Fugu |

lat., itali. fuga, lit. - Gudun gudu, tashi, saurin halin yanzu; Turanci, Faransa fugue; Jamus Fuge

1) Wani nau'i na kiɗa na polyphonic dangane da gabatarwar kwaikwayo na jigo na mutum ɗaya tare da ƙarin wasan kwaikwayo (1) a cikin muryoyi daban-daban tare da aiki na kwaikwayo da (ko) aiki mai rikitarwa, da (yawanci) haɓakawa da haɓaka tonal-harmonic.

Fugue shine mafi haɓaka nau'in kiɗan kwaikwayo-contrapuntal, wanda ya mamaye duk wadatar polyphony. Kewayon abun ciki na F. a zahiri ba shi da iyaka, amma abin da ke tattare da hankali yana rinjaye ko kuma a koyaushe a ji a cikinsa. F. an bambanta ta hanyar cikar motsin rai kuma a lokaci guda hana magana. Ci gaba a cikin F. a dabi'ance ana kwatanta shi da fassara, ma'ana. hujja na rubutun da aka tsara - batun; a yawancin gargajiya A cikin samfurori, duk F. An "girma" daga batun (irin F. ana kiran su masu tsauri, sabanin masu kyauta, wanda aka gabatar da kayan da ba su da alaƙa da jigon). Ci gaban nau'in F. shine tsarin canza asalin kiɗan. tunani wanda ci gaba da sabuntawa ba zai haifar da wani nau'i na alama ba; fitowar bambance-bambancen da aka samo asali, bisa ka'ida, ba shi da halayyar gargajiya. F. (wanda ba ya ware lokuta lokacin da ci gaba, mai ban sha'awa a cikin iyaka, yana haifar da cikakkiyar sake tunani game da jigon: cf., alal misali, sautin jigon a cikin nunin da kuma lokacin sauyawa zuwa koda a cikin sashin Bach. F. ƙarami, BWV 543). Wannan shine muhimmin bambanci tsakanin F. da sonata form. Idan sauye-sauye na alama na karshen sun yi hasashen raguwar jigon, to a cikin F. - ainihin nau'i mai ban sha'awa - jigon yana riƙe da haɗin kai: ana aiwatar da shi ta hanyoyi daban-daban. mahadi, maɓalli, sanya a cikin daban-daban rajista da kuma jituwa. yanayi, kamar dai haske ta hanyar haske daban-daban, yana bayyana fuskoki daban-daban (a bisa ka'ida, ba a keta mutuncin jigon ta gaskiyar cewa ya bambanta - yana sauti a wurare dabam dabam ko, alal misali, a cikin strettas, ba gaba ɗaya ba; ƙaddamarwa mai motsawa da rarrabuwa. ). F. Haɗin kai ne mai sabani na sabuntawa akai-akai da ɗimbin barga abubuwa: sau da yawa yana riƙe counteraddition a cikin haɗuwa daban-daban, tsaka-tsaki da strettas galibi bambance-bambancen juna ne, ana kiyaye adadin muryoyin daidai da akai, kuma ɗan lokaci ba ya canzawa cikin F. (banda, misali, a cikin ayyukan L. Beethoven yana da wuya). F. yana ɗaukar yin nazari a hankali na abun da ke ciki a cikin duk cikakkun bayanai; a zahiri polyphonic. ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙa'idodin ke bayyana a cikin haɗuwa da matsananciyar ƙarfi, rationalism na gini tare da 'yancin aiwatarwa a cikin kowane takamaiman yanayin: kusan babu “dokokin” don gina F., da siffofin F. ba su da iyaka, ko da yake sun dogara ne akan haɗuwa da abubuwa 5 kawai - jigogi, martani, adawa, tsaka-tsaki da kuma tituna. Suna samar da sassan tsari da na fassara na falsafa, waɗanda ke da fayyace, haɓakawa, da ayyuka na ƙarshe. Su daban-daban subordination siffofin iri nau'i na falsafa - 2-part, 3-part, da sauransu. kiɗa; ta cigaba ser. Karni na 17, duk tarihinsa ya wadata da duk nasarorin da muses suka samu. art-va kuma har yanzu ya kasance wani nau'i wanda ba a raba shi da sabbin hotuna ko sabbin hanyoyin magana. F. ya nemi kwatanci a cikin dabarun tsara zanen M. K.

Jigon F., ko (wanda ba a taɓa amfani da shi ba) jagora (Latin dux; Jamus Fugenthema, Subjekt, Fuhrer; Turanci batu; Italiyanci soggetto; Faransanci sujet), ya cika da inganci a cikin kiɗa. tunani da tsararren waƙa, wanda aka gudanar a cikin 1st na muryoyin masu shigowa. Tsawon lokaci daban-daban - daga 1 (F. daga Bach's solo violin sonata No. 1) zuwa sanduna 9-10 - ya dogara da yanayin kiɗan (jigogi a cikin jinkirin F. yawanci gajere ne; jigogi na wayar hannu sun fi tsayi, kama da juna a tsarin rhythmic, misali, a ƙarshen quartet op.59 No 3 ta Beethoven), daga mai yin wasan kwaikwayo. yana nufin (jigogi na gabobin jiki, nau'ikan mawaƙa sun fi tsayi fiye da na violin, clavier). Jigon yana da kaɗaɗɗen karin waƙa. bayyanar, godiya ga wanda kowanne daga cikin gabatarwar ya bayyana a fili. Keɓanta jigon shine bambanci tsakanin F. a matsayin nau'i na salon kyauta da kwaikwayo. nau'ikan salo mai tsauri: ra'ayin jigo baƙon abu ne ga na ƙarshe, gabatarwar stretta ta yi rinjaye, ƙawance. an kafa zane-zane na muryoyin a cikin tsarin kwaikwayo. A cikin F. an gabatar da jigon daga farko zuwa ƙarshe a matsayin wani abu da aka bayar, an kafa shi. Taken shine babban kiɗan. Tunanin F., ya bayyana gaba ɗaya. Misalai na farko na F. sun fi siffanta su da gajeru da jigogi marasa kyau. Classic nau'in jigon da aka haɓaka a cikin aikin JS Bach da GF Handel. An raba batutuwa zuwa bambanci da rashin daidaituwa (mai kama da juna), sautin guda ɗaya (mara daidaitawa) da daidaitawa. Jigogi masu kama da juna su ne bisa dalili ɗaya (duba misalin da ke ƙasa, a) ko wasu dalilai na kusa (duba misalin da ke ƙasa, b); a wasu lokuta dalilin ya bambanta ta hanyar bambanta (duba misali, c).

a) JS Baka. Fugue a cikin c-moll daga juzu'i na 1st na Clavier mai tsananin zafin rai, jigo. b) JS Ba. Fugue A-dur don Organ, BWV 536, Jigo. c) JS Baka. Fugue fis-moll daga juzu'i na 1st na Clavier mai tsananin zafin rai, jigo.

Jigogi da suka dogara da adawa na mabambantan waƙa da rhythmically daban-daban ana ɗaukar su suna bambanta (duba misalin da ke ƙasa, a); zurfin bambanci yana ƙaruwa lokacin da ɗaya daga cikin dalilan (sau da yawa na farko) ya ƙunshi hankali. tazara (duba misalai a Art. Salon kyauta, shafi na 891).

