Rikici mai rikitarwa |
Rikicin madaidaici - haɗin polyphonic na sautunan da aka haɓaka (daban ko makamancin haka a cikin kwaikwayi), wanda aka ƙera don gyare-gyaren gyare-gyare, haifuwa tare da canji a cikin rabon waɗannan muryoyin (kamar yadda ya saba da sauƙi mai sauƙi - Jamus einfacher Kontrapunkt - haɗin muryoyin polyphonic da aka yi amfani da su. kawai a cikin ɗaya da aka ba da haɗin haɗin su).
A waje, kalmar “S. ku.” baya amfani; a cikinsa. Adabin kide-kide yana amfani da ma'anar mehrfacher Kontrapunkt mai alaƙa, wanda ke nuna sau uku kawai da sau huɗu a tsaye mai motsi. A cikin S. zuwa., asalin (an ba, asali) haɗin melodic an bambanta. muryoyin da ɗaya ko fiye da mahaɗan da aka samo asali - polyphonic. zaɓuɓɓukan asali. Dangane da yanayin canje-canje, akwai, bisa ga koyarwar SI Taneyev, nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan S. da counterpoint, wanda ke ba da damar ninka biyu (daya daga cikin nau'ikan counterpoint na wayar hannu). Duk waɗannan nau'ikan S. zuwa. sau da yawa ana haɗuwa; alal misali, a cikin fugue Credo (No 12) daga JS Bach ta taro a h-moll, gabatarwa biyu na amsar (a cikin matakan 4 da 6) sun samar da haɗin farko - stretta tare da nisa na shigarwa na matakan 2 (wanda aka sake bugawa a ciki). ma'auni 12-17), a cikin sanduna 17-21, haɗin haɗin kai yana sauti a cikin madaidaicin wuri mai motsi sau biyu (nisan gabatarwa shine ma'auni 11/2 tare da motsi a tsaye na ƙananan muryar asalin haɗin kai ta hanyar duodecime, babbar murya zuwa ƙasa ta uku), a cikin ma'auni 24-29 ana samun haɗin haɗin kai daga haɗin kai a cikin ma'auni 17-21 a cikin madaidaicin madaidaicin maɗaukaki (Iv = - 7 - maki biyu na octave; sake bugawa a wani tsayi daban a cikin sanduna 29 -33), daga mashaya 33 yana bin stretta a cikin muryoyin 4 tare da haɓaka jigo a cikin bass: saman. biyun muryoyin suna wakiltar wani fili da aka samo daga asalin stretta a cikin madaidaicin madaidaicin wuri mai motsi (tsarin gabatarwa 1/4 mashaya; wanda aka buga a wani filin daban a sanduna 38-41) tare da ninka sama. muryoyin da na shida daga kasa (a cikin misali, polyphonic muryoyin da ba a hada a sama haduwa, kazalika da rakiyar 8th murya, an tsallake). Misalin lura duba col. 94.
Na fp. quintet g-moll op. 30 SI Taneeva, aikin farko yana yin ta hanyar haɗin jigon babban ƙungiya tare da jujjuyawar juzu'i a farkon sake dawowa na kashi 1st (ma'auni na 2 bayan lamba 72);
Haɗin Contrapuntal a Credo (No 12) daga Mass in h-moll ta JS Bach.
abin da aka samo asali a cikin nau'i na canon (lamba 78) yana samuwa ne sakamakon motsi a kwance kuma a lokaci guda yana riƙe da babbar murya a cikin karuwa; a farkon coda (ma'auni na 3 bayan lamba 100) wani abin da aka samo asali a cikin ma'auni mai motsi biyu (tsarin shigarwa shine ma'auni 1, ƙaramar murya tana motsawa da decima, babba ta quintdecima ƙasa); Bambancin sabani ya ƙare a cikin coda ta ƙarshe, inda ke daidaita sautunan canonical. jeri (lamba 219), wakiltar haɗin da aka samo asali a cikin maƙasudin maɗaukaki biyu mai motsi (nisan gabatarwa 2 ma'auni, duka muryoyin cikin motsi kai tsaye); gaba (mashi na 4 bayan lamba 220) haɗin haɗin kai shine canon tare da motsi a tsaye da a kwance kuma a lokaci guda tare da haɓaka ninki huɗu a cikin bass (an cire muryoyin da ke tare da ninki biyu a cikin misali):
Haɗin haɗin kai a cikin piano quintet g-moll op. 30 SI Taneeva.
