Fugue |

lat., Talyaani. fuga, shiday. - orodka, duulista, xawaaraha degdega ah; Ingiriis, fugue Faransiis; Jarmalka Fuge

1) Nooc muusik badan oo ku salaysan soo bandhigid ku dayasho leh mawduuc gaar ah oo leh bandhigyo dheeraad ah (1) codad kala duwan oo leh ku dayasho iyo (ama) ka-hortagga ka-hortagga, iyo sidoo kale (sida caadiga ah) horumarinta iyo dhamaystirka tonal-harmonic.

Fugue waa qaabka ugu horumarsan ee muusiga ku dayashada ah-contrapuntal, kaas oo nuugay dhammaan hodannimada polyphony. Nuxurka kala duwan ee F. dhab ahaantii waa mid aan xadidnayn, laakiin qaybta garaadka ayaa ka adkaata ama mar walba laga dareemaa dhexdeeda. F. waxaa lagu kala soocaa buuxnaanta shucuureed iyo isla mar ahaantaana xakameynta muujinta. Horumarinta F. si dabiici ah ayaa loo ekaysiiyaa tafsiir, macquul ah. caddaynta qoraalka la soo jeediyay - mawduuca; In badan oo classical In muunado, dhammaan F. ayaa ka "koray" mawduuca (sida F. waxaa loogu yeeraa adag, si ka duwan kuwa xorta ah, kuwaas oo wax aan la xiriirin mawduuca la soo bandhigay). Horumarinta qaabka F. waa habka beddelka muusigga asalka ah. fikradaha kuwaas oo dib u cusboonaysiinta joogtada ah aysan u horseedin tayada sawireed ee ka duwan; Soo ifbaxa isbarbardhigga asalka ah, mabda 'ahaan, maahan sifada qadiimiga. F. (taas oo aan meesha ka saarayn kiisaska marka korriin, muuqaal muuqaal leh, ay horseeddo dib-u-eegis dhammaystiran oo mawduuca ah: cf., tusaale ahaan, codka mawduuca bandhigga iyo inta lagu jiro u-guurka codadka ee xubinta Bach. F. mid yar, BWV 543). Tani waa farqiga u dhexeeya F. iyo qaabka sonata. Haddii isbeddellada jaantuska ah ee kan dambe ay u maleeyaan kala goynta mawduuca, ka dibna F. - qaab asal ahaan kala duwan - mawduuca ayaa ilaalinaya midnimadiisa: waxaa lagu fuliyaa siyaabo kala duwan. xeryahooda, furayaasha, oo lagu riday diiwaan kala duwan iyo harmonic. xaaladaha, sida haddii ay iftiimiyaan iftiin kala duwan, waxay muujinayaan wajiyo kala duwan (mabda 'ahaan, daacadnimada mawduuca laguma xadgudbin xaqiiqda ah in ay kala duwan tahay - waxay u egtahay wareegga wareegga ama, tusaale ahaan, strettas, ma aha gebi ahaanba; go'doominta dhiirigelinta iyo kala qaybsanaanta. ). F. waa midnimo is burinaysa oo ah dib u cusboonaysiin joogto ah iyo xubno badan oo xasiloon: waxay inta badan haysaa ka-hortagga isku-dhafka kala duwan, interludes iyo strettas inta badan waa kala duwanaanshiyaha midba midka kale, tiro joogto ah oo codad u dhigma ayaa la ilaaliyaa, ku-meel-gaadhkuna isma beddelo F. (marka laga reebo, tusaale ahaan, shaqooyinka L. Beethoven waa naadir). F. u maleeyo in si taxadar leh looga fiirsado halabuurka dhammaan tafaasiisha; run ahaantii cod badan. gaar ahaan waxaa lagu muujiyey isku-darka adag ee adag, caqli-galnimada dhismaha oo leh xorriyadda fulinta kiis kasta oo gaar ah: ma jiraan ku dhawaad ​​"sharciyo" dhisidda F., iyo qaababka F. waa kala duwanaansho aan xad lahayn, inkastoo ay ku saleysan yihiin isku darka 5 walxood oo keliya - mawduucyo, jawaabo, mucaarad, isdhexgal iyo jidad. Waxay sameeyaan qaybaha qaabdhismeedka iyo semantic ee falsafada, kuwaas oo leh muujinta, horumarinta, iyo hawlaha ugu dambeeya. Hoosaadkooda kala duwan ayaa foomamka noocyada kala duwan ee falsafada - 2-qayb, 3-qayb, iyo kuwa kale. muusiga; waxay horumarisay ser. Qarnigii 17aad, taariikhda oo dhan waxaa lagu hodmay dhammaan guulihii muusikadu. art-va oo weli ah qaab aan ka fogayn sawiro cusub ama habka ugu dambeeya ee muujinta. F. waxay raadisay isbarbardhig farsamooyinka halabuurka ee rinjiyeynta M. K.

Mawduuca F., ama hoggaamiyaha (Latin dux; Jarmal Fugenthema, Subjekt, Fuhrer; Mawduuca Ingiriisiga; Soggetto Talyaani; Sujet Faransiis), waa mid dhammaystiran xagga muusigga. fikrado iyo laxan habaysan, oo lagu hayo codadka 1aad ee soo socda. Muddada kala duwan - laga bilaabo 1 (F. laga bilaabo Bach's solo violin sonata No. 1) ilaa 9-10 baararka - waxay kuxirantahay nooca muusiga (mawduucyada tartiib tartiib ah F. badanaa waa gaaban yihiin; mawduucyada mobilada ayaa dheer, isku mid ah qaabka laxanka, tusaale ahaan, finalka afartii op.59 No 3 by Beethoven), oo ka soo jeeda jilaa. macneheedu waa (mawduucyada xubnaha, figurines choral ayaa ka dheer kuwa violin, clavier). Mawduuca waxa uu leeyahay laxan laxan soo jiidasho leh. muuqaalka, taas oo ay ku mahadsan tahay mid kasta oo ka mid ah hordhaciisa si cad ayaa loo kala saari karaa. Shakhsiyaynta mawduuca ayaa ah farqiga u dhexeeya F. oo ah qaab qaab bilaash ah iyo ku dayasho. qaababka qaab adag: fikradda mawduuca ayaa ka fogaaday kan dambe, bandhigga stretta ayaa ka adkaaday, laxan. sawirada codadka ayaa lagu sameeyay habka ku dayashada. F. dulucda waxa loo soo bandhigay bilow ilaa dhamaad sidii wax la bixiyay, la sameeyay. Mawduuca ayaa ah muusigga ugu weyn. Fikirka F., ayaa si wadajir ah loo muujiyay. Tusaalooyinka hore ee F. waxa lagu sifeeyaa mawduucyo gaaban oo liidata. Nooca caadiga ah ee mawduuca lagu sameeyay shaqada JS Bach iyo GF Handel. Mawduucyada waxaa loo qaybiyaa isbarbardhiga iyo kuwa aan isbarbardhigi karin (isku mid ah), hal-tone (mid aan habayn) iyo habaynta. Isku-dhafan waa mawduucyada ku salaysan hal ujeedo (eeg tusaalaha hoose, a) ama dhowr ujeeddooyin dhow (eeg tusaalaha hoose, b); Xaaladaha qaarkood ujeedadu way ku kala duwan tahay kala duwanaansho (eeg tusaale, c).

a) JS Bach. Fugue in c-moll laga soo bilaabo mugga 1aad ee Clavier si fiican u xanaaqsan, mawduuca. b) JS Bach. Fugue A-dur ee Organ, BWV 536, Dulucda. c) JS Bach. Fugue fis-moll ee mugga 1aad ee Clavier si fiican u xanaaqsan, dulucda.

Mawduucyada ku salaysan mucaaradka ee ujeedooyinka laxanka iyo qaafiyada ah ee kala duwan ayaa loo arkaa inay isbarbardhigaan (eeg tusaalaha hoose, a); Qoto dheer ee isbarbardhigga ayaa kordha marka mid ka mid ah ujeedooyinka (badanaa kan hore) uu ku jiro maskaxda. dhexda (fiiri tusaalooyinka Farshaxanka. Habka xorta ah, tiirka 891).

Mawduucyadan oo kale, aasaaska ayaa ku kala duwan. mawduuca xudunta u ah (mararka qaar waxaa kala baxa hakad), qayb korriin ah (badanaa isku xigta), iyo gunaanad (eeg tusaalaha hoose, b). Mawduucyada aan habaynta lahayn ayaa u badan, kuwaas oo ku bilaabma kuna dhammaada isla furaha. Mawduucyada waxka beddelka, jihada habaynta waxay ku kooban tahay kan ugu sarreeya (eeg tusaalooyinka tiirka 977).