A cikin irin waɗannan batutuwa, abubuwan yau da kullun sun bambanta. jigon jigo (wani lokaci yakan rabu ta hanyar dakatarwa), sashe na ci gaba (yawanci jeri), da ƙarshe (duba misalin ƙasa, b). Jigogi marasa daidaitawa sun mamaye, waɗanda ke farawa da ƙare a maɓalli ɗaya. A cikin gyare-gyaren jigogi, jagorar daidaitawa yana iyakance ga mafi rinjaye (duba misalai a shafi na 977).

Jigogi ana siffanta su da sautin sauti: sau da yawa jigon yana farawa da rauni mai rauni na ɗayan sautin tonic. triads (cikin ban da F. Fis-dur da B-dur daga juzu'i na 2 na Bach's Well-Tempered Clavier; gaba da wannan sunan za a rage shi, ba tare da nuna mawallafin ba - "HTK"), yawanci yana ƙare akan lokaci mai ƙarfi. . na uku.

a) JS Ba. Brandenburg Concerto No 6, motsi na 2, jigo tare da muryoyin rakiyar. b) JS Ba. Fugue a cikin manyan C don Organ, BWV 564, Jigo.

A cikin jigon, ƙetare yana yiwuwa, sau da yawa a cikin mai mulki (a cikin F. fis-moll daga ƙarar 1st na CTC, kuma a cikin rinjaye); chromatic mai tasowa. ƙarin bincike na tonal tsabta ba ya keta, tun da kowane sautin su yana da takamaiman. harmonic tushe. Wucewa chromaticisms ba al'ada ba ne ga jigogi na JS Bach. Idan batun ya ƙare kafin gabatarwar amsar, to, an gabatar da codetta don haɗa shi da ƙari (Es-dur, G-dur daga juzu'i na 1 na "HTK"; duba kuma misalin da ke ƙasa, a). A yawancin jigogin Bach suna da tasiri sosai daga al'adun tsohuwar mawaƙa. polyphony, wanda ke shafar layi na polyphonic. melodics, a sigar stretta (duba misali a ƙasa, b).

JS Baci. Fugue in e qananan gabobin jiki, BWV 548, batu da farkon amsa.

Duk da haka, yawancin batutuwa suna da alaƙa da dogaro da haɗin kai. jerin, wanda "haske ta" melodic. hoto; a cikin wannan, musamman, dogara da F. 17-18 ƙarni ya bayyana. daga sabon kiɗan homophonic (duba misali a cikin Art. Salon kyauta, shafi na 889). Akwai boyayyar polyphony a cikin jigogi; an bayyana shi azaman layin ma'auni mai saukowa (duba jigon F. c-moll daga juzu'i na 1 na "HTK"); a wasu lokuta, muryoyin da aka ɓoye suna haɓaka har sai an yi kwaikwayi a cikin jigon (duba misalai a da b).

masu jituwa cikakkiya da karin waƙa. jikewa na boye polyphony a cikin jigogi a cikin ma'ana. digiri ne dalilin da aka rubuta F. don ƙananan kuri'u (3-4); 6-,7-murya a cikin F. yawanci ana haɗa shi da wani tsohon (sau da yawa choral) nau'in jigo.

JS Baci. Mecca h-moll, No 6, "Gratias agimus tibi", farawa (an bar ƙungiyar makaɗa).

Halin nau'in jigogi a cikin kiɗan baroque yana da sarƙaƙiya, tunda jigon jigo na yau da kullun ya haɓaka a hankali kuma yana ɗaukar waƙar. siffofin wadancan siffofin da suka gabaci F. A majestic org. shirye-shirye, a cikin mawaƙa. F. daga talakawa da sha'awar Bach, chorale shine tushen jigogi. Jigogin waƙoƙin jama'a ana wakilta ta hanyoyi da yawa. samfurori (F. dis-moll daga ƙarar 1st na "HTK"; org. F. g-moll, BWV 578). Ana haɓaka kamanni da waƙar lokacin da jigo da amsa ko motsi na 1st da 3 yayi kama da jimloli a cikin lokaci (fughetta I daga bambancin Goldberg; org. toccata E-dur, sashe a cikin 3/4, BWV 566). .

a) BAX. Fantasy na Chromatic da fugue, jigon fugue. b) JS Ba. Fugue in g qananan gabobin jiki, BWV 542, jigo.

Bach's thematicism yana da maki da yawa na tuntuɓar rawa. kiɗa: jigon F. c-moll daga 1st juzu'i na "HTK" an haɗa shi da bourre; batun org. F. g-moll, BWV 542, ya samo asali ne daga waƙar rawa "Ick ben gegroet", yana nufin allemandes na karni na 17. (duba Protopov Vl., 1965, shafi na 88). G. Purcell's jigogi sun ƙunshi jigon rhythms. Kadan, jigogin Bach, mafi sauƙaƙa, jigogin “posta” na Handel, suna shiga Dec. nau'ikan waƙoƙin opera, alal misali. recitative (F. d-moll daga Handel na 2nd Ensem), irin na jarumi. arias (F. D-dur daga juzu'i na 1 na "HTK"; Ƙarshen mawaƙa daga oratorio "Almasihu" na Handel). A cikin batutuwa, ana amfani da maimaitawa. turnovers - abin da ake kira. kide-kide. adadi (duba Zakharova O., 1975). A. Schweitzer ya kare ra'ayi, bisa ga abin da aka kwatanta jigogin Bach. kuma na alama. ma'ana. Tasirin kai tsaye na thematicism na Handel (a cikin oratorios Haydn, a ƙarshen wasan kwaikwayo na Beethoven No. 9) da Bach (F. in chor. op. op. 1 na Beethoven, P. na Schumann, ga organ Brahms) ya kasance akai-akai kuma mai ƙarfi (har zuwa ga daidaituwa: jigon F. cis-moll daga ƙarar 131st na “HTK” a cikin Agnus daga Mass Es-dur na Schubert). Tare da wannan, an gabatar da sababbin halaye a cikin jigogi na F. dangane da asalin nau'in, tsari na alama, tsari, da jituwa. fasali. Don haka, jigon fugue Allegro daga overture zuwa opera The Magic sarewa ta Mozart yana da siffofi na scherzo; waƙar farin ciki F. daga sonata don violin, K.-V. 1. Sabon fasalin jigogi a cikin karni na 402 f. shi ne amfani da rubutun waƙa. Waɗannan su ne jigogi na fugues na Schubert (duba misali a ƙasa, a). Folk-song element (F. daga gabatarwa zuwa "Ivan Susanin"; Rimsky-Korsakov's fughettas dangane da jama'a songs), wani lokacin romance melodiousness (fp. F. a-moll Glinka, d-moll Lyadov, intonations na elegy a farkon cantata "Yohanna na Damascus" Taneyev) suna bambanta da jigogi na Rus. masters, al'adun da aka ci gaba da DD Shostakovich (F. daga oratorio "Song of the Forests"), V. Ya. Shebalin da sauransu. Nar. kiɗan ya kasance tushen jin daɗi. da haɓaka nau'ikan nau'ikan (masu karatun 19 da fugues ta Khachaturian, 7 preludes da furci don piano ta mawaƙin Uzbek GA Muschel; duba misalin da ke ƙasa, b), wani lokaci a hade tare da sabbin hanyoyin magana (duba misalin da ke ƙasa, c) . F. a kan jigon jazz na D. Millau ya fi dacewa da filin fasinja ..

a) P. Schubert. Mecca No 6 Es-dur, Credo, sanduna 314-21, jigon fugue. b) GA Muschel. 24 preludes da fugues don piano, fugue theme b-moll. c) B. Bartok. Fugue daga Sonata don Solo Violin, Jigo.