Kammala. Canon a baya daga b-moll fugue daga juzu'i na 2 na JS Bach's Well-Tempered Clavier misali ne na madaidaicin juzu'i wanda bai cika ba tare da sau biyu. Lamba na biyar daga “Bayar da Kiɗa” na Bach shine canon mara iyaka a cikin kewayawa wanda ke tare da wannan muryar, inda haɗin farko ya zama sama. murya da sauƙi (P), wanda aka samo asali a cikin madaidaicin madaidaicin juzu'i mai iya juyawa - a cikin murya ɗaya da risposta (R Compound counterpoint):
S. ku. - yankin da ya fi dacewa yana da alaƙa da gefen hankali na kerawa. tsarin mawallafin, wanda ya fi ƙayyade daidaitattun hotuna na muses. magana. S. ku. - tushen siffa a cikin polyphony, daya daga cikin mafi muhimmanci wajen polyphonic. ci gaba da bambancin. An gane yiwuwarsa kuma ya haɓaka ta hanyar masters na tsauraran salon; a cikin lokuta masu zuwa na ci gaban kiɗa. shari’a kuma a zamani. Ana amfani da kiɗan S. sosai a cikin sautin murya. da siffofin homophonic.
Misali na kiɗa daga sigar gabatarwar zuwa Taneev's Mobile Counterpoint of Strict Writing.
'yancin jituwa na kiɗan zamani yana ba wa mawaƙa damar amfani da mafi rikitarwa a cikin fasaha. dangane da S. iri-iri zuwa. da haduwarsu. Don haka, alal misali, a cikin No. 23 daga littafin Shchedrin's Polyphonic Notebook, haɗin farko na duka jigogi na fugue biyu (sanduna 1-5) yana ba da saiti (duba sanduna 9, 14, 19 da 22, 30, 35., 40). .
An nuna nau'ikan S. zuwa. SI Taneyev yayi la'akari da babban, amma ba kawai zai yiwu ba. Rubutun da aka buga daga nau'in gabatarwar zuwa littafin "Mobile counterpoint na rubutaccen rubutu" ya nuna cewa Taneyev ya haɗa da yankin uXNUMXbuXNUMXbS. k. shi ma irinsa, inda aka samu wani abin da aka samo asali sakamakon amfani da motsin raki.
A cikin rubuce-rubucensa, SI Taneev bai yi la'akari da ko dai mai yiwuwa ba (ko da yake wannan wani bangare ne na tsare-tsaren binciken binciken kimiyya) ko kuma sabani (kamar yadda, a fili, ba shi da mahimmanci a lokacin). Ka'idar polyphony, la'akari da fasali na zamani. aikin mawaƙiyi, yana faɗaɗa manufar S. zuwa. kuma yayi la'akari da matsayinsa mai zaman kansa iri a rakohodny counterpoint, da kuma ba da damar karuwa ko raguwa a cikin wani abin da aka samu zuwa. daga melodic kuri'u na asali. Misali, a wasan karshe mai siffar rondo na wasan kwaikwayo na 3 na Karaev, an rubuta kariyar farko ta hanyar maƙasudi 3. abubuwan ƙirƙira inda aka haɗa muryoyin masu shigowa (mai kama da jigon) tare da ƙarin ƙari daga sautin jerin dodecaphone; Riƙe na 2 na kamewa (lamba 4) wani fili ne da aka samo asali a cikin ma'aunin koma baya; a cikin kashi na 2, wanda aka rubuta da sigar fugue, matakin mayar da martani (mataki 16 har zuwa lamba 10) ya ƙunshi aiwatar da jigon a motsi gaba da gefe; a farkon reprise na 1st part na symphony (lamba 16), na 3rd manufa sauti. Canon mara iyaka, ina saman. muryar jigon jigo ce a kai tsaye, tsakiyar muryar tana cikin motsi na majajjawa, na ƙasa kuma tana cikin jujjuyawar motsi.
