wareegga mawduuca |

Dulucda mawduuca - ka-hortagga, rogaal-celinta (Laatiin inversio, Talyaani moto contrario, rovescio, Riverso, rivoltato, beddelka Faransiiska, Jarmal dhiman Umkehrung, die Gegenbewegung) - cod badan. Farsamo lagu beddelo mawduuca, taas oo ka kooban ciyaarista dhexda u dhaxaysa jihada ka soo horjeeda dhawaaq aan isbeddelayn: kor u kaca mawduuca ee dhaqdhaqaaqiisa ugu weyn (lat. motus rectus) ee dhaqdhaqaaqa gadaal (lat. motus). liddi ku ah) waxay u dhigantaa hoos u dhac isla muddadaas ah (iyo lidkeeda). Dhawaaqa aan isbeddelin ee caanka ku ah mawduuca kala duwanaanshaha ugu weyn iyo kuwa rogan waxa loo yaqaan dhidibka dib u noqoshada; mabda 'ahaan, marxalad kasta ayaa u adeegi karta. Nidaamka tonal-ka yar-yar, si loo ilaaliyo isku midka ah shaqada ee labada doorasho, heerka saddexaad wuxuu caadi ahaan u adeegaa sida dhidibka wareegga; qaab adag (14-16 qarniyo) oo leh diatonic dabiici ah. Dib-u-celinta frets waxaa badanaa la sameeyaa saddex meelood oo meel saddex-geesoodka ah, kaas oo hubinaya isla booska dhawaaqa tritone:

JS Bach. Farshaxanka Fugue, Counterpoint XIII.

Falastiin. Canonical Mass, Benedictus.

Mawduucyada chroma leh. O. dhaqdhaqaaqa t. waxaa loo fuliyaa si, haddii ay suurtagal tahay, qiimaha tayada ee muddada u dhexeeya - tani waxay xaqiijinaysaa isku mid ahaanshaha weyn ee muujinta dhaqdhaqaaqa tooska ah iyo rogaal celinta:

JS Bach. Clavier-ka si fiican u xanaaqsan, Volume 1, Fugue fis-moll.

Farsamada fudaydka iyo fanka. Waxtarka cusboonaysiinta mawduuca iyada oo loo marayo wareegga wareegga ayaa go'aamisay isticmaalka joogtada ah ee kala duwan ee farsamadan, gaar ahaan shaqooyinka monothematic. Waxaa jira noocyo fugue ah oo leh jawaab rogan (Jarmalka Gegen-Fuge - eeg JS Bach, Farshaxanka Fugue, No 5, 6, 7) iyo canon leh rispost rogan (WA Mozart, c-moll quintet, daqiiqad); rafcaanka waxaa loo isticmaalaa dhexda fugue (Bach, The Well-Tempered Clavier, vol. 1, fugue in c-moll); Mawduuca wareegga ku jira wuxuu ku siin karaa stretta mawduuc leh dhaqdhaqaaq toos ah (Mozart, fugue in g-moll, K.-V. 401); Mararka qaarkood way isla jaanqaadaan (Mozart, fugue c-moll, K.-V., 426). Inta badan qaybaha waaweyn ee halabuuradu waxay ku salaysan yihiin O. t. (Bach, Clavier The Well-Tempered; Vol. 1, fugue G-dur, counter-exposition; Qaybta 2aad ee gigue) iyo xitaa foomamka oo dhan (Bach, The Art of Fugue, No 12, 13; RK Shchedrin, Buug-gacmeedka Polyphonic , No 7, 9). Isku dhafka O. t. hababka kale ee isbeddelka ayaa si gaar ah ugu faafay muusiga qarnigii 20-aad. (P. Hindemith, "Ludus tonalis", cf. gogoldhigga iyo dib u dhigista), gaar ahaan, oo loo qoray iyadoo la isticmaalayo farsamo taxane ah (JF Stravinsky, "Agon", Branle fudud). Sida habka kala duwanaanshiyaha iyo horumarinta, rafcaanka waxaa loo isticmaalaa non-polyphonic. muusiga (SS Prokofiev, "Juliet-gabar" oo ka socota ballet "Romeo iyo Juliet"), inta badan marka lagu daro mawduuca dhaqdhaqaaqa tooska ah (PI Tchaikovsky, 6th symphony, qaybta 2, vol. 17-24; SS Prokofiev, 4th sonata , qaybta 2, cadadka 25-28).

Tixraacyo: Zolotarev VA, Fuga. Hagaha daraasad wax ku ool ah, M., 1932, 1965, qaybta 13, Skrebkov SS, Falanqaynta Polyphonic, M. - L., 1940, qaybta 1, § 4; isaga u gaar ah, Buug-gacmeedka badan, qaybaha 1-2, M. - L., 1951, M., 1965, § 11; Taneev SI, Meesha la dhaqaajin karo ee qoraalka adag, M., 1959, p. 7-14; Bogatyrev SS, Barta la rogi karo, M., 1960; Grigoriev SS, Muller TF, Buug-gacmeedka badan, M., 1961, 1969, § 44; Dmitriev AN, Polyphony oo ah qodobka qaabaynta, L., 1962, ch. 3; Yu. N. Tyulin, Farshaxanka Counterpoint, M., 1964, ch. 3.

VP Frayonov