A cikin ƙarni na 19th da 20th cikakke suna riƙe ƙimar al'ada. nau'ikan tsarin jigo (mai kama - F. don violin solo No 1 op. 131a Reger; bambanci - na ƙarshe F. daga cantata "Yohanna na Damascus" ta Taneyev; 1st part na sonata No 1 ga piano Myaskovsky; a matsayin salo - kashi na biyu "Symphony of Psalm" na Stravinsky).

A lokaci guda kuma, mawaƙa suna samun wasu (ƙasasshen duniya) hanyoyin gini: lokaci-lokaci a cikin yanayin yanayin lokacin luwaɗi (duba misalin da ke ƙasa, a); m lokaci-lokaci motivic aa1 (duba misali a kasa, b); iri-iri iri-iri maimaitawa aa1 bb1 (duba misali a ƙasa, c); maimaitawa (duba misalin da ke ƙasa, d; kuma F. fis-moll op. 87 na Shostakovich); rhythmic ostinato (F. C-dur daga sake zagayowar "24 Preludes da Fugues" na Shchedrin); ostinato a cikin sashin ci gaba (duba misali a ƙasa, e); ci gaba da sabuntawa na abcd (musamman a cikin jigogi na dodecaphone; duba misali f). A cikin mafi ƙarfi, bayyanar jigogi suna canzawa a ƙarƙashin rinjayar sabon jituwa. ra'ayoyi. A cikin karni na 19 daya daga cikin mawakan da suka fi daukar hankali a wannan bangaren shi ne P. Liszt; Jigoginsa suna da babban kewayon da ba a taɓa ganin irinsa ba (fugato a cikin h-moll sonata kusan octaves 2 ne), sun bambanta a cikin innation. kaifi..

a) DD Shostakovich, Fugue a cikin E qananan op. 87, magana. b) M. Rawala. Fuga iz fp. suite "Kabari na Cuperina", jigo. c) B. Bartok. Kiɗa don kirtani, percussion da cello, sashi na 1, jigo. d) DD Shostakovich. Fugue a cikin babban op. 87, magana. f) P. Xindemith. Sonata.

Siffofin sabon polyphony na karni na 20. bayyana a cikin m a ma'ana, kusan dodecaphonic theme na R. Strauss daga symphony. Waƙar “Haka Yayi Magana Zarathustra”, inda aka kwatanta triads Ch-Es-A-Des (duba misali a ƙasa, a). Batutuwan ɓarkewar ƙarni na 20 da gyare-gyare zuwa maɓallai masu nisa suna faruwa (duba misalin ƙasa, b), wucewar chromatisms ya zama al'amari na al'ada (duba misali a ƙasa, c); chromatic harmonic tushen yana haifar da rikitarwa na tsarin sauti na fasaha. hoto (duba misalin ƙasa, d). A cikin batutuwa na F. sabon fasaha. dabaru: atonality (F. a Berg's Wozzeck), dodecaphony (1st part of Slonimsky's buff concerto; improvisation da F. don piano Schnittke), sonorants (fugato "A Sante Kurkuku" daga Shostakovich's Symphony No. 14) da aleatory (duba misali a kasa). ) tasiri. Mahimman ra'ayin da aka tsara na F. don bugawa (motsi na 3 na Greenblat's Symphony No. 4) yana cikin filin da ke waje da yanayin F..

a) R. Straus. Waƙar Symphonic "Haka Yayi Magana Zarathustra", jigon fugue. b) HK Medtner. Thunderstorm sonata don piano. op. 53 No 2, farkon fugue. c) AK Glazunov. Prelude da Fugue cis-moll op. 101 No 2 don fp., jigon fugue. d) H.Ya. Myaskovski.

V. Lutoslavsky. Preludes da Fugue don 13 String Instruments, Fugue Jigon.

Kwaikwayar jigo a cikin maɓalli na rinjaye ko mai mulki ana kiransa amsa ko (wanda ba a taɓa amfani da shi ba) aboki (Latin ya zo; Jamus Antwort, Comes, Gefährte; Amsar Ingilishi; Risposta na Italiyanci; Amsar Faransanci). Duk wani riko da jigo a cikin maɓalli na rinjaye ko mai mulki a kowane bangare na tsari inda babban ya mamaye ana kiransa amsa. tonality, kazalika a cikin na biyu tonalities, idan a lokacin kwaikwayo da wannan farar rabo na jigo da amsa ana kiyaye su kamar yadda a cikin baje kolin (sunan gama gari "amsar octave", yana nuna shigar da murya ta 2 a cikin octave, ba daidai ba ne. , domin a zahiri akwai gabatarwar 2 na farko na jigon, sannan martani 2 kuma a cikin octave; misali, No 7 daga oratorio “Judas Maccabee” na Handel).

Zamani Ka'idar ta fayyace amsar dalla-dalla, wato, a matsayin aiki a cikin F., watau, lokacin kunna sautin kwaikwayo (a kowane tazara), wanda yake da mahimmanci a cikin tsarin sigar. A cikin nau'o'in kwaikwayo na zamanin tsauraran salon, an yi amfani da kwaikwaiyo a lokuta daban-daban, amma bayan lokaci, kwata-biyar ya zama babba (duba misali a cikin Art. Fugato, shafi na 995).

Akwai nau'ikan amsa guda 2 a cikin ricercars - na gaske da sautin. Amsar da ke sake fitar da jigon daidai (matakinsa, sau da yawa kuma darajar sautin sauti), wanda ake kira. gaske. Amsar, a farkon farawa yana dauke da karin waƙoƙi. canje-canjen da suka taso daga gaskiyar cewa matakin I na batun ya dace da matakin V (sautin asali) a cikin amsar, kuma matakin V ya dace da matakin I, wanda ake kira. tonal (duba misali a ƙasa, a).

Bugu da ƙari, ana amsa jigon da ke daidaitawa zuwa maɓalli mai mahimmanci tare da jujjuyawar canji daga maɓalli mai mahimmanci zuwa babban maɓalli (duba misali a ƙasa, b).

A cikin kiɗan rubutu mai tsauri, babu buƙatar amsa tonal (ko da yake wani lokacin ana saduwa da shi: a cikin Kyrie da Christe eleison daga taro a kan L'homme armé na Palestrina, amsar gaskiya ce, a cikin Qui tollis akwai tonal. ), tun da ba a yarda da masu chromatic ba. canje-canje a matakai, da ƙananan batutuwa cikin sauƙi "daidai" cikin amsa ta gaske. A cikin salon kyauta tare da amincewar manya da ƙananan, da kuma sabon nau'in instr. batutuwa masu fadi-tashi, akwai buqatar sautin murya. nunin manyan alaƙar aiki na tonic-mafi rinjaye. Bugu da ƙari, jaddada matakai, amsawar tonal yana kiyaye farkon F. a cikin yanayin jan hankali na babban. tonality.