Mawduucyada waxaa lagu gartaa caddaynta tonal: inta badan mawduuca wuxuu ku bilaabmaa garaac daciif ah oo ka mid ah dhawaaqyada tonic. triads (marka laga reebo F. Fis-dur iyo B-dur oo ka soo jeeda mugga 2aad ee Bach's Well-Tempered Clavier; intaa dheer magacan waa la soo gaabin doonaa, iyada oo aan la tilmaamin qoraaga - "HTK"), badanaa wuxuu ku dhammaanayaa waqti tonic ah oo xooggan. . saddexaad.

a) JS Bach. Brandenburg Concerto No 6, dhaqdhaqaaqa 2aad, mowduuca leh codad la socda. b) JS Bach. Fugue in C major for Organ, BWV 564, Mawduuca.

Mawduuca dhexdiisa, weecsanaantu waa suurtogal, inta badan waxay galaan maamul-hoosaadka (ee F. fis-moll ee mugga 1aad ee CTC, sidoo kale galay kan ugu sarreeya); chromatic soo baxaya. Baadhitaano dheeraad ah oo ku saabsan caddaynta tonal kuma xadgudbaan, maaddaama mid kasta oo ka mid ah codkooda uu leeyahay qeexan. saldhig harmonic. Gudbinta chromaticisms maaha mid caadi u ah mawduucyada JS Bach. Haddii mawduucu dhamaado ka hor hordhaca jawaabta, markaas ayaa la soo bandhigay codetta si loogu xidho ka soo horjeedka (Es-dur, G-dur ee mugga 1aad ee "HTK"; sidoo kale eeg tusaalaha hoose, a). Mawduucyo badan oo Bach ah ayaa si muuqata u saameeya dhaqamadii hoboladii hore. polyphony, kaas oo saameeya linearity ee polyphonic. laxan, qaab stretta ah (eeg tusaalaha hoose, b).

JS Bach. Fugue in e minor for organ, BWV 548, mawduuca iyo bilowga jawaabta.

Si kastaba ha ahaatee, mawduucyada badankood waxaa lagu gartaa ku tiirsanaanta iswaafajinta hoose. taxanaha, kuwaas oo "ka dhex iftiimaya" laxan. sawir; tan, gaar ahaan, ku-tiirsanaanta F. 17-18 qarniyo ayaa muujinaya. laga bilaabo muusiga khaniisiinta cusub (eeg tusaalaha Farshaxanka. Habka xorta ah, tiirka 889). Waxaa jira polyphony qarsoon mawduucyada; waxa loo daaha ka qaaday sidii xariiqda tixraaca metric-ka ah (eeg dulucda F. c-moll ee mugga 1aad ee "HTK"); Xaaladaha qaarkood, codadka qarsoon ayaa si aad ah u horumarsan oo ku dayasho ayaa ka dhex abuurma mawduuca (eeg tusaalooyinka a iyo b).

hummaagnimo iyo laxan. saturation of polyphony qarsoon ee mawduucyada ku jira celceliska. shahaado ayaa sabab u ahaa in F. loo qoro tiro yar oo cod ah (3-4); 6-,7-codka F. waxa badanaa lala xidhiidhiyaa nooc duug ah (badanaa choral).

JS Bach. Mecca h-moll, No 6, "Gratias agimus tibi", bilow (la-socoshada orchestra waa laga saaray).

Dabeecadda nooca mawduucyada muusiga baroque waa mid adag, maadaama mawduucyada caadiga ahi u horumaray si tartiib tartiib ah oo u nuugay heesaha. sifooyinka foomamkaas ka horeeyey F. In haybad org. qabanqaabada, ee heesta. F. laga soo bilaabo tirada badan iyo xiisaha Bach, chorale waa saldhigga mawduucyada. Mawduucyada heesaha qadiimiga ah siyaabo badan ayaa loo metelaa. muunado (F. dis-moll ee mugga 1aad ee "HTK"; org. F. g-moll, BWV 578). U ekaanshaha heesta waxa la wanaajiyaa marka dulucda iyo jawaabta ama dhaqdhaqaaqa 1aad iyo 3aad ay la mid yihiin jumladaha muddada (fughetta I from the Goldberg Variations; org. toccata E-dur, qaybta 3/4, BWV 566). .

a) IS Bax. Khayaali Chromatic iyo fugue, dulucda fugue. b) JS Bach. Fugue in g yar ee xubinta, BWV 542, mawduuca.

Mawduuca Bach wuxuu leeyahay meelo badan oo lagala xiriiro qoob ka ciyaarka. muusiga: dulucda F. c-moll ee mugga 1aad ee "HTK" waxay ku xiran tahay boore; mawduuca org. F. g-moll, BWV 542, waxay ka timid qoob-ka-cayaarka "Ick ben gegroet", oo tixraacaya allemandes qarnigii 17aad. (eeg Protopov Vl., 1965, bogga 88). Mawduucyada G. Purcell waxay ka kooban yihiin qaafiyad jig ah. Inta badan, Mawduucyada Bach, kuwa ugu fudud, "boodhka" mawduucyada Handel, ayaa la dhex geliyaa Dec. noocyada heesaha opera, tusaale ahaan. akhrin badan (F. d-moll oo ka socda Handel's 2nd Ensem), oo ka mid ah geesiyaasha. arias (F. D-dur ee mugga 1aad ee "HTK"; gabagabada chorus ee oratorio "Masiix" ee Handel). Mawduucyada, dhawaaqyada soo noqnoqda ayaa la isticmaalaa. wareegyada - waxa loogu yeero. muusik-hal-abuurnimo. tirooyinka (eeg Zakharova O., 1975). A. Schweitzer ayaa difaacay aragtida, marka loo eego mawduucyada Bach ayaa lagu sawiray. iyo astaan. macnaha. Saamaynta tooska ah ee mawduuca Handel (ee Haydn's oratorios, ee dhamaadka heesaha Beethoven ee No. 9) iyo Bach (F. in chor. op. op. 1 by Beethoven, P. for Schumann, ee organ Brahms) waxay ahayd joogto ah iyo xoog leh (ilaa inta ay la egtahay: dulucda F. cis-moll ee mugga 131aad ee "HTK" ee Agnus ee Schubert's Mass Es-dur). Taas waxaa weheliya, sifooyin cusub ayaa lagu soo bandhigay mawduucyada F. ee la xidhiidha asalka hiddaha, qaab-dhismeedka maldahan, qaab-dhismeedka, iyo wada noolaanshaha. Astaamaha. Sidaa darteed, mawduuca fugue Allegro laga soo bilaabo dusha sare ee opera The Magic Flute by Mozart wuxuu leeyahay sifooyinka scherzo; Laxanka xamaasadda leh F. oo ka yimid sonata isaga u gaarka ah ee violin, K.-V. 1. Muuqaal cusub oo mawduucyada qarnigii 402aad f. waxay ahayd adeegsiga heesaha. Kuwani waa mawduucyadii Schubert's fugues (eeg tusaalaha hoose, a). Cunsurka heesaha-folk (F. laga bilaabo hordhaca "Ivan Susanin"; fughettas Rimsky-Korsakov ee ku salaysan heesaha dadweynaha), mararka qaarkood laxanka jacaylka bilawga cantata "Yooxanaa Dimishaq" Taneyev) waxaa lagu kala saaraa mawduucyada Rus. sayidyada, caadooyinka kuwaas oo uu sii waday DD Shostakovich (F. laga bilaabo oratorio "Song of the Forest"), V. Ya. Shebalin iyo kuwa kale. Nar. muusikadu waxa ay ahaanaysaa isha dhaanta iyo kobcinta hiddaha (19 recitatives iyo fugues by Khachaturian, 7 horudhac iyo odhaahda piano ee laxamiistaha Uzbek GA Muschel; eeg tusaalaha hoose, b), mararka qaarkood marka lagu daro habka ugu dambeeya ee muujinta (eeg tusaalaha hoose, c) . F. dulucda jazz ee D. Millau waxa iska leh wax badan oo ka mid ah goobta isbarbardhigga ..

a) P. Schubert. Mecca No 6 Es-dur, Credo, baararka 314-21, fugue theme. b) GA Muschel. 24 horudhac iyo fugues loogu talagalay biyaano, fugue theme b-moll. c) B. Bartok. Fugue ka Sonata ee Solo Violin, Mawduuca.

Qarniyadii 19aad iyo 20aad waxay si buuxda u haysteen qiimaha caadiga ah. noocyada qaab dhismeedka mawduuca (isku mid ah - F. for violin solo No 1 op. 131a Reger; ka soo horjeeda - final F. ka cantata "Yooxanaa Dimishaq" by Taneyev; Qaybta 1aad ee sonata No 1 ee piano Myaskovsky; sida a stylization - qaybta 2aad "Symphony of Psalms" by Stravinsky).

