Barta rogaal celiska ah |

Barta ka soo horjeeda ee dhaqaaqi karta - Nooc ka mid ah counterpoint adag, isku-dhafka polyphonic ee laxanka (kala duwan, iyo sidoo kale isku mid ah, la mid ah, oo lagu dhejiyay qaabka ku dayashada), soo jeedinta samaynta mid ama dhowr. xeryahooda kala soocida taasoo ka dhalatay isbeddelka saamiga bilowga ah ee dib-u-habaynta (dhaqdhaqaaqa, beddelka) laxankan aan isbeddelin. Iyada oo ku xidhan habka dib-u-habaynta, marka loo eego waxbarista SI Taneyev, waxaa jira saddex nooc oo P. ilaa .: toosan guuri kara, oo ku salaysan isbeddelka asalka ah. saamiga laxanka dhererka, - isku xidhka asalka ah (eeg tusaalooyinka muusiga b, c, d, e) waxa la sameeyay iyada oo laxanka loo wareejinayo mid ama mid kale oo kor ama hoos ah (tusaale ahaan si toos ah); siman dhaqaaqi karo, oo ku salaysan isbeddel ku dhaca xilliga la soo galitaanka hal laxan, cod marka loo eego mid kale, - xidhiidh derivative (eeg tusaalooyinka f, g) ka samaysan yahay barokaca mid ka mid ah laxanka. codad tiro cayiman oo cabbirro ah (garaacida cabbirka) midig ama bidix (ie, horizontal);

SI Taneev. Laga soo bilaabo buugga "Mobil counterpoint of strict writing".

laba-laab-guura, isku-darka sifooyinka 2-dii hore, - isku-dhafan (eeg tusaalooyinka h, i, j) waxay u samaysmeen natiijo isku mar ah. isbeddelka saamiga dhererka iyo saamiga daqiiqadaha gelitaanka melodic. codadka (tusaale toosan iyo toosan).

Marka la eego bilicda marka la eego polyphony, sida dhalmo la beddelay oo ah isku-dhafka walxaha aan isbeddelin, sida midnimada dib-u-cusboonaysiinta iyo soo-celinta, halkaasoo dib-u-cusboonaysiinta aysan gaarin heer tayo ka duwan, iyo soo-celinta waxaa lagu kobciyaa qaab-dhismeed cusub, waxay soo baxdaa. inuu noqdo mid ka mid ah muujinta gaarka ah ee codka badan. fikirka (fiiri polyphony).

Qiimaha ugu weyn ee wax ku oolka ah iyo qaybinta waa toosan-P. ku. Markaa, waa farsamo. ku salaysan geeso badan. canons ee qaybta 1aad (marka laga reebo kuwa ay codadku galaan waqti isku mid ah iyo isku jihada).

Tusaale ahaan, afar laab. fp. In canon ee AV Stanchinsky, permutations toosan soo baxay, nidaamka kaas oo lagu muujin karaa nidaamka soo socda:

Halkan Rl ee la xidhiidha R (eeg Risposta, Proposta) iyo R3 ee la xidhiidha R2 galaan octave sare; R2 waxay gashaa shanaad hoose marka loo eego R1; Xarunta 1aad ee bilawga b + a1, asalkeeda a2 + b1 iyo b2 + a3, xarunta 2aad ee bilawga c + b1, asalkeeda b2 + c1, ca + b3; bar-bar laba-geesood ah ee duodecym-ka ayaa la isticmaalay (Iv = -11; hoos eeg). Permutations in toosan-P. k. - hanti ka mid ah canons aan xad lahayn (marka laga reebo canons in aan aqbali doonaa) iyo kanonical. taxanaha qaybta 1aad. Tusaale ahaan, laba-madax-madaxeed-farxad leh. Qormada aan dhammaadka lahayn ee uu MI Glinka ku soo bandhigay gabagabadii codadka laga soo billaabo opera Ruslan iyo Lyudmila, codadku waxay sameysteen isbeddelladan soo socda:

Halkan: xarunta bilowga ah b + a1 (baararka 28-27, 24-23, 20-19 laga bilaabo dhamaadka dulsaarka), derivative a + b1 (baararka 26-25, 22-21); bar bar octave laba jibaaran ayaa la isticmaalay (si sax ah, jajab tobanle shanaad, Iv = -14). Tusaalooyinka toosan-P. sababtoo ah canon. taxane: laba madax. a-moll No. 13 Iyo. C. Bach, baararka 3-4 (ku soo degaya ilbiriqsiyo); Muusigga aadka u daran ee qaybta 3-aad ee cantata "Yooxanaa ee Dimishaq" ee Taneyev wuxuu ka kooban yahay tusaalooyin dhif ah oo isku xiga oo afar cod ah: lambarka 13 oo ku salaysan walxaha qaybta soo koraya ee mawduuca (isku xigxiga oo soo degaya saddex meelood meel, in Xaqiiqda codadka labanlaabanaysa), tirada 15 ee ku salaysan ujeeddada hore ee mawduuca (oo ay ku adag tahay barokac toosan). Toosan-P. sababtoo ah - sifo fugues adag iyo fugues leh mucaarad la sii hayo. Tusaale ahaan, labada fugue ee Kyrie ee Requiem V. A. Mozart, laba mawduuc oo isbarbarya ayaa ka samaysan xidhiidh bilow ah oo baararka (abbr. – tt.) 1-4; xeryahooda kala duwan ee mawduucyada raacaan ku dhawaad ​​iyada oo aan interludes Vols. 5-8 (octave permutation), 8-11, 17-20 (xaaladda dambe permutation ee duodecime) iyo wixii la mid ah. Contrapuntal-ka-fiirsashada. Farsamooyinka (mawduucyada tooska ah ee 3 mawduuc) ayaa tilmaamaya dib-u-celinta fugue saddex-geesoodka ah ee C ee FP. Wareegga "Ludus tonalis" ee Hindemith, halkaas oo xidhiidhka bilowga ah ee vols. 35-37 iyo derivatives ee vols. 38-40, 43-45, 46-48. Gudaha Cis-dur fugue ee mugga 1aad ee Clavier si fiican u xanaaqsan ee I. C. Mawduuca Bach ee fugue iyo ka-hortagga la hayo ayaa ah xidhiidhka bilowga ah ee tt. 5-7, derivatives ee vols. 10-12, 19-21 iyo wixii ka dambeeya. Mawduuca iyo laba mucaarid oo lagu sii hayo fugue ee D. D. Shostakovich C-dur (No 1) oo ka yimid biyaano. wareegga "24 preludes and fugues" waxay ka kooban yihiin xidhiidhka bilowga ah ee vols. 19-26, oo laga soo qaatay vols. 40-47, 48-55, 58-65, 66-73. Toosan-P. sababtoo ah sidoo kale waa habka ugu muhiimsan ee horumarinta iyo qaabeynta fugues leh polyphonically kala duwan. Tusaale ahaan, c-moll fugue ee mugga 1aad ee Bach's Well-Tempered Clavier, dhexda 1aad (vol. 5-6) - bilowga, 4aad (tt. 17-18) - derivative (Iv = -11, oo qayb ahaan labanlaabmay codka hoose), oo ay ku jiraan. 19 oo ka soo jeeda bilawga 4th interlude (Iv = -14, iyo ka 1st interlude Iv = -3); dhexda 2aad (vols. 9-10) - bilawga, dhexda 5aad (tt. 22-23) waa soosaar leh codad labada sare ee codadka ah. Homophonic iyo isku dhafka homophonic-polyphonic. foomamka toosan-P. sababtoo ah waxaa loo isticmaali karaa si uun ama si kale qayb kasta oo ka mid ah qaybahooda, tusaale ahaan. marka la samaynayo mawduuca hordhaca dhaqdhaqaaqa 1aad ee heesaha 5aad ee Glazunov (8 vols. ilaa lambarka 2 - bilowga, 4 t. ilaa lambarka 2 - derivative). Marka la soo bandhigayo mawduuc dhinaca dhaqdhaqaaqa 1aad ee riwaayadda 4aad ee P. IYO. Tchaikovsky (asalku wuxuu ka bilaabmayaa vol. 122, derivative ka mid ah. 128) ruxruxinta toosan waa hab heeseed. Dheefanka heesta. muusikada. Mararka qaarkood dhaqdhaqaaqyo toosan ayaa loo adeegsadaa dhismayaasha dhexe ee foomamka fudud (L. Beethoven, fp. sonata op. 2 Maya 2, Largo appassionato: asalku waxa uu ku yaalaa dhexda qaabka labada qaybood, ie 9, derivatives - in vols. 10 iyo 11); horumarinta sonata, tani waa mid ka mid ah hababka ugu muhiimsan uguna ballaaran ee loo isticmaalo horumarinta dhiirigelinta (tusaale ahaan, dhaqdhaqaaqii 1aad ee ka soo jeeda Es-dur rubuc ee V. A. Mozart, K.-V. 428: asalka ah - vols. 85-86, derivatives - vols. 87-88, 89-90, 91-92). Polyphonic ayaa badanaa la isticmaalaa. habaynta maaddada iyadoo la kaashanayo isbeddellada toosan ee qaybaha jawaab-celinta, halkaas oo ay gacan ka geystaan ​​cusboonaysiinta codka (tusaale ahaan, gabayga Scriabin op. 32 No 1 Fis-dur, derivative incl. 25). Inta badan go'aannada toosan ayaa loo adeegsadaa gabagabada. qaybaha foomka (tusaale ahaan, ee Glinka's Aragonese code: asalku waa lambarka 24, derivative waa 25). Toosan-P. sababtoo ah - mid ka mid ah hababka ugu badan ee loo isticmaalo polyphonic. kala duwanaanshuhu (tusaale ahaan, dhaqdhaqaaqa 3aad ee ka yimid Borodin's D-dur quartet: bilowga dib u celinta waa lambarka 4, ama wixii la mid ah. 111, derivative - lambarka 5 ama wixii la mid ah. 133; ee No.