An bi ka'idojin amsa sauti sosai; An keɓance ko dai don batutuwa masu wadata a cikin chromaticism, ko kuma a cikin yanayin da canje-canjen tonal ya gurbata waƙar. zane (duba, misali, F. e-moll daga juzu'i na 1 na "HTK").

Ana amfani da martanin ƙasa da ƙasa akai-akai. Idan jigon ya mamaye rinjaye ko sauti, to, an gabatar da martani mai mahimmanci (Contrapunctus X daga The Art of Fugue, org. Toccata a d-moll, BWV 565, P. daga Sonata don Skr. Solo No 1 a G- moll, BWV 1001, Bach ); wani lokaci a cikin F. tare da dogon turawa, ana amfani da nau'ikan amsa guda biyu, wato, rinjaye da rinjaye (F. cis-moll daga ƙarar 1st na CTC; No. 35 daga oratorio Solomon na Handel).

Daga farkon karni na 20 dangane da sabon tonal da jituwa. wakilci, bin ka'idodin sautin amsa ya juya zuwa ga al'ada, wanda a hankali ya daina kiyayewa..

a) JS Baka. Fasahar fugue. Contrapunctus I, batu da amsa. b) JS Ba. Fugue a cikin Ƙananan C akan Jigo ta Legrenzi don Organ, BWV 574, Maudu'i da Amsa.

Sabani (Gegenthema na Jamusanci, Gegensatz, Begleitkontrapunkt des Comes, Kontrasubjekt; Turanci countersubject; Faransa contre-sujet; Italiyanci contro-soggetto, contrassoggetto) - counterpoint ga amsar (duba Countersubject).

Interlude (daga lat. intermediaus - located a tsakiya; Jamus Zwischenspiel, Zwischensatz, Interludium, Intermezzo, Episode, Andamento (na karshen kuma shine jigon F. babban girma); ital. fun, episode, Trend; zafi. nishadi, episode, andamento; turanci. fugal episode; kalmomin "episode", "interlude", "divertimento" a cikin ma'anar "sassa a cikin F." a cikin adabi cikin Rashanci. yaz. daga amfani; lokaci-lokaci ana amfani da wannan don tantance tsaka-tsaki tare da sabuwar hanyar haɓaka kayan ko akan sabon abu) a cikin F. – gini tsakanin batun. Yi magana akan bayyanawa. kuma jigon tsarin ya saba wa tafiyar da jigon: tsaka-tsaki ko da yaushe shine gina tsaka-tsaki (ci gaba), babba. ci gaban yanki na jigo a cikin F., yana ba da gudummawa ga wartsake sautin jigon shigarwa sannan da ƙirƙirar sifa don F. samar da ruwa. Akwai masu shiga tsakani waɗanda ke haɗa tafiyar da batun (yawanci a cikin sashe) kuma a zahiri suna haɓakawa (rabe ɗabi'a). Don haka, don bayyani, tsaka-tsaki na al'ada ne, yana haɗa amsar tare da gabatarwar jigon a cikin murya ta 3 (F. D-dur daga juzu'i na 2 na "HTK"), ƙasa da yawa - jigo tare da gabatar da amsa a cikin murya ta 4 (F. b-moll daga girma na 2) ko tare da ƙara. rike (F. F babba daga juzu'i na 2). Irin waɗannan ƙananan haɗin gwiwar ana kiran su daure ko codeettes. Tambayoyi Dr. nau'ikan, a matsayin mai mulkin, sun fi girma kuma ana amfani da su ko dai tsakanin sassan sigar (misali, lokacin ƙaura daga nuni zuwa sashe mai tasowa (F. C-dur daga juzu'i na 2 na "HTK"), daga gare ta zuwa mayar da martani (F. h-moll daga girma na 2)), ko a cikin mai tasowa (F. As-dur daga juzu'i na 2) ko mayarwa (F. F-dur daga sashin juzu'i na 2); ginin da ke cikin halin tsaka-tsakin, wanda yake a ƙarshen F., ana kiransa kammalawa (duba. F. D babba daga 1st girma «HTK»). Interludes yawanci suna dogara ne akan dalilan jigon – na farko (F. c-moll daga juzu'in 1st na "HTK") ko na ƙarshe (F. c-moll daga juzu'i na 2, ma'auni 9), sau da yawa kuma akan kayan 'yan adawa (F. f-moll daga ƙarar 1st), wani lokacin - codetes (F. Es-dur daga juzu'i na 1). Solo. Abubuwan da ke adawa da jigon ba su da ɗanɗano, amma irin waɗannan abubuwan haɗin gwiwar yawanci suna taka muhimmiyar rawa wajen jimla. (Kyrie No 1 daga yawan Bach a h-moll). A cikin lokuta na musamman, ana kawo interludes cikin F. kashi na haɓakawa (masu jituwa-sihiri a cikin org. toccate a cikin d ƙarami, BWV 565). Tsarin tsaka-tsakin tsaka-tsaki ne; Daga cikin hanyoyin haɓakawa, wuri na 1 yana shagaltar da jeri - mai sauƙi (sanduna 5-6 a cikin F. c-moll daga juzu'i na 1 na "HTK") ko na 1st na canonical (ibid., sanduna 9-10, tare da ƙari. murya) da kuma rukuni na biyu (F. fis-moll daga juzu'i na 1st, mashaya 7), yawanci baya wuce hanyoyin haɗin gwiwa 2-3 tare da mataki na biyu ko na uku. Warewa abubuwan motifs, jeri da gyare-gyare a tsaye suna kawo babban tsakani kusa da ci gaba (F. Cis-dur daga juzu'i na 1, sanduna 35-42). A cikin wasu harsuna F. yana saɓanin dawowa, wani lokacin yana kafa alaƙar sonata (cf. sanduna 33 da 66 in F. f-moll daga juzu'i na 2 na "HTK") ko tsarin bambance-bambancen rikice-rikice (F. c-moll da G-dur daga juzu'i na 1st), kuma rikicewar tsarin su a hankali yana da halaye (F. daga ɗakin "Tomb of Couperin" na Ravel). Ma'anar "condensed" F. ba tare da tsaka-tsaki ko tare da ƙananan tsaka-tsalle ba wuya (F. Kyrie daga Mozart's Requiem). Irin F. ƙarƙashin ƙwararrun ƙwararru. ci gaba (stretty, misc. Canje-canjen jigo) kusanci ricercar - fuga ricercata ko figurata (P.