Isla mar ahaantaana, halabuurayaashu waxay helayaan habab kale (oo aan caalami ahayn) oo wax loo dhiso: xilliyeedka dabeecadda xilliga khaniisiinta (eeg tusaalaha hoose, a); isbedelka xilliyeed ee dhiirigelinta aa1 (eeg tusaalaha hoose, b); soo noqnoqoshada lammaane kala duwan aa1 bb1 (eeg tusaalaha hoose, c); soo noqnoqoshada (eeg tusaalaha hoose, d; sidoo kale F. fis-moll op. 87 ee Shostakovich); rhythmic ostinato (F. C-dur laga bilaabo wareegga "24 Preludes and Fugues" by Shchedrin); ostinato ee qaybta korriinka (eeg tusaalaha hoose, e); Cusboonaysiinta dhiirigelinta joogtada ah ee abcd (gaar ahaan mawduucyada dodecaphone; eeg tusaale f). Sida ugu xoogga badan, muuqaalka mawduucyada ayaa isbeddelaya iyadoo la raacayo saameynta harmonics cusub. fikrado. Qarnigii 19-aad mid ka mid ah halabuurayaashii ugu fikirka badnaa dhankan wuxuu ahaa P. Liszt; Mawduucyadiisa waxay leeyihiin baaxad weyn oo aan horay loo arag (fugato ee h-moll sonata waxay ku dhowdahay 2 octaves), waxay ku kala duwan yihiin dhawaaq. afaysan

a) DD Shostakovich, Fugue in E yar op. 87, mowduuc. b) M. Ravel. Fuga iz fp. suite "Tomb of Cuperina", mawduuca. c) B. Bartok. Muusiga xadhkaha, garaacista iyo cello, qaybta 1, mawduuca. d) DD Shostakovich. Fugue in A weyn op. 87, mowduuc. f) P. Xindemith. Sonata.

Tilmaamaha polyphony cusub ee qarnigii 20aad. ka muuqdaan birta macnaha, ku dhawaad ​​dodecapphonic theme of R. Strauss ka symphony. gabayga "Sidaas ku hadlay Zarathustra", halkaas oo triads Ch-Es-A-Des la barbar dhigo (eeg tusaalaha hoose, a). Mawduucyada qarniga 20-aad weecsanaanta iyo beddelka furayaasha fog ayaa dhacaya (eeg tusaalaha hoose, b), gudbinta chromatisms waxay noqotaa dhacdo caadi ah (eeg tusaalaha hoose, c); chromatic harmonic saldhigga waxay keenaysaa kakanaanta qaabka dhawaaqa farshaxanka. sawirka (eeg tusaalaha hoose, d). Mawduucyada F. farsamo cusub. farsamooyinka: atonality (F. ee Berg's Wozzeck), dodecaphony (qaybta 1aad ee Slonimsky's buff concerto; improvisation iyo F. for piano Schnittke), sonorants (fugato "In Sante Prison" ee Shostakovich's Symphony No. 14) iyo aleatory (eeg tusaalaha hoose). ) saameyn. Fikradda xariifnimada leh ee ka kooban F. ee garaacista (dhaqdhaqaaqa 3aad ee Symphony No. 4) ee Greenblat ayaa iska leh beer ka baxsan dabeecadda F..

a) R. Strauss. Gabayga astaanta ah "Sidaa u hadlay Zarathustra", dulucda fugue. b) HK Medtner. Sonata onkodka ah ee biyaano. op 53 No 2, bilowgii fugue. c) AK Glazunov. Prelude iyo Fugue cis-moll op. 101 Maya 2 ee fp., dulucda fugue. d) H. Yaa. Myaskovsky.

V. Lutoslavsky. Horudhac iyo Fugue loogu talagalay 13 Qalabka Xargaha, Mawduuca Fugue.

Ku dayashada mawduuca ku jira furaha awooda sare ama maamul hoosaadka waxa loo yaqaan jawaab ama saaxiib (Laatiinka yimid; Jarmal Antwort, Comes, Gefährte; Jawaab Ingiriisi; Risposta Talyaani; jawaab Faransiis). Haysashada mawduuc kasta oo ku jira furaha maamulka ama maamul hoosaadka qayb kasta oo foomka ka mid ah halka ay ka taliyaan ugu weyn ayaa sidoo kale loo yaqaan jawaab. tonality, iyo sidoo kale tonalities labaad, haddii inta lagu guda jiro ku dayasho saamiga garoonka isku midka ah ee mawduuca iyo jawaabta loo ilaaliyo sida bandhigga (magaca guud "jawaab octave", oo tilmaamaya gelitaanka codka 2aad ee octave, waa waxoogaa khaldan. , sababtoo ah dhab ahaantii waxaa jira 2 horudhac oo mawduuca ah, ka dibna 2 jawaabo sidoo kale Octave; tusaale ahaan, No 7 ee oratorio "Judas Maccabee" ee Handel).

Casriga ah Aragtidu waxay si ballaadhan u qeexdaa jawaabta, kuwaas oo ah, hawl ahaan F., ie, xilliga la shido codka ku dayashada ah (mid kasta oo dhex-dhexaad ah), taas oo lagama maarmaan u ah qaabka qaabka. Foomamka jilitaanka ee xilliga qaabka adag, jilitaanka ayaa loo isticmaalay waqtiyo kala duwan, laakiin wakhti ka dib, rubuc-shanaad ayaa noqda mid sarreeya (eeg tusaale ahaan Art. Fugato, tiirka 995).

Waxaa jira laba nooc oo jawaab celin ah oo ku jira ricercars - run iyo tone. Jawaab si sax ah u soo saarta dulucda (tallaabadeeda, inta badan sidoo kale qiimaha codka), oo loo yaqaan. dhab ah. Jawaabta, bilowga hore oo ka kooban laxan. isbeddellada ka dhasha xaqiiqda ah in marxaladda I ee mawduuca u dhigma heerka V (laxanka aasaasiga ah) ee jawaabta, iyo heerka V u dhiganta I stage, loo yaqaan. tonal (eeg tusaalaha hoose, a).

Intaa waxa dheer, mawduuc wax ka beddelaya furaha muhiimka ah waxa lagaga jawaabay qaab beddelidda furaha muhiimka ah ee furaha muhiimka ah (eeg tusaalaha hoose, b).

Muusigga qoraallada adag, looma baahnayn jawaab-celin tonal ah (inkasta oo mararka qaarkood la kulmay: Kyrie iyo Christe eleison oo ka yimid tirada L'homme armé ee Palestrina, jawaabtu waa run, Qui tollis waxaa jira tonal. ), maadaama aan la aqbalin kuwa chromatic. isbeddellada tillaabooyinka, iyo mawduucyada yaryar si fudud "ku habboon" jawaab dhab ah. Qaab bilaash ah oo leh ansixinta waaweyn iyo kuwa yaryar, iyo sidoo kale nooc cusub oo instr ah. mowduucyo kala duwan, waxaa jiray baahi loo qabo cod badan. milicsiga cilaaqaadka shaqada ee ugu sarreeya ee tonic-ga u sarreeya. Intaa waxaa dheer, xoojinta tillaabooyinka, jawaabta tonal waxay ilaalinaysaa bilawga F. qaybta soo jiidashada ee ugu weyn. tonality.

Xeerarka jawaabta codka si adag ayaa loo raacay; ka reebban ayaa loo sameeyay mowduucyo qani ku ah chromaticism, ama xaaladaha isbeddellada tonal ay si weyn u qalloociyeen heesaha. sawir (eeg, tusaale ahaan, F. e-moll ka mugga 1aad ee "HTK").

Jawaabta hoose waxaa loo isticmaalaa in ka yar si joogto ah. Haddii mawduuca uu u badan yahay wada noolaanshaha ama dhawaaqa, markaas jawaab-celin hoose ayaa la soo bandhigay (Contrapunctus X oo ka socota Art of Fugue, org. Toccata in d-moll, BWV 565, P. from Sonata for Skr. Solo No 1 in G- moll, BWV 1001, Bach ); mararka qaarkood F. oo la geeyo dheer, labada nooc ee jawaab-celinta ayaa la isticmaalaa, taas oo ah, awood badan iyo mid hoose (F. cis-moll oo ka soo jeeda mugga 1aad ee CTC; No. 35 ee oratorio Solomon ee Handel).

Laga soo bilaabo bilowgii qarnigii 20aad ee la xidhiidha tonal cusub iyo harmonic. matalaad, u hoggaansanaanta hab-dhaqanka jawaabta codka waxay isu rogtay qaddarin dhaqan, taas oo si tartiib tartiib ah u joojisay in la ilaaliyo.

a) JS Bach. Fanka fugue. Contrapunctus I, mawduuca iyo jawaabta. b) JS Bach. Fugue in C Minor mawduuca Legrenzi ee Xubinta, BWV 574, Maadada iyo Jawaabta.

Iska hor imaadka (German Gegenthema, Gegensatz, Begleitkontrapunkt des Comes, Kontrasubjekt; Mawduuc Ingiriisi; Contre-sujet Faransiis; Contro-soggetto Talyaani, contrassoggetto) - bar-kulanka jawaabta (fiiri Countersubject).