Baaxadda isbaarooyinka toosan ee la dhaqaajin karo iyo laba-jibbaaran ee la dhaqaajin karo ayaa aad u xaddidan. T. n. “Barta-bardhigga iyo hakad la’aanta” ee ka timid tirada badan ee P. Mulu (oo uu ku sheegay SI Taneyev ee “Mobile counterpoint” oo lagu soo saaray cadadka 1 ee MV Ivanov-Boretsky's Musical-Historical Reader, No 42) ayaa weli ah midda keliya ee sideeda ah tusaale ahaan muusik. wax soo saarka, oo gebi ahaanba ku salaysan horizontal-P. k.: cod badan. gabal waxaa lagu samayn karaa 2 nooc - oo leh hakad (asal ah) iyo iyaga oo aan lahayn (derivative); Naadirkani wuxuu u adeegaa sida tusaale wanaagsan oo ku saabsan hababka shaqada ee sayidyada xilliga style austere. Waxaa aad muhiim u ah in farsamada ah ee siman iyo double-P. k. waxay hoosta ka xariiqday qaar ka mid ah canons-ka qaybta 2-aad (tusaale ahaan, u dhawaaqa sida ugu sarreeya ee horumarka qaybta 1aad ee riwaayadda 5aad ee DD Shostakovich, canon double, halkaas oo mawduucyada ugu muhiimsan iyo kuwa sare la isku daro, lambarka 32) iyo canonical . taxanaha qaybta 2aad (tusaale ahaan, qaybta 2aad ee Myaskovsky's quartet No. 3, vol. 70 et seq.). Dhab ahaantii inta badan noocyada la cayimay ee P. to. ku kulmaan fugues fidsan oo leh masaafo kala duwan oo hordhac ah. Tusaale ahaan, fugue-ga ricercar-sida ee C-dur laga soo bilaabo mugga 1aad ee Bach's Well-Tempered Clavier dhab ahaantii wuxuu ka kooban yahay jidad si tartiib tartiib ah u adag; gudaha Credo (No 12) laga bilaabo Mass in h-moll ee JS Bach, asalka ah - vols. 4-9, derivatives - vols. 17-21, 34-37. Fugue ka yimid Ravel's Tomb of Couperin suite, dhaqdhaqaaqyada aadka u adag ee strettas waxay abuuraan dhawaaqyo jilicsan oo jilicsan oo lagu garto curiyahan: tt. 35-37 - bilawga (stretta mawduuca si toos ah u dhaqdhaqaaqa oo leh masaafada gelitaanka ee siddeed meelood laba); tt. 39-41 - ka soo jeeda bar-koobid toosan oo toosan; TT 44-46 - ka soo jeeda bar-koobid toosan oo aan dhamaystirnayn; tt. 48-50 - oo laga soo qaatay kii hore oo leh jaangooyo toosan ( fogaanta gelitaanka waa siddeedaad); tt. 58-60 - derivative qaab saddex gool. fidsan laba-P. ku.