Stretta - m kwaikwayo. aiwatar da jigon F., wanda muryar kwaikwayo ta shiga har zuwa ƙarshen jigon a cikin muryar farko; Za a iya rubuta stretta a cikin sauƙi ko sigar canonical. kwaikwayo. Bayyanawa (daga lat. nuni - bayyani; Nem. nunin haɗin gwiwa, aikin farko; Ingilishi, Faransanci. bayyana; ital. esposizione) ana kiransa kwaikwayo na 1st. rukuni a F., vol. e. Sashe na 1 a cikin F., wanda ya ƙunshi farkon gabatarwar jigon a cikin duk muryoyin. Farkon monophonic na kowa ne (sai dai F. tare, misali. Kyrie No 1 daga babban taro na Bach a h-moll) da kuma jigon jigon amsawa; wani lokacin ana keta wannan odar (F. G-dur, f-moll, fis-moll daga juzu'i na 1st na "HTK"); choral F., wanda a cikinsa ake yin koyi da muryoyin da ba kusa da su ba a cikin octave (jigo-jigo da amsa-amsa: (na ƙarshe F. daga oratorio "The Four Seasons" na Haydn) ana kiransa octaves. Ana shigar da amsar a lokaci guda. tare da ƙarshen jigon (F. dis-moll daga juzu'i na 1 na "HTK") ko bayan shi (F. Fis-dur, ibid.); F., wanda amsar ta shiga kafin ƙarshen batun (F. E-dur daga juzu'i na 1, Cis-dur daga juzu'i na 2 na "HTK"), ana kiransa stretto, matsawa. A cikin 4-bulo. sautunan bayyanuwa sukan shiga bibiyu (F. D-dur daga juzu'i na 1 na "HTK"), wanda ke hade da hadisai na gabatar da fugue na zamanin rubutaccen rubutu. Babban zai bayyana. tsari na gabatarwa yana da mahimmanci: an tsara bayyani sau da yawa ta yadda kowace murya mai shigowa ta kasance matsananci, ana iya rarrabewa sosai (wannan, duk da haka, ba doka bane: duba ƙasa). F. g-moll daga 1st girma na "HTK"), wanda yake da mahimmanci a cikin gabobin jiki, clavier F., misali. tenor - alto - soprano - bass (F. D-dur daga juzu'i na 2 na "HTK"; org. F. D-dur, BWV 532), alto - soprano - tenor - bass (F. c-moll daga girma na 2 na "HTK"), da dai sauransu; Gabatarwa daga babbar murya zuwa ƙasa suna da daraja ɗaya (F. e-moll, ibid.), Kazalika ƙarin tsari mai ƙarfi na shigarwar muryoyin - daga ƙasa zuwa sama (F. cis-moll daga 1st girma na "HTK"). Iyakokin sassan a cikin nau'in ruwa kamar F. suna da sharadi; an yi la'akari da bayyani a kammala lokacin da ake gudanar da batun da amsar a cikin dukkan muryoyin; interlude na gaba yana cikin nunin idan yana da ƙaranci (F. c-moll, g-moll daga 1st girma na "HTK"); in ba haka ba, yana cikin ɓangaren masu tasowa (F. As-dur, ibid.). Lokacin da nunin ya zama gajere sosai ko kuma ana buƙatar filla-filla musamman, ana gabatar da ɗaya (a cikin kai 4. F. D-dur daga juzu'i na 1 na tasirin "HTK" na gabatarwar murya ta 5) ko da yawa. ƙara. gudanar (3 cikin 4-go. org F. g-moll, BWV 542). Ƙarin wasan kwaikwayo a cikin duk muryoyin samar da ƙima (F. E-dur daga ƙarar 1st na "HTK"); yana da wani tsari na gabatarwa daban-daban fiye da a cikin baje kolin da kuma rarraba jigon da amsa ta kuri'u; Bach's counter-exposures yakan zama sabani. ci gaba (in F. F-dur daga juzu'i na 1 "HTK" - stretta, a cikin F. G-dur - juyar da batun). Lokaci-lokaci, a cikin iyakokin baje kolin, ana yin sauye-sauye don amsawa, wanda shine dalilin da yasa nau'ikan F. tashi: a wurare dabam dabam (Contrapunctus V daga Bach's The Art of Fugue; F. XV na 24 Preludes da F. za fp. Shchedrin), rage (Contrapunctus VI daga The Art of Fugue), girma (Contrapunctus VII, ibid.). Bayyanawa yana da tsayin daka kuma mafi kwanciyar hankali na sigar; tsarinsa da aka dade ana kiyaye shi (a matsayin ka'ida) a cikin samarwa. 20 a cikin. Na 19 in. an gudanar da gwaje-gwaje don tsara fallasa a kan kwaikwayi a cikin waɗanda ba na al'ada don F. tazarar (A. Reich), duk da haka, a cikin zane-zane. sun shiga aikin ne kawai a cikin karni na 20. ƙarƙashin rinjayar 'yancin jituwa na sabon kiɗa (F. daga quintet ko. 16 Taneeva: c-es-gc; P. a cikin "Thunderous Sonata" don piano. Metnera: fis-g; na F. B-dur up. 87 Amsar Shostakovich a cikin maɓalli mai layi daya; na F. a cikin F daga Hindemith na “Ludus tonalis” amsar tana cikin decima, a cikin A cikin na uku; a cikin antonal triple F. daga 2 d. "Wozzeka" Berga, takt 286, ответы в ув. nonu, malu, sextu, um. na biyar). Bayanin F. wani lokacin ana ba da shi tare da haɓaka kaddarorin, alal misali. a cikin sake zagayowar "24 Preludes da Fugues" na Shchedrin (ma'ana canje-canje a cikin amsar, rashin kuskuren riƙe adawa a cikin F. XNUMX, XNUMX). Sashe na F., yana bin bayyani, ana kiransa haɓakawa (shi. jagora-ta bangare, tsakiya; Sashen ci gaban Ingilishi; zafi. partie du devetopment; ital. partie di sviluppo), wani lokacin - tsakiya ko ci gaba, idan interludes da ke cikin ta yi amfani da dabarun canza canji. Mai yuwuwa contrapuntal. (rikitaccen madaidaicin wuri, stretta, sauyin jigo) da jituwa mai jituwa. (modulation, reharmonization) na nufin ci gaba. Sashin mai tasowa bashi da ingantaccen tsari; yawanci wannan gini ne mara tsayayye, yana wakiltar jerin rikodi guda ɗaya ko rukuni a cikin maɓallai, to-rykh baya cikin nunin. Tsarin gabatarwar maɓalli kyauta ne; a farkon sashe, yawanci ana amfani da tonality mai kama da juna, yana ba da sabon canza launi (F. Es-dur, g-moll daga juzu'i na 1st na "HTK"), a ƙarshen sashe - maɓallan ƙungiyar masu rinjaye (a cikin F. F-dur daga ƙarar 1st - d-moll da g-moll); ba a cire su ba, da sauransu. bambance-bambancen ci gaban tonal (misali, a cikin F. f-moll daga juzu'i na 2 «HTK»: As-dur-Es-dur-c-moll). Ketare iyaka na tonality na 1st digo na dangi shine halin F. daga baya (F. d-moll daga Mozart's Requiem: F-dur-g-moll-c-moll-B-dur-f-moll). Sashin haɓakawa ya ƙunshi aƙalla gabatarwa ɗaya na jigon (F. Fis-dur daga juzu'i na 1 na "HTK"), amma yawanci akwai fiye da su; Yawancin rigunan ƙungiyoyi ana gina su bisa ga nau'in alaƙa tsakanin batun da amsar (F. f-moll daga juzu'i na 2 na "HTK"), ta yadda wani lokaci sashin haɓakawa yayi kama da nuni a maɓalli na biyu (F. e-moll, ibid.). A cikin ɓangaren masu tasowa, strettas, ana amfani da canjin jigo sosai (F.