Interlude (laga bilaabo lat. intermediaus - oo ku yaala bartamaha; Jarmal Zwischenspiel, Zwischensatz, Interludium, Intermezzo, Episode, Andamento (kan dambe sidoo kale waa dulucda F. cabbir weyn); Talyaani. madadaalo, dhacdo, isbeddel; франц. madadaalo, dhacdo, andamento; ingiriisi dhacdo fugal; Erayada "dhacdo", "dhexgal", "divertimento" macnaha "dhexdhexaadinta F." suugaanta afka Ruushka. yaas. isticmaalka ka baxsan; marmar tan waxa loo istcimaalaa in lagu qeexo dhexda hab cusub oo lagu horumariyo walxaha ama walxaha cusub) ee F. - dhismaha u dhexeeya mawduuca. Ku dhex hadal si cad. iyo nuxurka qaabdhismeedku waa ka soo horjeeda hab-dhaqanka mawduuca: dhexgalku had iyo jeer waa dhisidda dabeecad dhexdhexaad ah (horumarin), ugu weyn. horumarinta aagga mawduuca ee F., ka qaybqaadanaya dib u cusboonaysiinta codka mawduuca soo galaya iyo abuurista sifo F. sameeyaan dheecaan. Waxa jira is dhexgalyo isku xidha hab-dhaqanka mawduuca (badanaa qayb ka mid ah) oo si dhab ah u horumariya (kala soocida dhaqanka). Haddaba, muujinta, dhex-galku waa mid iska caadi ah, isaga oo ku xidhaya jawaabta iyo hordhaca mawduuca codka 3aad (F. D-dur laga soo bilaabo mugga 2aad ee "HTK"), in ka yar - mawduuc leh hordhaca jawaabta codka 4aad (F. b-moll laga soo bilaabo mugga 2aad) ama ku dar. haysta (F. F weyn ee mugga 2). Dhexdhexaadinta yaryar ee noocan oo kale ah waxaa loo yaqaannaa xidhmo ama codeettes. Waxa ka hadlay Dr. noocyada, sida caadiga ah, way ka weyn yihiin cabbirka waxaana loo isticmaalaa inta u dhaxaysa qaybaha foomka (tusaale ahaan, marka laga guurayo muujinta loona guurayo qaybta horumarinta (F. C-dur laga bilaabo mugga 2-aad ee “HTK”), laga bilaabo ilaa soo celinta (F. h-moll laga soo bilaabo mugga 2aad)), ama gudaha soo koraya (F. As-dur laga soo bilaabo mugga 2aad) ama jawaab celin (F. F-dur laga bilaabo mugga 2aad) qaybta; dhismaha ku jira dabeecadda dhexda, oo ku taal dhammaadka F., waxaa loo yaqaannaa dhammaystir (eeg. F. D weyn oo ka soo jeeda mugga 1aad «HTK»). Interludes waxay badanaa ku salaysan yihiin ujeedooyinka mawduuca - bilawga (F. c-moll laga bilaabo mugga 1aad ee "HTK") ama kan u dambeeya (F. c-moll laga soo bilaabo mugga 2aad, cabbirka 9), badanaa sidoo kale ku saabsan walxaha mucaaradka (F. f-moll laga bilaabo mugga 1aad), mararka qaarkood - codeettes (F. Es-dur ee mugga 1aad). Solo. Mawduuca ka soo horjeeda waa naadir, laakiin is dhexgalyada noocan oo kale ah ayaa inta badan door muhiim ah ka ciyaara jumlada. (Kyrie No 1 oo ka yimid tirada Bach ee h-moll). Xaalado gaar ah, interludes ayaa la keenaa F. element of improvisation (harmonic-figurative interludes in org. Toccate in d yar, BWV 565). Qaab dhismeedka is dhexgalku waa jajab; Mid ka mid ah hababka horumarinta, meesha 1aad waxaa ku jira isku xigxiga - fudud (baararka 5-6 ee F. c-moll laga bilaabo mugga 1aad ee "HTK") ama kan 1st (ibid., baararka 9-10, oo dheeraad ah. codka) iyo qaybta 2aad (F. fis-moll laga bilaabo mugga 1aad, bar 7), inta badan kama badna 2-3 xiriiriye oo leh tallaabo labaad ama saddexaad. Go'doominta motifs, taxanaha iyo dib u habeynta toosan waxay keenaysaa faragelinta weyn ee horumarka (F. Cis-dur ee mugga 1aad, baararka 35-42). Qaar ka mid ah F. soo noqoshada, mararka qaarkood samaynta xiriir sonata (cf. baararka 33 iyo 66 ee F. f-moll laga soo bilaabo mugga 2aad ee “HTK”) ama nidaamka xaaladaha kala duwan ee contrapuntal (F. c-moll iyo G-dur laga soo bilaabo mugga 1aad), iyo dhibkooda qaab dhismeedka tartiib-tartiib ah waa sifo (F. Laga soo bilaabo qolka "Tomb of Couperin" ee Ravel). Mawduuc ahaan "koondhaysan" F. iyada oo aan lahayn is-dhexgal ama isdhexgalyo yaryar waa naadir (F. Kyrie oo ka socda Mozart's Requiem). Sida F. ku xiran contrapunent xirfad leh. horumarinta (stretty, mis. isbeddellada mawduuca) u dhawaada ricercar - fuga ricercata ama figurata (P.