Dhaqdhaqaaqyada tooska ah ayaa mararka qaarkood laga helaa fugues leh meel iska caabin ah (tusaale, gis-moll fugues ee jil. 1, As-dur iyo H-dur oo ka soo jeeda vol. 2 ee Bach's Well-Tempered Clavier; fugue kama dambaysta ah ee riwaayadda loogu talagalay 2 FP Stravinsky).

Ka saar nimcada waxay kala saartaa dhaqdhaqaaqa toosan ee muusiga WA Mozart, tusaale ahaan. in sonata D-dur, K.-V. 576, vol. 28, 63 iyo 70 ( Fogaanta gelitaanka waa siday u kala horreeyaan siddeed-meelood, lix-sideed iyo siddeed-meelood saddex-meelood oo leh marin toosan).

Farshaxan weyn. Dhaqdhaqaaq toosan oo mugdi ah oo kala duwan ayaa muhiim ah, tusaale ahaan. Grand fugue Es-dur ee xubinta waxaa qoray JS Bach, BWV 552, vol. 90 iyo dhowr; Dhaqdhaqaaqa 2aad ee Glazunov's 7th symphony, 4 wuxuu cabbiraa ilaa lambarka 16. In fugue kama dambaysta ah ee xadhigga quintet G-dur op. 14 Taneyev mawduucyada fugue double ee isku xirka derivative waxaa lagu fuliyaa barakicin toosan (2 ton) iyo toosan toosan:

Si la mid ah P. ilaa. waa in la dhigaa nooc ka mid ah bar-bar-jugsi adag - bar-bardhig u oggolaanaysa laba-laabashada: isku-darka ka-soo-baxa waxa la sameeyaa iyadoo la laba-laabayo mid (eeg tusaalooyinka k, 1) ama dhammaan (eeg tusaale m) codad leh shibbanayaal aan qummanayn (muusigga qarnigii 20-aad - waxaa jira wax kasta oo kale oo labanlaabma ilaa rucubyada). Marka loo eego farsamada curinta, bar-tilmaameedka, kaas oo u oggolaanaya laba-laabashada, wuxuu aad ugu dhow yahay toosan-P. to., sababtoo ah codka labanlaabmay asal ahaan waa natiijada toosan ee dhexda labanlaabka - saddexaad, ka lixaad, jajab tobanle. Isticmaalka labanlaabida xeryahooda kala soocida waxay ku siinaysaa dareen cufan, baaxadda codka; tusaale ahaan horudhac iyo fugue fp. Glazunov, op. 101 Maya 3 soo celinta mawduucyada fugue labanlaaban m. 71 waa asalka, gudaha m. 93 waa derivative leh halbeeg toosan oo octave ah oo leh labanlaab cod; ee kala duwanaanshaha VI ee kala duwanaanshaha mawduuca Paganini ee laba biyaano. Lutoslavsky asal ahaan, codka sare wuxuu ku dhaqaaqaa tertian labanlaaban, kan hoose oo leh triads waaweyn, derivative-ka aan saxda ahayn (aayadda 6) codka sare wuxuu ku dhaqaaqaa triads yar yar oo barbar socda, kan hoose oo leh seddex meelood.