Alamar sashe na ƙarshe na F. (Jamus: SchluYateil der Fuge) yana da ƙarfi komawa ga babba. maɓalli (sau da yawa, amma ba lallai ba ne ya shafi jigon: a cikin F. F-dur daga juzu'i na 1 na "HTK" a cikin matakan 65-68, jigon "narke" a cikin adadi; a cikin matakan 23-24 F. D-dur 1st dalili shine "ƙaraɗawa" ta hanyar kwaikwayo, na 2nd a cikin sanduna 25-27 - ta hanyar ƙira). Sashen na iya farawa da amsa (F. f-moll, ma'auni 47, daga ƙarar 1st; F. Es-dur, ma'auni 26, daga ƙarar guda ɗaya - abin da aka samu na ƙarin gubar) ko a cikin maɓalli na ƙasa na ch. . arr. don haɗuwa tare da ci gaban da ya gabata (F. B-dur daga ƙarar 1st, ma'auni 37; Fis-dur daga ƙarar guda ɗaya, ma'auni 28 - wanda aka samo daga ƙarin gubar; Fis-dur daga ƙarar 2nd, auna 52 - bayan kwatankwacin. tare da ɓata lokaci), wanda kuma ana samun shi a cikin jituwa daban-daban. yanayi (F. a cikin G a cikin Ludus tonalis na Hindemith, mashaya 54). Sashe na ƙarshe a cikin fugues na Bach yawanci ya fi guntu (saɓanin da aka haɓaka a cikin F. f-moll daga ƙarar 2nd banda bayyani) (a cikin 4-goal F. f-moll daga ƙarar 1st na “HTK” 2 wasanni , har zuwa girman ƙaramin cadenza (F. G-dur daga ƙarar 2nd na "HTK"). Don ƙarfafa maɓalli na asali, ana sau da yawa gabatar da riƙon babban jigon (F. F-dur, bar 66, da f-moll, mashaya 72, daga ƙarar 2nd na "HTK"). Kuri'a a kammala. sashe, a matsayin mai mulkin, ba a kashe; a wasu lokuta, ƙaddamar da daftarin yana bayyana a ƙarshe. gabatarwar chord (F. D-dur da g-moll daga juzu'i na 1st na "HTK"). Tare da zai ƙare. sashe wani lokaci yana haɗuwa da ƙarshen nau'i, sau da yawa yana hade da stretta (F. g-moll daga ƙarar 1st). Kammala. Halin yana ƙarfafa ta hanyar rubutun chordal (ma'auni na 2 na ƙarshe na F.); Sashen na iya samun ƙarshe kamar ƙaramin coda (sandunan ƙarshe na F. c-moll daga ƙarar 1st na “HTK”, wanda aka jadada ta hanyar tonic. org. sakin layi; a cikin F. da aka ambata a cikin G na Hindemith - basso ostinato); A wasu lokuta, sashin ƙarshe na iya buɗewa: ko dai yana da ci gaba na wani nau'i daban-daban (misali, lokacin da F. ya kasance wani ɓangare na ci gaban sonata), ko kuma yana shiga cikin babban coda na sake zagayowar, wanda ke kusa. cikin hali zuwa shigarwa. yanki (org. prelude da P. a-moll, BWV 543). Kalmar "sakewa" don ƙarewa. Sashe na F. za a iya amfani da shi kawai bisa sharadi, a cikin ma'ana ta gaba ɗaya, tare da la'akari da wajibi na bambance-bambance masu ƙarfi. sashe F. daga nuni.

Daga kwaikwayo. nau'ikan salo mai tsauri, F. ya gaji dabaru na tsarin bayyani (Kyrie daga yawan yaren Pange na Josquin Despres) da kuma amsawar tonal. Magabacin F. na da yawa. wannan shine moti. Asalin wok. form, motet sannan ya koma instr. kiɗa (Josquin Deprez, G. Isak) kuma an yi amfani dashi a cikin canzone, wanda sashi na gaba shine polyphonic. bambancin na baya. Fugues na D. Buxtehude (duba, alal misali, org. prelude da P. d-moll: prelude - P. - quasi Recitativo - bambance-bambancen F. - ƙarshe) ainihin canzones ne. Magabacin F. na kusa shine gabobin duhu ɗaya ko clavier ricercar (duhu ɗaya, wadataccen jigo na rubutun stretta, dabaru don canza jigon, amma rashin haɓaka halayen F.); F. suna kiran motocin su S. Sheidt, I. Froberger. G. Frescobaldi ta canzones da ricercars, da kuma gabobin da clavier capriccios da fantasies na Ya. Tsarin samar da fom na F. ya kasance a hankali; nuna wani "1st F." ba zai yiwu ba.

Daga cikin samfurori na farko, nau'i ne na kowa, wanda masu tasowa (German zweite Durchführung) da kuma sassan karshe sune zaɓuɓɓukan nunawa (duba Repercussion, 1), don haka, an haɗa nau'in a matsayin jerin abubuwan da aka nuna (a cikin aikin da aka ambata). Buxtehude F. ya ƙunshi baje koli da 2 na bambance-bambancensa). Ɗaya daga cikin mahimman nasarorin lokacin GF Handel da JS Bach shine ƙaddamar da haɓakar tonal zuwa falsafar. Maɓallin maɓalli na motsi na tonal a cikin F. ana nuna su ta hanyar bayyanannun (yawanci cikakke cikakke) cadences, wanda a cikin Bach sau da yawa ba su dace da iyakoki na nunin (a cikin F. D-dur daga 1st girma na CTC, da ajizanci cadence a ma'auni 9 "jawo a" h-moll-noe kai cikin nuni), tasowa da kuma karshe sassan da kuma "yanke" su (a cikin guda F. cikakken cadence a cikin e-moll a mashaya 17 a tsakiyar masu tasowa). sashe ya raba fom zuwa kashi 2). Akwai nau'ikan nau'ikan biyu na ɓangaren biyu: F. C-Dur daga ƙarar 1 na "HTK" (Cadeniye 14), auna 17), FIS-Dur daga girman guda biyu nau'i (cadenza a kan rinjaye, ma'auni 23, cadence a dis-moll a tsakiyar sashin ci gaba, mashaya 1); Siffofin tsohuwar sonata a cikin F. d-moll daga juzu'i na 1st (stretta, wanda ya ƙare motsi na 17, an canza shi a ƙarshen F. zuwa cikin babban maɓalli: cf. sanduna 21-39 da 44-1) . Misali na nau'i mai nau'i uku - F. e-moll daga ƙarar 20st na "HTK" tare da madaidaicin farawa zai ƙare. sashe (auna XNUMX).