Maƙasudi, ƙyale karuwa ko raguwa a ɗaya ko da yawa. muryoyin, a ka'idar nazarin kadan.
HA Rimsky-Korsakov. "Tale of the Invisible City of Kitezh...", Act 3, scene 2.
Misalai masu yawa daga kiɗa na gargajiya da na zamani sun nuna cewa haɗuwa tare da karuwa ko raguwa sau da yawa suna tasowa ba tare da lissafi na farko ba, ba tare da gangan ba (duba misalin da ke sama daga Bach's Credo; "Discharges" - kashi na 2 na L. Grabowski's "Little Chamber Music No. 1" - an yi su ne da gudanar da jigon dodecaphonic , wanda aka ƙara bambance-bambancensa a cikin raguwa na 2-15). Koyaya, a wasu ayyuka, samun haɗuwa da haɗuwa da wannan nau'in, a bayyane yake, wani ɓangare ne na ainihin niyyar da ke tattare da shi, wanda ke tabbatar da gaskiyar nasa daga yankin S. Bach; a cikin kashi na 1 na Glazunov's 1th symphony, abin da aka samo asali (lamba 8) ya dogara ne akan ainihin fili (lamba 30) a cikin madaidaicin juzu'i mara cika tare da karuwa a cikin ɗayan muryoyin; hadaddun haɗe-haɗe tare da haɓaka jigo suna samar da mahaɗan abubuwan da aka samo asali a cikin FP. Taneyev's g-moll quintet (lambobi 31 da 78; duba misali a Col. 220).
V. Tormis. "Me yasa suke jiran Jaan" (A'a 4 daga zagayowar mawaƙa "Waƙoƙin Ranar Jan").
Ka'idar polyphony ta zamani tana yin gyare-gyare ga fassarar ƙima, wanda ke ba da damar ninka sau biyu, tun da jituwa. mizanin kiɗa na ƙarni na 20. amma iyakance amfani da kwafi zuwa.-l. def. tazara ko maƙarƙashiya. Alal misali, a cikin 2nd scene na 3rd mataki na wasan opera "The Legend of Invisible City Kitezh da Maiden Fevronia" Rimsky-Korsakov (lamba 210), da kwaikwayi na Tatars 'leitmotif aka gabatar a layi daya hankula. lambobi na bakwai (duba misali a); a cikin waƙar "Me ya sa suke jiran Yaan" (A'a 4 daga zagayowar mawaƙa "Waƙoƙi na Ranar Yaan" na V. Tormis), muryoyin suna motsawa cikin layi daya na biyar ("daidaitaccen motsin juna", kamar yadda SS Grigoriev ya bayyana; duba misali b), a cikin A'a 7 na zagayowar biyu iri ɗaya suna da yanayin tari (duba misali c);
V. Tormis. "Waƙar Ranar Jan" (A'a 7 daga zagayowar mawaƙa "Waƙoƙin Ranar Jan").
A cikin “Dare” daga “Scythian Suite” na Prokofiev, muryoyin da ke cikin ginin nau’in canon mara iyaka an kwafi su ta hanyar maɓalli daban-daban (duba misali d, Kol. 99).
SS Prokofiev. "Scythian Suite", kashi na uku ("Dare").
Teburi na duk haɗe-haɗe na nau'ikan s. ku.
References: Taneev SI, Madaidaicin madaidaicin rubutu, Leipzig, 1909, M., 1959; Taneev SI, Daga al'adun kimiyya da ilimi, M., 1967; Bogatyrev SS, Reversible counterpoint, M., 1960; Korchinsky E., Don tambayar ka'idar kwaikwayo na canonical, L., 1960; Grigoriev SS, A kan waƙar Rimsky-Korsakov, M., 1961; Yuzhak K., Wasu siffofi na tsarin fugue ta JS Bach, M., 1965; Pustylnik I. Ya., Matsala mai motsi da rubutu kyauta, L., 1967. Duba kuma lit. Ƙarƙashin labaran Matsalolin Motsi, Ƙarƙashin Ƙarfafawa, Rakokhodny motsi.
VP Frayonov