P. ku iyo counterpoint, kaas oo u ogolaanaya labanlaabantay, lagu dari karaa counterpoint dib loo rogi karaa (tusaale ahaan, in horumarinta final of symphony C-dur "Jupiter" by WA Mozart, ku dayashada canonical ee dhaqdhaqaaqa tooska ah ee baararka 173-175 waa. Bilawga, in baararka 187-189 - derivative leh rogan iyo toosan codadka, in baararka 192-194 - derivative leh permutation toosan iyo hal cod oo keliya rogay), mararka qaarkood lagu daro noocyada noocan oo kale ah ee melodic. isbeddellada, sida kororka, hoos u dhaca, samaynta dhismayaal aad u adag. Marka, kala duwanaanshaha polyphonic. isku darka macnaha. cabbiraadda ayaa go'aamisa muuqaalka muusiga FP. quintet g-moll (op. 30) Taneyev: eeg, tusaale ahaan, nambarada 72 (asalka ah) iyo 78 (derivative leh koror iyo dhaqdhaqaaqa toosan), 100 (Derivative in double P. k.), 220 - in final isku darka mawduuca ugu muhiimsan iyo kororkiisa afar jibbaaran).

Aragtida counterpoint iyo counterpoint, taas oo u oggolaanaysa labanlaabmida, waxaa si buuxda u horumariyay SI Taneev shaqadiisa aasaasiga ah ee "Mobile counterpoint of strict qoraal". Cilmi-baaruhu wuxuu dejiyaa qoraal u oggolaanaya xisaabta. iyadoo si sax ah loo tilmaamayo dhaqdhaqaaqa codadka iyo go'aaminta shuruudaha qorista P. to. Qaar ka mid ah tilmaamahan iyo fikradahan: I - cod sare, II - cod hoose oo laba ah iyo dhexe ee saddex-cod, III - cod hoose oo saddex-cod ah (calaamadahan waxa lagu xafiday derivatives); 0 - prima, 1 - labaad, 2 - saddexaad, 3 - rubuc, iwm. h (gaaban lat. horisontalis) - dhaqdhaqaaqa tooska ah ee codka; Ih (gaaban lat. index horisontalis) - tilmaame dhaqdhaqaaq toosan, oo lagu go'aamiyo wareegyada ama garaaca (eeg tusaalooyinka f, g, h, i, j); v (oo u gaaban lat. verticalis) - dhaqdhaqaaqa tooska ah ee codka. Dhaqdhaqaaqa codka sare ee kor iyo hoos waxaa lagu qiyaasaa inta u dhaxaysa ee u dhiganta qiimaha togan, dhaqdhaqaaqa codka sare hoos iyo hoos u dhexeeya dhexda oo leh calaamad laga jaray (tusaale, IIV=2 - dhaqdhaqaaqa codka sare ilaa saddex meelood meel, IIV=-7 - dhaqdhaqaaqa codka hoose oo kor u qaadaya octave). Dhanka toosan-P. j. permutation, kaas oo codka sare ee xidhiidhka asalka ah (qaabka asalka ah ee laba-cod I + II) uu hayo booska kan sare ee derivative, loo yaqaan si toos ah (eeg tusaalooyinka b, c; jaantus tilmaamaya ruxruxinta tooska ah ee laba-cod:

). Dhaqan-gal, kaas oo codka sare ee asalka ahi uu ku jiro booska kan hoose ee derivative, waxaa loo yaqaannaa liddi ku ah (eeg tusaalooyinka d, e; sawirkeeda:

).

laba-madaxale polyphonic ah oo u ogolaanaya permutations toosan (ma aha oo kaliya ka soo horjeeda, laakiin sidoo kale - lid ku ah qeexidda khaldan ee caadiga ah - iyo toos), loo yaqaan. bar-bardhig labajibbaaran (Doppelter Jarmal Kontrapunkt); tusaale ahaan, hal-abuurro labanlaab ah E-dur No 6 JS Bach asalka ah – ee vols. 1-4, derivative - ee vols. 5-8, IV=-14 + II V=-7