Wani nau'i na musamman shine F., wanda ba a cire ƙetare da gyare-gyare ba, amma aiwatar da batun da amsar ana ba da shi kawai a cikin babba. kuma rinjaye (org. F. c-moll Bach, BWV 549), lokaci-lokaci - a ƙarshe. sashe – a cikin maɓallan (Contrapunctus I daga Bach's Art of Fugue) maɓallan. Irin F. wani lokaci ana kiranta da monotonous (cf. Grigoriev S. S., Muller T. F., 1961), barga-tonal (Zolotarev V. A., 1932), tonic-mafi rinjaye. Tushen ci gaba a cikin su yawanci ɗaya ne ko wani sabani. haɗuwa (duba shimfidawa a cikin F. Es-dur daga juzu'i na 2 na "HTK"), sake daidaitawa da canza taken (bangare biyu F. C-moll, kashi uku F. d-moll daga juzu'i na 2 na "HTK"). Da ɗan daɗaɗɗen riga a zamanin I. C. Bach, waɗannan nau'ikan ana samun su ne kawai lokaci-lokaci a cikin lokutan baya (ƙarshen karkatarwar No. 1 don Haydn baritones, Hob. XI 53). Siffar siffa ta rondo tana faruwa lokacin da aka haɗa guntu na babba a cikin ɓangaren haɓakawa. tonality (a cikin F. Cis-dur daga juzu'i na 1 na "HTK", ma'auni 25); Mozart yayi magana da wannan fom (F. c-moll don kirtani. hudu, K.-V. 426). Yawancin fugues na Bach suna da siffofi na sonata (misali, Coupe No. 1 daga Mass in h-moll). A cikin nau'i na lokacin post-Bach, tasirin ka'idodin kiɗa na homophonic yana da hankali, kuma bayyananne nau'i mai nau'i uku ya zo a gaba. Masanin tarihi. Nasarar da masu nuna wariyar launin fata na Viennese suka yi ita ce haduwar nau'in sonata da F. form, wanda aka yi ko dai a matsayin fugue na sonata form (ƙarshen Mozart's G-dur quartet, K.-V. 387), ko kuma a matsayin alama na F., musamman, canji na ɓangaren haɓakawa zuwa ci gaban sonata (ƙarshen quartet, op. 59 A'a. 3 daga Beethoven). Dangane da waɗannan nasarorin, an ƙirƙiri samfuran. a cikin homophonic-polyphonic. siffofin (haɗin sonata tare da biyu F. a karshen wasan kwaikwayo na Bruckner na 5, tare da F. quadruple. A cikin mawaƙa na ƙarshe na cantata "Bayan karanta zabura" ta Taneyev, tare da sau biyu F. a kashi na 1 na wasan kwaikwayo na "The Artist Mathis" na Hindemith) da kuma fitattun misalan wasan kwaikwayo. F. (Kashi na 1 na ƙungiyar makaɗa ta farko. Suites na Tchaikovsky, wasan karshe na cantata "John of Damascus" na Taneyev, orc. Bambance-bambancen Reger da Fugue akan Jigo ta Mozart. Har ila yau, gravitation zuwa ga asali na magana, halayyar fasaha na romanticism, kuma ya mika zuwa siffofin F. (kayayyakin fantasy a org. F. akan jigon BACH Liszt, wanda aka bayyana cikin haske mai haske. ya bambanta, gabatarwar kayan abu na episodic, 'yancin sauti). A cikin kiɗa na karni na 20 ana amfani da gargajiya. F. siffofin, amma a lokaci guda akwai wani abu mai mahimmanci don amfani da mafi yawan hadaddun polyphonic. dabaru (duba No 4 daga cantata "Bayan karanta Zabura" ta Taneyev). Hadishi. siffar wani lokaci sakamakon keɓancewa ne. yanayin fasahar neoclassical (concerto na ƙarshe don 2 fp. Stravinsky). A yawancin lokuta, mawaƙa suna neman ganowa a cikin hadisai. sigar bayyana mara amfani. yuwuwar, cika shi da jituwa mara kyau. abun ciki (a cikin F. C-dur up. 87 Amsar Shostakovich ita ce Mixolydian, cf. wani ɓangare - a cikin yanayin yanayi na ƙananan yanayi, da ramuwa - tare da stretta Lydian) ko amfani da sabon jituwa. da rubutu. Tare da wannan, marubuta F. a cikin 20th karni halitta gaba daya mutum siffofin. Don haka, a cikin F. a cikin F daga Hindemith's "Ludus tonalis" motsi na 2 (daga ma'auni na 30) ya samo asali ne daga motsi na farko a cikin motsi na rakish.

Baya ga juzu'i ɗaya, akwai kuma F. akan 2, ƙasa da sau da yawa batutuwa 3 ko 4. Rarrabe F. akan da yawa. wadanda kuma F. hadaddun (na 2 - biyu, don 3 - sau uku); Bambancinsu shine hadaddun F. ya shafi hana haihuwa. hadewar batutuwa (duk ko wasu). F. akan jigogi da yawa a tarihi sun fito ne daga motet kuma suna wakiltar waɗannan F. da yawa akan batutuwa daban-daban (akwai 2 daga cikinsu a cikin org. prelude da F. a-moll Buxtehude). Irin wannan F. da aka samu tsakanin org. shirye-shiryen choral; 6-goal F. “Aus tiefer Not schrei'ich zu dir” na Bach (BWV 686) ya ƙunshi baje kolin da ke gaba da kowane stanza na chorale kuma an gina su akan kayansu; irin wannan F. ana kiransa strophic (wani lokaci ana amfani da kalmar Jamusanci Schichtenaufbau - gini a cikin yadudduka; duba misali a shafi na 989).

Don hadaddun F. bambance-bambance masu zurfi masu zurfi ba su da halaye; Jigogin sa sun rabu da juna kawai (na 2 yawanci ya fi wayar hannu kuma ba ya bambanta). Akwai F. tare da nunin haɗin gwiwa na jigogi (biyu: org. F. h-moll Bach akan jigo ta Corelli, BWV 579, F. Kyrie daga Mozart's Requiem, piano prelude da F. op. 29 Taneyev; sau uku: 3 Ƙirƙirar f-moll Bach, ƙaddamar da A-dur daga ƙarar 1st na "HTK"; na huɗu F. a cikin ƙarshen cantata "Bayan karanta Zabura" ta Taneyev) da fasaha mafi sauƙi F. tare da bayyani daban-daban (biyu). : F. gis-moll daga juzu'i na 2 na "HTK", F. e-moll da d-moll op. 87 na Shostakovich, P. a cikin A daga "Ludus tonalis" na Hindemith, sau uku: P. fis-moll daga juzu'i na 2 na "HTK", org. F. Es-dur, BWV 552, Contrapunctus XV daga The Art of the Fugue by Bach, No 3 daga cantata Bayan karanta Zabura ta Taneyev, F. a C daga Hindemith's Ludus tonalis ). Wasu F. suna da nau'i mai gauraye: a cikin F. cis-moll daga juzu'i na 1st na CTC, jigon 1st yana fuskantar fuska a cikin gabatar da batutuwa na 2 da na 3; a cikin 120th P. daga Bambancin Diabelli akan Jigo, op. 10 Beethoven an gabatar da jigogi biyu; a cikin F. daga ci gaba na 1th Symphony na Myaskovsky, an nuna jigogi na 2 da na 3 tare, da XNUMXrd daban.

JS Baci. Tsarin gaɓoɓin waƙar “Aus tiefer Not schrei' ich zu dir”, bayyani na 1st.

A cikin ɗaukar hoto mai rikitarwa, ana lura da ka'idodin tsarin baje kolin lokacin gabatar da jigo na 1st; fallasa da dai sauransu.