Stretta - ku dayasho daran. fulinta mawduuca F., kaas oo codka ku dayashada ahi uu galo ilaa dhamaadka mawduuca ee codka bilowga ah; stretta waxaa lagu qori karaa qaab fudud ama qaab canonical ah. ku dayasho. Soo-gaadhista (laga bilaabo lat. muujin - muujin; Nem. bandhig wadajir ah, waxqabadka ugu horreeya; Ingiriis, Faransiis. u nuglaansho; Talyaani. esposizione) waxaa loo yaqaan ku dayashada 1aad. kooxda F., vol. e. Qaybta 1aad ee F., oo ka kooban horudhac horudhac ah oo mawduuca ah dhammaan codadka. Bilawga monophonic waa wax caadi ah (marka laga reebo F. weheliyay, tusaale. Kyrie No 1 oo ka yimid cufnaanta Bach ee h-moll) iyo mawduuc beddelan oo jawaab celin ah; mararka qaarkood amarkan waa la jebiyaa (F. G-dur, f-moll, fis-moll oo ka yimid mugga 1aad ee "HTK"); choral F., kaas oo codadka aan ku xigan lagu daydo octave (mawduuca-mawduuca iyo jawaab-jawaab: (Final F. laga soo bilaabo oratorio "The Four Seasons" ee Haydn) waxaa loo yaqaan 'octaves'. Jawaabta waa la galaa isku mar. oo leh dhamaadka mawduuca (F. dis-moll laga bilaabo mugga 1aad ee "HTK") ama ka dib (F. Fis-dur, ibid.); F., oo ay jawaabtu gasho ka hor dhamaadka mawduuca (F. E-dur laga bilaabo mugga 1aad, Cis-dur ee mugga 2aad ee "HTK"), waxaa loo yaqaan 'stretto, cufan. 4-gool. bandhigyada codadka inta badan waxay galaan labo-labo (F. D-dur oo ka soo jeeda mugga 1aad ee "HTK"), kaas oo la xidhiidha caadooyinka bandhigga fugue ee xilliga qorista adag. Weyn ayaa sheegi doona. sida ay u kala horreeyaan arrimaha hordhaca ah: bandhigga waxaa inta badan loo qorsheeyey si cod kasta oo soo galaya uu yahay mid xad-dhaaf ah, si fiican loo kala saari karo (tani, si kastaba ha ahaatee, maaha xeer: hoos eeg). F. g-moll laga bilaabo mugga 1aad ee "HTK"), kaas oo si gaar ah muhiim ugu ah xubinta, clavier F., tusaale ahaan. tenor - alto - soprano - bass (F. D-dur laga bilaabo mugga 2aad ee "HTK"; org. F. D-dur, BWV 532), alto - soprano - tenor - bass (F. c-moll laga bilaabo mugga 2aad ee "HTK"), iwm.; Hordhacyada codka sare ilaa kan hoose waa isku sharaf (F. e-moll, ibid.), Iyo sidoo kale nidaam aad u firfircoon oo codadka laga soo galo - hoos ilaa sare (F. cis-moll ee mugga 1aad ee "HTK"). Xuduudaha qaybaha qaabka dareeraha ah sida F. waa shuruud; bandhigga waxa loo tixgalinayaa in la dhammaystiray marka mawduuca iyo jawaabta lagu hayo dhammaan codadka; dhexda danbe waxa iska leh muujinta haddi ay leedahay cadence (F. c-moll, g-moll laga bilaabo mugga 1aad ee "HTK"); haddii kale, waxa iska leh qaybta soo koraysa (F. As-dur, ibid.). Marka bandhiggu noqdo mid aad u gaaban ama loo baahan yahay soo-gaadhis tifaftiran, mid ayaa lagu soo bandhigayaa (4-madax. F. D-dur laga soo bilaabo mugga 1aad ee "HTK" saamaynta hordhaca ah ee codka 5aad) ama dhowr. ku darso. la qabtay (3 gudaha 4-go. org F. g-moll, BWV 542). Bandhigyada dheeraadka ah ee dhammaan codadka waxay sameeyaan bandhig-soo-jeedin (F. E-dur laga soo bilaabo mugga 1aad ee "HTK"); waxay caadi u tahay horudhac ka duwan kan bandhigga iyo qaybinta mawduuca iyo jawaabta codadka; Ka-hortagga-soo-qaadista Bach waxay u muuqdaan inay yihiin kuwo liddi ku ah. horumarinta (ee F. F-dur laga bilaabo mugga 1aad "HTK" - stretta, gudaha F. G-dur – rogaal celinta mawduuca). Mararka qaarkood, gudaha xadka bandhigga, isbeddellada ayaa lagu sameeyaa jawaabta, taas oo ah sababta noocyada gaarka ah ee F. Kac: wareegga (Contrapunctus V ee Bach's The Art of Fugue; F. XV ee 24 Hordhac iyo F. fp. Shchedrin), oo la dhimay (Contrapunctus VI oo ka yimid Farshaxanka Fugue), oo la ballaariyay (Contrapunctus VII, ibid.). Soo-gaadhista gabi ahaanba waa xasiloon tahay waana qaybta ugu xasilloon ee foomka; qaab dhismeedkeedii dheeraa ayaa lagu ilaalin jiray (mabda' ahaan) wax soo saarka. 20 gudaha. Markay tahay 19 in. Tijaabooyin ayaa la sameeyay si loo abaabulo soo-gaadhista iyadoo lagu salaynayo ku dayashada ee aan caadiga ahayn ee F. muddada u dhaxaysa (A. Reich), si kastaba ha ahaatee, fanka. waxay ku dhaqmeen oo kaliya qarnigii 20aad. iyadoo ay hoos imanayso xorriyadda is-waafajinta ee muusigga cusub (F. ka quintet ama. 16 Taneeva: c-es-gc; P. ee "Sonata Thunderous" ee biyaano. Metnera: fis-g; ee F. B-dur hore. 87 Jawaabta Shostakovich ee furaha barbar socda; ee F. F ee Hindemith's "Ludus tonalis" jawaabtu waa jajab tobanle, A ee saddexaad; ee antonal triple F. laga bilaabo d. "Wozzeka" Berga, takt 286, ответы в ув. nonu, malu, sextu, um. shanaad). Bandhiga F. marmarka qaarkood waxaa lagu siiyay dhismo soo koraya, tusaale ahaan. meertada "24 Preludes and Fugues" ee uu qoray Shchedrin (macnaheedu waa isbedelada jawaabta, mucaaradada aan saxda ahayn ee F. XNUMX, XNUMX). Qaybta F., ka dib muujinta, waxa loo yaqaan horumarinta (it. qaybta hogaanka, qaybta dhexe; Qaybta horumarinta Ingiriisiga; франц. partie du dévetopment; Talyaani. partie di sviluppo), mararka qaarkood - qaybta dhexe ama horumarinta, haddii isdhexgalka ku jira ay isticmaalaan farsamooyinka isbeddelka dhiirigelinta. Ka-hortagga suurtagalka ah. (koox ka soo horjeeda, stretta, isbeddelka mawduuca) iyo tonal harmonic. (habaynta, dib-u-habaynta) macnaha horumarka. Qaybta soo koraysa ma laha qaab-dhismeed adag; Sida caadiga ah kani waa dhismo aan degganayn, oo ka dhigan taxane hal ama kooxeed oo furayaal ah, to-rykh kuma jirin bandhigga. Sida ay u kala horreeyaan furayaashu waa bilaash; Bilawga qaybta, tonality is barbar socda ayaa badanaa la isticmaalaa, iyadoo siinaya midabayn cusub (F. Es-dur, g-moll laga bilaabo mugga 1aad ee "HTK"), dhamaadka qaybta - furayaasha kooxda hoose (ee F. F-dur laga bilaabo mugga 1aad - d-moll iyo g-moll); lagama reebo, iwm. kala duwanaanshaha horumarka tonal (tusaale ahaan, F. f-moll ee mugga 2aad «HTK»: As-dur-Es-dur-c-moll). Ka gudubka xadka tonity ee darajada 1aad ee qaraabanimada waa sifada F. ka dib (F. d-moll ka Mozart's Requiem: F-dur-g-moll-c-moll-B-dur-f-moll). Qaybta soo koraya waxay ka kooban tahay ugu yaraan hal bandhig oo mawduuca ah (F. Fis-dur laga soo bilaabo mugga 1aad ee "HTK"), laakiin badanaa waxaa jira in ka badan; haysashada kooxda waxaa badanaa loo dhisaa iyadoo loo eegayo nooca isku xidhka mawduuca iyo jawaabta (F. f-moll laga soo bilaabo mugga 2aad ee "HTK"), si mararka qaarkood qaybta soo koraysa ay ugu ekaato muujinta furaha labaad (F. e-moll, ibid.). Qaybta soo koraya, strettas, isbeddellada mawduuca ayaa si weyn loo isticmaalaa (F.

Calaamadda qaybta kama dambaysta ah ee F. (Jarmal: SchluYateil der Fuge) waa soo laabasho xooggan oo ugu weyn. furaha (badanaa, laakiin lama xidhiidho mawduuca: F. F-dur laga bilaabo mugga 1aad ee "HTK" ee cabbirada 65-68, mawduuca "ku milma" sawir ahaan; cabbirada 23-24 F. D-dur Ujeedada 1aad waa "lagu weynaaday" ku dayasho, tan 2aad ee baararka 25-27 - by chords). Qaybta waxa laga yaabaa inay ku bilaabato jawaab (F. f-moll, cabbirka 47, laga bilaabo mugga 1aad; F. Es-dur, cabbirka 26, laga soo bilaabo mugga isku mid ah - oo ka soo jeeda rasaasta dheeraadka ah) ama furaha hoose ee ch . arr. loogu talagalay isku-dhafka horumarinta hore (F. B-dur laga bilaabo mugga 1aad, cabbirka 37; Fis-dur oo ka soo jeeda isla mugga, cabbirka 28 - oo laga soo qaatay rasaasta dheeraadka ah; Fis-dur oo ka soo jeeda mugga 2nd, cabbirka 52 - ka dib marka la barbardhigo oo leh ka-hortagga-soo-gaadhista), kaas oo sidoo kale laga helo is-waafajin gebi ahaanba kala duwan. xaaladaha (F. ee G ee Hindemith's Ludus tonalis, bar 54). Qaybta kama dambaysta ah ee fugues Bach inta badan way ka gaaban tahay (dib-u-celinta F. f-moll ee mugga 2aad waa ka reebban) marka loo eego bandhigga (4-gool F. f-moll ee mugga 1aad ee "HTK" 2 bandhigyada ) , ilaa xajmiga cadenza yar (F. G-dur laga bilaabo mugga 2aad ee "HTK"). Si loo xoojiyo furaha aasaasiga ah, haynta hoose ee mawduuca ayaa badanaa la soo bandhigaa (F. F-dur, bar 66, iyo f-moll, bar 72, laga bilaabo mugga 2nd ee "HTK"). Codadka gabagabada qaybta, sida caadiga ah, lama damin; Xaaladaha qaarkood, isugaynta qaansheegta ayaa lagu muujiyay gabagabada. soo jeedinta chord (F. D-dur iyo g-moll ee mugga 1aad ee "HTK"). Iyadoo lagu soo gabagabeyn doono. qaybta mararka qaarkood waxay isku daraysaa dhamaystirka foomka, oo inta badan la xidhiidha stretta (F. g-moll oo ka soo jeeda mugga 1aad). Gabagabo dabeecadda waxaa lagu xoojiyay qaab-dhismeedka chordal (2 cabbir ee ugu dambeeya ee isla F.); qaybta waxaa laga yaabaa inay lahaato gabagabo sida codad yar ( baararka ugu dambeeya ee F. c-moll ee mugga 1aad ee "HTK", oo ay hoosta ka xariiqday tonic. org. cutubka; F. ee ku xusan G of Hindemith - basso ostinato); Xaaladaha kale, qaybta kama dambaysta ah waxay noqon kartaa mid furan: ama waxay leedahay sii socosho nooc kale ah (tusaale ahaan, marka F. ay qayb ka tahay horumarinta sonata), ama waxay ku lug leedahay codad ballaaran oo wareeg ah, oo u dhow. dabeecad ahaan gelitaanka. gabal (org. gogoldhig iyo P. a-moll, BWV 543). Erayga "reprise" si loo soo gabagabeeyo. qaybta F. waxa kaliya oo lagu dabaqi karaa shuruudo, macno guud, iyada oo la tixgelinayo kala duwanaansho adag. qaybta F. ka soo bandhigidda.

