Jannaayo").
"Habeenkii" laga soo bilaabo Prokofiev's "Scythian Suite" codadka ku jira qaab dhismeed aan dhammaad lahayn oo kanon ah ayaa lagu soo koobay qaabab kala duwan (eeg tusaale d, col. 99).
SS Prokofiev. "Scythian Suite", qaybta 3aad ("Habeen").
Shaxda dhammaan isku darka macquulka ah ee aragti ahaan noocyada noocyada s. ku.
Tixraacyo: Taneev SI, Barta la dhaqaajin karo ee qoraalka adag, Leipzig, 1909, M., 1959; Taneev SI, Laga soo bilaabo dhaxalka sayniska iyo barbaarinta, M., 1967; Bogatyrev SS, Barta la rogi karo, M., 1960; Korchinsky E., Su'aasha ku saabsan aragtida ku dayashada canonical, L., 1960; Grigoriev SS, oo ku saabsan laxanka Rimsky-Korsakov, M., 1961; Yuzhak K., Qaar ka mid ah qaababka qaabdhismeedka fugue ee JS Bach, M., 1965; Pustylnik I. Ya., Movable counterpoint iyo qoraal bilaash ah, L., 1967. Eeg sidoo kale shidan. Hoosta maqaallada bar-koobid dhaqaaqi karo, bar-celiye la rogi karo, dhaqdhaqaaqa Rakokhodny.
VP Frayonov