Wani iri-iri na musamman yana wakiltar F. don chorale. Thematically mai zaman kanta F. wani nau'i ne na asali na chorale, wanda daga lokaci zuwa lokaci (misali, a cikin tsaka-tsakin F.) ana yin shi a cikin manyan lokuta wanda ya bambanta da motsi na F.. Ana samun irin wannan nau'i a tsakanin org. . shirye-shiryen choral ta Bach ("Yesu, meine Freude", BWV 713); Babban misali shine ninki biyu P. zuwa chorale Confiteor No. 19 daga taro a cikin b-moll. Bayan Bach, wannan nau'i yana da wuya (misali, F. biyu daga Mendelssohn's Organ Sonata No. 3; F. na karshe na Taneyev's cantata John na Damascus); An aiwatar da ra'ayin hada da chorale a cikin ci gaban F. a cikin Prelude, Chorale da Fugue don piano. Frank, a cikin F. No 15 H-dur daga "24 Preludes da Fugues" don piano. G. Muschel.

F. ya tashi a matsayin nau'i na kayan aiki, da kayan aiki (tare da duk mahimmancin wok. F.) ya kasance babba. Sphere, wanda ya ci gaba a cikin lokaci mai zuwa. Matsayin F. kullum yana ƙaruwa: farawa daga J. B. Lully, ta shiga Faransanci. wuce, I. Ya Froberger ya yi amfani da gabatarwar fugue a cikin gigue (a cikin suite), Italiyanci. masters sun gabatar da F. в сонату daga coci и gross concert. A cikin rabi na 2. 17 a cikin. F. hade tare da prelude, passacaglia, ya shiga toccata (D. Buxtehude, G. Muffat); Ph.D. reshe instr. F. - org. shirye-shiryen choral. F. samu aikace-aikace a cikin talakawa, oratorios, cantatas. Pazl. abubuwan ci gaba F. ya samu classic. a cikin aikin I. C. Bach. Babban sautin murya. Zagayen Bach shine zagaye na kashi biyu na prelude-F., wanda ya riƙe mahimmancinsa har yau (wasu mawaƙa na ƙarni na 20, alal misali. Čiurlionis, wani lokacin F. share fage da yawa). Wani muhimmin al'ada, wanda kuma ya fito daga Bach, shine ƙungiyar F. (wani lokaci tare da preludes) a cikin manyan hawan keke (2 kundin "XTK", "The Art of the Fugue"); wannan tsari a cikin karni na 20. inganta P. Hin-demit, D. D. Shostakovich, R. TO. Shchedrin, G. A. Muschel da sauransu. F. An yi amfani da shi ta wata sabuwar hanya ta ƴan wasan gargajiya na Viennese: an yi amfani da shi azaman nau'i na Ph.D. daga sassan sonata-symphony. sake zagayowar, a cikin Beethoven - a matsayin ɗaya daga cikin bambance-bambance a cikin zagayowar ko a matsayin sashe na tsari, misali. sonata (yawanci fugato, ba F.). Nasarar lokacin Bach a fagen F. An yi amfani da shi sosai a cikin masanan ƙarni na 19th-20th. F. ana amfani da shi ba kawai a matsayin ɓangare na ƙarshe na sake zagayowar ba, amma a wasu lokuta ya maye gurbin sonata Allegro (misali, a cikin 2nd symphony na Saint-Saens); a cikin sake zagayowar "Prelude, chorale da fugue" don piano. Franka F. yana da shaci-fadi na sonata, kuma ana ɗaukar dukkan abubuwan da aka haɗa a matsayin babban sonata-fantasy. A cikin bambance-bambancen F. sau da yawa yakan mamaye matsayin na gama-gari (I. Brama, M. Reger). Fugato a cikin ci gaba c.-l. daga sassan siphony yana girma zuwa cikakken F. kuma sau da yawa ya zama tsakiyar tsari (ƙarshen Rachmaninoff's Symphony No. 3; Myaskovsky's Symphonies No. 10, 21); a cikin siffar F. za a iya cewa ga.-l. daga jigogi na (bangaren gefe a cikin motsi na 1st na Myaskovsky's quartet No. 13). A cikin kiɗa na ƙarni na 19th da 20th. tsarin alama na F. A cikin wani m hangen zaman gaba romantic. mai waƙa. thumbnail yana bayyana fp. Schumann's fugue (op. 72 No 1) da kuma burin 2 kawai. fugue by Chopin. Wani lokaci (farawa da Haydn's The Four Seasons, No. 19) F. hidima don nunawa. dalilai (hoton yakin a Macbeth ta Verdi; hanyar kogin a Symph. waƙar "Vltava" na Smetana; "The harbi episode" a cikin 2nd motsi na Shostakovich's Symphony No. 11); na F. romantic ya zo ta hanyar. alama - grotesque (ƙarshen wasan kwaikwayo na Berlioz's Fantastic Symphony), aljani (op. F. Ganye), m (symph. Strauss's "Haka Ta Ce Zarathustra" a wasu lokuta F. - mai ɗaukar hoton jarumtaka (gabatarwa daga opera "Ivan Susanin" na Glinka; symphony. waƙar "Prometheus" na Liszt); daga cikin mafi kyawun misalan fassarar barkwanci na F. hada da fagen fama daga karshen 2nd d. opera "Mastersing na Nuremberg" na Wagner, gungu na ƙarshe daga opera "Falstaff" na Verdi.

2) Kalmar, Crimea a 14 - farkon. Karni na 17 an sanya canon (a cikin ma'anar kalmar zamani), wato, ci gaba da kwaikwayi cikin muryoyi 2 ko fiye. "Fuga ita ce ainihin sassan abubuwan da ke tattare da su dangane da tsawon lokaci, suna, nau'i, da kuma dangane da sauti da kuma dakatarwa" (I. Tinktoris, 1475, a cikin littafin: Musical Aesthetics of the Western European Middle Ages and Renaissance). , shafi na 370). A tarihi F. rufe irin wannan canonical. nau'ikan kamar Italiyanci. caccia (caccia) da Faransanci. shas (chasse): Hoton da aka saba yi na farauta a cikin su yana hade da "bi" na muryar da aka kwaikwayi, wanda sunan F ya fito. A cikin bene na 2. 15 c. furucin Missa ad fugam ya taso, yana nuna yawan rubutaccen abu ta amfani da canonical. dabaru (d'Ortho, Josquin Despres, Palestrina).

J. Okegem. Fugue, farawa.

A cikin karni na 16 an bambanta F. tsananin (Latin legata) da kyauta (Latin sciolta); a cikin karni na 17 F. legata a hankali "narke" a cikin ma'anar canon, F. sciolta "fita" a cikin F. a zamani. hankali. Tun a cikin F. 14-15 ƙarni. muryoyin ba su bambanta a cikin zane ba, an rubuta waɗannan ƙa'idodin a kan layi ɗaya tare da zayyana hanyar yanke hukunci (duba game da wannan a cikin tarin: Tambayoyi na nau'in kiɗa, fitowar 2, M., 1972, shafi na 7). Fuga canonica a cikin Epidiapente (watau canonical P. a babba na biyar) ana samunsa a cikin Bakin Kiɗa na Bach; 2-maƙasudin canon tare da ƙarin murya shine F. a cikin B daga Ludus tonalis na Hindemith.

3) Fugue a karni na 17. – kalaman kida. siffa da ke kwaikwayi gudu tare da taimakon saurin saurin sautuka lokacin da ake rera kalmar da ta dace (duba Hoto).

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VP Frayonov