Laga soo bilaabo ku dayashada. foomamka qaabka adag, F. waxay dhaxashay farsamooyinka qaab dhismeedka bandhiga (Kyrie oo ka yimid luuqada Pange ee Josquin Despres) iyo jawaabta tonal. F. ee ka horeeyay dhowr. taasi waxay ahayd mootada. Asal ahaan wok. foomka, moette ka dibna u dhaqaaqay instr. muusikada (Josquin Deprez, G. Isak) waxaana loo adeegsaday canzone, kaas oo qaybta xigta ay tahay polyphonic. kala duwanaanshiyaha kii hore. Fugues ee D. Buxtehude (eeg, tusaale ahaan, org. horudhac iyo P. d-moll: horudhac - P. - quasi Recitativo - kala duwanaanshaha F. - gunaanad) dhab ahaantii waa canzone. F. kii ugu dhawaa waxa uu ahaa xubinta mugdiga ah ama clavier ricercar (hal mugdi ah, hodantinimada mawduuca stretta texture, farsamooyinka beddelka mawduuca, laakiin maqnaanshaha interludes sifada F.); F. u wac baabuurtooda S. Sheidt, I. Froberger. G. Frescobaldi's canzones iyo ricercars, iyo sidoo kale xubnaha iyo clavier capriccios iyo mala-awaalka Ya. Habka samaynta foomka F. wuxuu ahaa mid tartiib tartiib ah; tilmaan "1aad F." aan macquul ahayn.

Ka mid ah shaybaarada hore, foom waa mid caadi ah, kaas oo soo koraya (German zweite Durchführung) iyo qaybaha ugu dambeeya ay yihiin fursadaha soo-gaadhista (fiiri Repercussion, 1), sidaas darteed, foomka waxaa loo soo ururiyey sida silsiladda-soo-bandhigista (shaqada la sheegay) Buxtehude F. wuxuu ka kooban yahay bandhig iyo 2 nooc oo kala duwan. Mid ka mid ah guulaha ugu muhiimsan ee waqtiga GF Handel iyo JS Bach waxay ahayd hordhaca horumarinta tonal ee falsafada. Daqiiqadaha muhiimka ah ee dhaqdhaqaaqa tonal ee F. waxaa lagu calaamadiyaa cad (caadiyan dhammaystiran dhammaystiran) cadences, taas oo Bach inta badan aan ku habboonayn xuduudaha bandhigga (ee F. D-dur laga bilaabo mugga 1aad ee CTC, cadence aan qummanayn ee cabbirka 9 "jiid" h-moll-noe taasoo keentay soo bandhigidda), horumarinta iyo qaybaha ugu dambeeya iyo "jar" iyaga (la mid ah F. cadence kaamil ah ee e-moll ee bar 17 ee dhexe ee horumarinta. qaybta waxay u qaybisaa foomka 2 qaybood). Waxaa jira noocyo badan oo kala duwan oo ka mid ah qaabka labada qaybood: F. C-dur laga bilaabo mugga 1aad ee "HTK" (cadenza a-moll, cabbirka 14), F. Fis-dur oo ka soo jeeda isla mugga ayaa ku wajahan labadii qaybood ee hore. foomka (cadenza on the dominant, cabbirka 17, cadence in dis-moll ee dhexe ee qaybta korriinka, bar 23); muuqaalada sonata hore ee F. d-moll laga soo bilaabo mugga 1aad (stretta, oo soo gebogebaysa dhaqdhaqaaqa 1aad, waxa loo gudbiyaa dhamaadka F. furaha ugu muhiimsan: cf. baararka 17-21 iyo 39-44) . Tusaalaha foomka saddex-qaybood ah - F. e-moll ee mugga 1aad ee "HTK" oo leh bilow cad ayaa soo gabagabeyn doona. qaybta (cabirka 20).

Kala duwanaansho gaar ah waa F., kaas oo leexinta iyo habeynta aan laga saarin, laakiin hirgelinta mawduuca iyo jawaabta ayaa la bixiyaa oo kaliya ee ugu weyn. oo awood badan (org. F. c-moll Bach, BWV 549), marmar - gabagabada. qaybta - furayaasha hoose (Contrapunctus I oo ka socda Bach's Art of Fugue) furayaasha. Sida F. marmarka qaarkood waxaa loo yaqaan monotonous (cf. Grigoriev S. S., Muller T. F., 1961), xasilloon-tonal (Zolotarev V. A., 1932), tonic-sare. Saldhigga korriinka ee iyaga ku jira badanaa waa hal ama mid kale oo liddi ku ah. isku darka (fiiri fidinta F. Es-dur laga soo bilaabo mugga 2aad ee “HTK”), dib u habeynta iyo beddelka mawduuca (laba qaybood F. C-moll, saddex qaybood F. d-moll laga soo bilaabo mugga 2aad ee "HTK"). Waxoogaa qadiimi ah oo horeba u jiray waagii I. C. Bach, foomamkan waxaa la helaa marmar kaliya waqtiyada danbe (dhammaadka kala-duwanaanta No. 1 ee Haydn baritones, Hob. XI 53). Foomka rondo-qaabeeya wuxuu dhacaa marka qayb ka mid ah qaybta ugu weyn lagu daro qaybta soo koraysa. tonality (ee F. Cis-dur laga bilaabo mugga 1aad ee "HTK", cabbir 25); Mozart ayaa wax ka qabtay foomkan (F. c-moll ee xargaha. rubuc, K.-V. 426). Qaar badan oo ka mid ah fugues Bach waxay leeyihiin astaamo sonata (tusaale ahaan, Coupe No. 1 laga bilaabo Mass in h-moll). Foomamka wakhtiga ka dambeeya Bach, saamaynta caadooyinka muusiga khaniisiinta waa la ogaan karaa, iyo qaab cad oo saddex qaybood ah ayaa soo baxa. Taariikhyahan. Guusha fanaaniinta Viennese waxay ahayd isku dhafka qaabka sonata iyo F. foomka, oo loo fuliyay midkood fugue foomka sonata (dhammaadka Mozart's G-dur quartet, K.-V. 387), ama sida astaanta F., gaar ahaan, isbeddelka qaybta soo koraya ee horumarinta sonata (dhammaadka rubuc, op. 59 Maya 3 ee Beethoven). Iyada oo ku saleysan guulahaas, alaab ayaa la abuuray. in homophonic-polyphonic. foomamka (isku darka sonata oo leh labanlaab F. Dhammaadkii heestii 5aad ee Bruckner, oo leh afar jibbaar F. Koorsada ugu dambeysa ee cantata "Ka dib akhrinta sabuurrada" Taneyev, oo leh labanlaab F. qaybta 1-aad ee hees-faneedka "Farshaxanka Mathis" ee Hindemith) iyo tusaalooyin aad u wanaagsan F. (Qaybta 1-aad ee Hobolada 1aad. Suites by Tchaikovsky, final of cantata "John of Damascus" by Taneyev, orc. Kala duwanaanshaha Reger iyo Fugue on theme by Mozart. Cufisjiidka dhanka asalka ah ee muujinta, sifada fanka jaceylka, ayaa sidoo kale lagu fidiyay qaababka F. (property of fantasy in org. F. Dulucda BACH Liszt, oo lagu muujiyey firfircooni dhalaalaysa. isbarbardhigga, soo bandhigida walxaha episodic, xorriyadda codka). Muusigga qarniga 20-aad waxaa loo adeegsadaa dhaqanka. F. foomamka, laakiin isla mar ahaantaana waxaa jira dareen la dareemi karo oo loo isticmaalo polyphonic-ka ugu adag. khiyaanada (eeg No 4 ee cantata "Ka dib markaad akhrido Sabuurka" ee Taneyev). Dhaqan. qaabka mararka qaarkood waa natiijo gaar ah. dabeecadda farshaxanka neoclassical (concerto final ee 2 fp. Stravinsky). Xaalado badan, halabuurayaashu waxay raadiyaan inay ka helaan caadooyinka. foomka cad ee aan la isticmaalin. suurtagalnimada, buuxinta harmonic aan caadi ahayn. nuxurka (ee F. C-dur hore. 87 Jawaabta Shostakovich waa Mixolydian, cf. qayb ka mid ah - hababka dabiiciga ah ee niyadda yar, iyo argagixinta - oo leh stretta Lydian) ama isticmaalka iswaafajinta cusub. iyo qoraalka. Taas waxaa barbar socda, qorayaasha F. Qarnigii 20aad waxay abuuraan foomamka shakhsi ahaaneed. Marka, F. gudaha F ee Hindemith's "Ludus tonalis" dhaqdhaqaaqa 2aad (laga bilaabo cabbirka 30) waa dhaqdhaqaaqii 1aad ee dhaqdhaqaaqa rakish.

Marka laga soo tago hal mugga, waxa kale oo jira F. on 2, in ka yar 3 ama 4 mawduuc. Kala saar F. dhowr. kuwa iyo F. adag (2 - labanlaab, 3 - saddexjibbaaran); Kala duwanaanshahooda waa in kakan F. ay ku lug leedahay ka-hortagga. isku darka mawduucyo (dhammaan ama qaar ka mid ah). F. dhowr mawduuc oo taariikhiyan ah waxay ka yimaadeen motet waxayna u taagan yihiin kuwa soo socda dhowr F. mawduucyo kala duwan (waxaa jira 2 ka mid ah org. horudhac iyo F. a-moll Buxtehude). Noocan F. laga helay org. habaynta heesaha; 6-gool F. “Aus tiefer Not schrei'ich zu dir” ee uu qoray Bach (BWV 686) waxa uu ka kooban yahay bandhigyo ka horreeya halbeeg kasta oo chorale ah oo lagu dhisay agabkooda; F. noocan oo kale ah waxaa loo yaqaan strophic (mararka qaarkood ereyga Jarmalka Schichtenaufbau waxaa loo isticmaalaa - dhisidda lakabyo; eeg tusaalaha tiirka 989).