). Saddex madax. isku xirka u oggolaanaya 6 isku-dar ah oo cod ah (mid kasta oo ka mid ah codadka asalka ah wuxuu noqon karaa mid sare, dhexe ama hoose ee xiriirka derivative) waxaa loo yaqaannaa saddex geesoodka (Dreifacher Kontrapunkt Jarmal, Tripelkontrapunkt). Tirooyinka tilmaamaya hal-abuurka triphony:

Tusaale ahaan, hal-abuurrada saddexda gool leh f-moll No 9 JS Bach: asalka ah - ee vols. 3-4, derivatives - ee vols. 7-8

ku jira lambarka 19 ee Shchedrin's “Buugga Xusuus-qorka-Polyphonic” – oo ka soo jeeda aayadda 9. Isla mabda’a ayaa hoosta ka xariiqaya kuwa yar ee la isticmaalo. counterpoint afar jibaaran (German vierfacher Kontrapunkt, Quadrupelkontrapunkt), u oggolaanaya 24 boos cod (eeg, tusaale ahaan, tirooyinka 5, 6, 7 ee qaybta 1aad ee cantata "Yooxanaa ee Dimishaq"; tirooyinka 1, 2, 3, 4 ee gabagabada . ee heesta double No. 9 ee cantata "Ka dib akhrinta Sabuurka" by Taneyev, iyo fugue ee e-moll ka wareegga "24 Preludes iyo Fugues" ee pianoforte Shostakovich - vols. 15-18 iyo 36 -39). Tusaale naadir ah oo shan dhibcood ah - koodhka dhamaadka riwaayadda C-dur ("Jupiter") ee WA Mozart: asalka ah ee vols. 384-387, derivatives ee vols. 387-391, 392-395, 396-399, 399-402; nidaamka ruxruxinta:

Aljabrada wadarta inta u dhexaysa dhaqdhaqaaqa labada cod (laba cod ah, saddex iyo cod badan - labada lamaane ee codadka ah) waxaa loo yaqaan tusaha dhaqdhaqaaqa tooska ah waxaana lagu tilmaamay Iv (oo gaaban index verticalis Laatiinka; eeg tusaalooyinka b , c, d, e). Iv waa qeexida ugu muhiimsan ee waxbarista SI Taneev, sababtoo ah wuxuu tilmaamayaa xeerarka isticmaalka wakhtiyada u dhexeeya codadka polyphonic. unugyo, iyo astaamaha hogaaminta codka. Tusaale ahaan, marka aad ku qorayso xarunta hore ee laba-geesoodka tobanlaha (ie Iv = -9), kaliya ka soo horjeeda iyo dhaqdhaqaaqa aan tooska ahayn ee codadka ayaa loo maleeyaa gudaha qaab dhismeedka qoraalka adag, iyo ku haysashada rubuc codadka sare iyo midna codka hoose lama ogola si looga fogaado dhawaaqyada asalka ah. iskudhafka waxaa mamnuucay xeerarka qaabkan. Dakhliga ayaa la fulin karaa wakhti kasta, sidaas darteed, Iv waxay yeelan kartaa qiimo kasta, si kastaba ha ahaatee, ficil ahaan, saddex nooc oo permutations ah ayaa ugu badan: jajab tobanle (Iv = -9 ama -16), duodecimes (Iv = - 11 ama -18) iyo gaar ahaan labada octave counterpoint (Iv = -7 ama -14). Tan waxaa lagu sharaxay xaqiiqda ah in marka la isku dhejiyo labajibbaaran counterpoint ee octave, decima iyo duodecima, harmonic wax yar ayaa isbeddelaya derivatives. nuxurka xidhiidhka asalka ah (xilliyada shibbanayaasha ee asalka ah ayaa inta badan u dhigma muddada shibbanayaasha ee soojeedinta; isku-tiirsanaan la mid ah ayaa ka dhex jirta khilaafyada). Kartida lagu sameeyo permutations toosan on decomp. dhexda (ie Isticmaal qiimaha kala duwan ee IV) wuxuu ka kooban yahay farshaxan gaar ah oo liddi ku ah. Macnaheedu waa u oggolaanaya curiyaha inuu si hoose u kala duwo sonority-ka. Mid ka mid ah tusaalooyinka cajiibka ah waa g-moll fugue ee mugga 2aad ee Bach's Well-Tempered Clavier: mawduuca iyo mucaaradka la xayiray ayaa ah isku xidhka bilowga ah ee baararka. 5-9; ka soo jeeda tt. 13-17 (Iv=-14), 28-32 (Iv=-11), 32-36 (Iv=-2) iyo 36-40 (Iv=-16); waxaa dheer, in tt. 51-55 xagga derisaynta mawduuca waxaa labanlaabmay lixaad ee xagga sare (Iv = +5), ee tt. 59-63 permutation at Iv=-14 iyadoo la labanlaabayo dulucda saddex meelood meel hoose, iyo ka soo horjeeda saddex meelood meel sare (Iv = -2). Muusigga ka dib Bach iyo ilaa qarnigii 20aad. inta badan waxaa la isticmaalaa halbeegga octave oo fudud; si kastaba ha ahaatee, curiyeyaasha, sida harmonica u koraan. Xoriyaddu waxay isticmaashaa tilmaameyaal aan la isticmaalin waagii hore. Gaar ahaan, waxay ku yaalaan canon. isku xigxiga halka iskudhis ka soo jeeda uu ka dhex sameeyo risposta iyo dib u gelinta proposta: tusaale ahaan, dhaqdhaqaaqii 2aad ee Mozart's D-dur quartet, K.-V. 499, vol. 9-12 (Iv = -13); Dhaqdhaqaaqa 1aad ee Glazunov's Symphony No. 8, lambarka 26, vols. 5-8 (Iv = -15); marka loo eego opera-ka “Meistersingers of Nuremberg”, vol. 7 (Iv = -15) iyo vol. 15 (Iv = -13); sawirka 1aad ee d. "Sheekooyinka magaalada aan la arki karin ee Kitezh", lambarka 156, vols. 5-8 (Iv=-10); Dhaqdhaqaaqa 1aad ee Myaskovsky's Quartet No. 12, vol.

HA Rimsky-Korsakov. "Sheekada Magaalada aan la arki karin ee Kitezh iyo gabadha Fevronia", ficilka III, goobta 1aad.

Xidhiidhka la aasaasay SI Taneyev oo leh canon (buugga "Doctrine of Canon") ayaa suurtogal ka dhigay in si sax ah loo kala saaro oo cilmi ahaan loo go'aamiyo mabaadi'da decomp. foomamka canon. Aragtida P. ku. u adeegay sidii saldhigga horumarinta dheeraadka ah ee waxbaridda Taneyev ee guumaysta. musicology (SS Bogatyrev, "Double Canon" iyo "Reversible counterpoint").

Tixraacyo: Taneev SI, Barta la dhaqaajin karo ee qoraalka adag, Leipzig, 1909, M., 1959; isaga u gaar ah, Doctrine of the Canon, M., 1929; Ivanov-Boretsky MV, muusiga iyo akhristaha taariikhiga ah, vol. 1, M., 1929; Bogatyrev SS, Double canon, M.-L., 1947; kiisa, Barta-ka-soo-noqoshada, M., 1960; Dmitriev AN, Polyphony oo ah qodobka qaabaynta, L., 1962; Pustylnik I. Ya., Movable counterpoint iyo qoraal bilaash ah, L., 1967; Jadassohn S., Lehrbuch des einfachen, doppelten, drei- und vierfachen Contrapunkts, Lpz., 1884, id., ee Musikalische Kompositionslehre, Tl. 1, Bd 2, Lpz., 1926; Riemann H., Lehrbuch des einfachen, doppelten und imitierenden Kontrapunkts, Lpz., 1888. 1921; Prout, E., Double point iyo canon, L., 1891, 1893.

VP Frayonov