Waayo, kakan F. kala duwanaansho qoto dheer ma aha sifo; Mawduucyadiisa oo kaliya ayaa midba midka kale ka dhigayaa (kan 2aad badanaa waa ka dhaqaaq badan yahay oo aan gaar ahayn). Waxaa jira F. oo leh bandhig wadajir ah oo mawduucyo ah (laba: org. F. h-moll Bach mawduuca Corelli, BWV 579, F. Kyrie oo ka socda Mozart's Requiem, piano prelude iyo F. op. 29 Taneyev; saddexjibbaaran: 3 -head.invention f-moll Bach, horudhac A-dur mugga 1aad ee "HTK"; afraad F. ee dhamaadka cantata "Ka dib markii Sabuurradii akhriyey" Taneyev) iyo farsamo ahaan fudud F. oo leh bandhigyo kala duwan (laba jeer. : F. gis-moll laga bilaabo mugga 2aad ee "HTK", F. e-moll iyo d-moll op. 87 ee Shostakovich, P. in A oo ka yimid "Ludus tonalis" ee Hindemith, saddex laab: P. fis-moll ka mugga 2aad ee “HTK”, org. F. Es-dur, BWV 552, Contrapunctus XV ee Farshaxanka Fugue ee Bach, No 3 ee cantata Ka dib markii uu akhriyay Sabuurka Taneyev, F. ee C ee Hindemith's Ludus tonalis ). Qaar ka mid ah F. waa noocyo isku dhafan: gudaha F. cis-moll ee mugga 1aad ee CTC, mawduuca 1aad ayaa ka soo horjeeda soo bandhigida mawduucyada 2aad iyo 3aad; gudaha 120-aad P. laga bilaabo Diabelli's Variations on theme, op. 10 Mawduucyada Beethoven waxaa lagu soo bandhigay labo-labo; F. laga bilaabo horumarinta riwaayadda 1th ee Myaskovsky, mawduucyada 2aad iyo 3aad ayaa si wadajir ah loo soo bandhigay, iyo XNUMXrd si gooni gooni ah.

JS Bach. Habaynta xubnaha chorale "Aus tiefer Not schrei' ich zu dir", bandhiga 1aad.

Sawirka adag, xeerarka qaab dhismeedka bandhigga ayaa la ilaaliyaa marka la soo bandhigayo mawduuca 1aad; soo-gaadhista iwm. inta yar ee adag.

Nooc gaar ah waxaa u taagan F. chorale. Mawduuc ahaan madax-bannaan F. waa nooc ka mid ah asalka chorale, kaas oo waqti ka waqti (tusaale, dhexda F.) lagu sameeyo waqtiyo waaweyn oo ka duwan dhaqdhaqaaqa F. Qaab la mid ah ayaa laga helay org dhexdooda. . habaynta heesta Bach ("Ciise, meine Freude", BWV 713); Tusaalaha cajiibka ah waa labanlaab P. ilaa chorale Confiteor No. 19 laga bilaabo tirada b-moll. Bach ka dib, foomkani waa naadir (tusaale ahaan, labada F. ee Mendelssohn's Organ Sonata No. 3; F. kama dambaysta ah ee Taneyev's cantata John of Damascus); fikradda ah in lagu daro chorale ee horumarinta F. waxaa lagu hirgeliyay Prelude, Chorale iyo Fugue ee piano. Frank, ee F. No 15 H-dur oo ka socda "24 Preludes and Fugues" ee biyaano. G. Muschel

F. u kacay sidii qaab qalabeed, iyo qalabaynta (oo leh dhammaan muhiimadda wok. F.) ayaa ku hadhay. sphere, kaas oo ay ku horumartay waqti ku xiga. Doorka F. si joogto ah u kordhay: laga bilaabo J. B. Lully, waxay soo gashay Faransiiska. dulsaarka, I. Ya Froberger wuxuu adeegsaday bandhig fugue ah gigue (suite), Talyaani. Masters-ku waxay soo bandhigeen F. в сонату oo ka socda kaniisadda iyo riwaayadaha guud. Qeybtii 2-aad. 17 gudaha. F. ku midoobay horudhac, passacaglia, ayaa galay toccata (D. Buxtehude, G. Muffaat); Ph.D laanta instr. F. - org. habaynta heesaha. F. Codsiga laga helay tiro badan, oratorios, cantatas. Pazl. isbeddellada horumarka F. helay classic ah. qaabka shaqada ee I. C. Bach. Codka codka ugu weyn Wareega Bach wuxuu ahaa wareegga laba-qaybood ee horudhaca-F., kaas oo sii waday muhiimadiisa ilaa maantadan (qaar ka mid ah curiyeyaasha qarnigii 20aad, tusaale ahaan. Čiurlionis, mararka qaarkood waxaa ka horreeya F. dhowr gogoldhig). Dhaqan kale oo muhiim ah, oo sidoo kale ka yimid Bach, waa ururka F. (mararka qaarkood oo ay la socdaan horudhacyo) wareegyo waaweyn (2 mugga "XTK", "Farshaxanka Fugue"); foomkan qarnigii 20aad. horumariyo P. Hin-demit, D. D. Shostakovich, R. KU. Shchedrin, G. A. Muschel iyo kuwa kale. F. waxaa loo adeegsaday hab cusub oo ay isticmaaleen classics Viennese: waxa loo adeegsaday qaab Ph.D. qaybo ka mid ah sonata-symphony. wareegga, gudaha Beethoven - sida mid ka mid ah kala duwanaanshaha wareegga ama sida qayb ka mid ah foomka, tusaale ahaan. sonata (sida caadiga ah fugato, ma aha F.). Guulihii wakhtiga Bach ee goobta F. ayaa si weyn loogu isticmaalay sayidyadii qarniyadii 19-20aad. F. looma isticmaalo oo kaliya sida qaybta ugu dambeysa ee wareegga, laakiin xaaladaha qaarkood waxay beddeshaa sonata Allegro (tusaale ahaan, heesaha 2aad ee Saint-Saens); wareegga "Prelude, chorale iyo fugue" ee biyaano. Franka F. waxay leedahay tilmaamo sonata, iyo halabuurka oo dhan waxaa loo arkaa sonata-khayaali weyn. Kala duwanaanshuhu F. inta badan waxa ay fadhidaa booska finalka guud (I. Brams, M. Reger). Fugato ee horumarka c.-l. Laga soo bilaabo qaybaha simphony waxay koraan ilaa F. waxayna badanaa noqotaa xarunta qaabka (dhammaadka Rachmaninoff's Symphony No. 3; Symphonies Myaskovsky No. 10, 21); qaabka F. waxa lagu sheegi karaa.-l. laga soo bilaabo mawduucyada (qaybta dhinaca ee dhaqdhaqaaqa 1aad ee Myaskovsky's quartet No. 13). Muusiga qarniyadii 19-aad iyo 20-aad. qaab dhismeedka maldahan ee F. Aragti jaceyl oo lama filaan ah. heesaa. thumbnail muuqataa fp. Schumann's fugue (op. 72 No 1) iyo 2-gool kaliya. fugue by Chopin. Mararka qaarkood (laga bilaabo Haydn's Four Seasons, Maya. 19) F. u adeegta si loo sawiro. Ujeedooyinka (sawirka dagaalka Macbeth ee Verdi; koorsada webiga ee Symph. gabayga "Vltava" ee Smetana; "Qeybta toogashada" ee dhaqdhaqaaqa 2aad ee Shostakovich's Symphony No. 11); ee F. Romantic ayaa soo mara. tusaale ahaan - grotesque (dhammaadka Berlioz's Symphony Fantastic), shaydaan (op. F. Caleenta), birta ah (symp. Strauss's "Sidaa tiri Zarathustra" xaaladaha qaarkood F. - qaadaha sawirka geesinimada leh (hordhaca opera "Ivan Susanin" ee Glinka; heeso. Gabayga "Prometheus" ee Liszt); mid ka mid ah tusaalooyinka ugu fiican ee tafsiirka majaajilada ah ee F. ku dar goob dagaal laga bilaabo dhamaadkii d. opera "Mastersingers of Nuremberg" ee Wagner, kooxda ugu dambeysa ee opera "Falstaff" ee Verdi.

2) Ereyga, Crimea ee 14 - hore. Qarnigii 17aad kanonku waxa loo qoondeeyey ( macnaha casriga ah ee ereyga), taas oo ah, ku dayashada joogtada ah ee 2 ama codad ka badan. "Fuga waa aqoonsiga qaybaha halabuurka marka la eego muddada, magaca, qaabka, iyo marka la eego codadkooda iyo hakadkooda" (I. Tinktoris, 1475, ee buugga: Aesthetics Aesthetics of Western Europe Middle Ages iyo Renaissance , bogga 370). Taariikh ahaan F. xidhi canonical noocan oo kale ah. noocyada sida Talyaani. caccia (caccia) iyo Faransiis. shas (chasse): sawirka caadiga ah ee ugaarsiga iyaga ku dhex jira waxay la xidhiidhaa "raadinta" codka la isku dayay, kaas oo magaca F uu ka yimid. Dabaqa 2aad. 15aad c. odhaahda Missa ad fugam ayaa soo ifbaxday, taasoo tilmaamaysa tiro badan oo qoran iyadoo la adeegsanayo qaanuuni. farsamooyinka (d'Ortho, Josquin Despres, Palestrina).

J. Okegem. Fugue, bilow.

Qarnigii 16aad F. adag (Latin legata) iyo bilaash (Latin sciolta); Qarnigii 17aad F. legata ayaa si tartiib tartiib ah "ku milmay" fikradda canon, F. sciolta "ka baxday" F. ee casriga ah. dareen. Laga soo bilaabo F. 14-15 qarniyadii. codadku kuma kala duwana sawirka, halabuurkan ayaa lagu duubay isla xariiq la mid ah qaabaynta habka dejinta (arag arrintan ku saabsan ururinta: Su'aalaha qaabka muusiga, arrinta 2, M., 1972, p. 7). Fuga canonica oo ku taal Epidiapente (ie canonical P. ee shanaad sare) waxa laga helaa Bandhig Faneedka Bach; 2-gool canon oo leh cod dheeri ah waa F. ee B ee Hindemith's Ludus tonalis.

3) Fugue qarnigii 17aad. - heeso muusig. jaantus ku dayanaya orodka iyadoo la kaashanayo dhawaaqyo isku xiga oo degdeg ah marka erayga u dhigma la heesto (eeg sawirka).

Tixraacyo: Arensky A., Hagaha daraasadda qaababka muusikada qalabka iyo codka, qaybta XNUMX. 1, M., 1893, 1930; Klimov M. G., Hage kooban oo ku saabsan daraasaadka barta counterpoint, canon and fugue, M., 1911; Zolotarev V. A., Fugue. Hagaha daraasad wax ku ool ah, M., 1932, 1965; Tyulin Yu., Crystallization of thematism ee shaqada Bach iyo kuwii ka horreeyay, "SM", 1935, No 3; Skrebkov S., Falanqaynta Polyphonic, M. - L., 1940; isaga u gaar ah, Buug-gacmeedka badan, ch. 1-2, M. – L., 1951, M., 1965; Sposobin I. V., Qaab muusiko, M. – L., 1947, 1972; Dhowr xaraf oo ka yimid S. IYO. Taneyev oo ku saabsan arrimaha muusikada iyo aragtida, xusuusnow. Vl. Protopov, ee buugga: S. IYO. Tanev. agabka iyo waraaqaha, iwm. 1, M., 1952; Dolzhansky A., Ku saabsan fugue, "SM", 1959, No 4, isku mid, buugiisa: Maqaallada la xushay, L., 1973; isaga u gaar ah, 24 horudhac iyo fugues by D. Shostakovich, L., 1963, 1970; Kershner L. M., Asalkii dadkii laxanka Bach, M., 1959; Mazel L., Qaab-dhismeedka shaqooyinka muusikada, M., 1960, ku dar., M., 1979; Grigoriev S. S., Muller T. F., Buug-gacmeedka badan, M., 1961, 1977; Dmitriev A. N., Polyphony oo ah qodobka qaabaynta, L., 1962; Protopopov V., Taariikhda polyphony ee ifafaaleheeda ugu muhiimsan. Muusigga qadiimiga ah ee Ruushka iyo Soofiyeedka, M., 1962; isaga, History of polyphony in ifafaale ay ugu muhiimsan. Classics-ka Galbeedka Yurub ee qarniyadii XVIII-XIX, M., 1965; isaga, Muhiimadda Habraaca ee Polyphony ee qaabka muusiga ee Beethoven, gudaha: Beethoven, vol. 2, M., 1972; isaga u gaar ah, Richerkar iyo canzona qarniyadii 2th-1972th iyo horumarkooda, Sat.: Su'aalaha qaabka muusikada, arrinta 1979, M., XNUMX; isaga, Sawirro laga soo qaaday taariikhda qaababka qalabka ee qarniyadii XNUMX-aad ee hore, M., XNUMX; Etinger M., Harmony iyo polyphony. (Xusuusyada ku saabsan wareegyada dhawaaqa badan ee Bach, Hindemith, Shostakovich), "SM", 1962, No 12; isaga u gaar ah, Harmony ee wareegyada polyphonic ee Hindemith iyo Shostakovich, ee: Dhibaatooyinka aragtida ee muusikada qarnigii XX, maya. 1, M., 1967; Yuzhak K., Qaar ka mid ah astaamaha qaabdhismeedka fugue I. C. Bach, M., 1965; iyada, Ku saabsan dabeecadda iyo waxyaabaha gaarka ah ee fekerka cod-bixinta, ee ururinta: Polyphony, M., 1975; Quruxda muusiga ee qarniyadii dhexe ee Yurubta Galbeed iyo Renaissance, M., 1966; Milstein Ya. I., Aad u xanaaqsan Clavier I. C. Bach…, M., 1967; Tanev S. I., Laga soo bilaabo dhaxalka sayniska iyo barbaarinta, M., 1967; Den Z. V., Kooras muxaadaro muusik-tiyoreed ah. Duub M. IYO. Glinka, ee buugga: Glinka M., Ururin dhammaystiran. op., vol. 17, M., 1969; isaga, Fugue, ibid.; Zaderatsky V., Polyphony ee shaqooyinka qalabka ee D. Shostakovich, M., 1969; isaga u gaar ah, Late Stravinsky's Polyphony: Su'aalaha Dhexdhexaadinta iyo Cufnaanta Laxanka, Stylistic Synthesis, gudaha: Muusiga iyo Casriga, vol. 9, Moscow, 1975; Christiansen L. L., Preludes iyo Fugues ee R. Shchedrin, gudaha: Su'aalaha Aragtida Muusiga, vol. 2, M., 1970; Quruxda muusiga ee Yurubta Galbeed ee qarniyadii XVII-XVIII, M., 1971; Bat N., Foomamka Polyphonic ee shaqooyinka symphonic ee P. Hindemith, gudaha: Su'aalaha Foomka Muusiga, vol. 2, M., 1972; Bogatyrev S. S., (Falanqaynta qaar fugues by Bach), ee buugga: S. C. Bogatyrev. Cilmi-baaris, maqaallo, xusuus-qor, M., 1972; Stepanov A., Chugaev A., Polyphony, M., 1972; Likhacheva I., Ladotonality of fugues waxaa qoray Rodion Shchedrin, gudaha: Dhibaatooyinka Sayniska Muusiga, vol. 2, M., 1973; iyada u gaar ah, Thematism iyo horumarkeeda muujinta ee fugues ee R. Shchedrin, gudaha: Polyphony, M., 1975; iyada u gaar ah, 24 horudhac iyo fugues uu qoray R. Shchedrina, M., 1975; Zakharova O., Sheekada muusiga ee XNUMX-aad ee qeybtii hore ee qarnigii XNUMXaad, ee ururinta: Dhibaatooyinka Sayniska Muusiga, vol. 3, M., 1975; Kon Yu., Ilaa laba fugues I. Stravinsky, ururinta: Polyphony, M., 1975; Levaya T., Xiriirka tooska ah iyo kuwa tooska ah ee fugues ee Shostakovich iyo Hindemith, ee ururinta: Polyphony, Moscow, 1975; Litinsky G., Toddoba fugues iyo akhristayaasha (xasuusyada margin), ee ururinta: Aram Ilyich Khachaturyan, M., 1975; Retrash A., Noocyada muusiga qalabka casriga ah ee dambe iyo samaynta sonata iyo suite, ee buugga: Su'aalaha Aragtida iyo Quruxda Muusiga, vol. 14, L., 1975; Tsaher I., Dhibaatada finalka ee B-dur quartet op. 130 Beethoven, in Sat: Dhibaatooyinka Sayniska Muusiga, vol. 3, M., 1975; Chugaev A., Astaamaha qaab-dhismeedka Bach's clavier fugues, M., 1975; Mikhailenko A., Mabaadi'da qaab dhismeedka Taneyev fugues, gudaha: Su'aalaha qaabka muusikada, vol. 3, M., 1977; Indho-indheynta aragtida taariikhda muusiga, Sat. Farshaxan, M., 1978; Nazaikinsky E., Doorka timbre ee samaynta mawduuca iyo horumarinta mawduuca xaaladaha polyphony-ka-dayan, ururinta: S. C. xoqitaanno

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