Stretta |

Stretta, stretto

ital. stretta, stretto, daga stringere - don matsawa, ragewa, gajarta; Jamus Eng, gedrängt - taƙaitacce, a hankali, Engfuhrung - taƙaitaccen riko

1) Riƙe na'urar kwaikwayo (1) polyphonic. jigogi, wanda ke da alaƙa da gabatarwar murya ko muryoyin kwaikwayo kafin ƙarshen jigon a cikin muryar farko; a cikin ma'ana ta gaba ɗaya, gabatarwar kwaikwayo ta jigo tare da gajeriyar nisa ta gabatarwa fiye da ainihin kwaikwaiyo. Ana iya yin S. a cikin hanyar kwaikwayo mai sauƙi, inda jigon ya ƙunshi canje-canje a cikin karin waƙoƙi. zane ko ana aiwatar da shi ba cikakke ba (duba a, b a cikin misalin da ke ƙasa), da kuma cikin sigar canonical. kwaikwayo, canon (duba c, d a cikin misali guda). Siffar sifa ta fitowar S. ita ce taƙaitaccen nisa na shigarwa, wanda yake bayyane ga kunne, wanda ke ƙayyade ƙarfin kwaikwayo, hanzarin aiwatar da shimfidar polyphonic. kuri'u.

JS Baci. Prelude da Fugue a cikin ƙananan gabobin jiki, BWV 534.

PI Tchaikovsky. Suite No 1 don ƙungiyar makaɗa. Fugu.

P. Hindemith. Ludus tonalis. Fuga secunda in G.

IS Bax. Clavier Mai Haushi Mai Kyau, Juzu'i na 2. Fugue D-dur.

S. ya sabawa doka. na nufin kauri da daidaita sauti, liyafar jigo mai tasiri sosai. maida hankali; wannan yana ƙayyade wadatar ta na musamman - zai bayyana babban abu. ingancin C. Ana amfani dashi sosai a cikin decomp. siffofin polyphonic (kazalika a cikin sassan polyphonized na siffofin homophonic), da farko a cikin fugue, ricercare. A cikin fugue S., da farko, ɗaya daga cikin manyan. ƙunshi abubuwa "gini" tare da jigo, adawa, tsaka-tsaki. Na biyu, S. wata dabara ce da ke aiki don bayyana ainihin jigon a matsayin jagororin muses. tunani a cikin aiwatar da turawa kuma a lokaci guda alamar mahimman lokutan samarwa, watau, kasancewa tuƙi kuma a lokaci guda yana daidaita yanayin polyphonic. tsari (a matsayin haɗin kai na "zama" da "zama"). A fugue, S. na zaɓi ne. A cikin Bach's Well-Tempered Clavier (wanda aka rage shi a matsayin "HTK"), yana faruwa a kusan rabin fugues. S. ba ya nan a mafi yawan lokuta inda akwai halittu. Ana yin rawar ta hanyar tonal (misali, a cikin e-moll fugue daga ƙarar 1st na "HTK" - kawai alamar S. a cikin matakan 39-40), ko contrapuntal. ci gaba da za'ayi ban da S. (alal misali, a cikin c-moll fugue daga 1st girma, inda tsarin da aka samu mahadi da aka samu a interludes da conductions na theme tare da riƙe counterpositions). A cikin fugues, inda lokacin da ake ci gaba da tonal ci gaba, segue, idan akwai, yawanci yana samuwa a cikin sassan barga na tonal kuma ana haɗuwa da shi tare da koli, yana jaddada shi. Saboda haka, a cikin f-moll fugue daga 2nd girma (kashi uku tare da sonata dangantakar keys), S. sauti kawai a cikin ƙarshe. sassa; a cikin haɓakar ɓangaren fugue a cikin g-moll daga juzu'i na 1st (bar 17), S. ba shi da tabbas, yayin da 3-maƙasudi. S. (ma'auni na 28) ya samar da ƙarshen gaskiya; a cikin fugue kashi uku a cikin C-dur op. 87 No 1 ta Shostakovich tare da jituwa ta musamman. An gabatar da ci gaban S. a cikin ramako kawai: na 1st tare da madaidaicin matsayi na biyu yana riƙe, na 2 tare da ƙaura a kwance (duba madaidaicin Movable). Ci gaban tonal baya ware amfani da S., duk da haka, sabawa. yanayin S. yana ƙayyade mafi mahimmancin rawar da yake takawa a cikin waɗannan fugues wanda manufar mawaki ya ƙunshi hadaddun contrapuntal. ci gaban abu (misali, a fugues C-dur da dis-moll daga 1st girma na "HTK", c-moll, Cis-dur, D-dur daga 2nd girma). A cikin su, S. za a iya samuwa a kowane sashe na nau'i, ba tare da nunawa ba (E-dur fugue daga 1st girma, No 7 daga Bach's Art of Fugue - S. girma da kuma a wurare dabam dabam). Fugues, bayyanuwa zuwa-rykh ana yin su a cikin sigar S., ana kiran su stretta. Gabatarwa a cikin stretta fugue daga Bach's 2nd motet (BWV 226) suna tunawa da al'adar ƙwararrun mashawarta waɗanda suka yi amfani da irin wannan gabatarwar (misali, Kyrie daga babban taron Palestrina "Ut Re Mi Fa Sol La").

JS Baci. Motet.

Sau da yawa a cikin fugue da yawa S. suna samuwa, suna tasowa a cikin wasu. tsarin (fugues dis-moll da b-moll daga ƙarar 1st na "HTK"; fugue c-moll Mozart, K.-V. 426; fugue daga gabatarwar zuwa opera "Ivan Susanin" na Glinka). Ka'ida shine haɓakawa a hankali, rikicewar tafiyar da stretta. Misali, a cikin fugue a cikin b-moll daga juzu'i na 2 na "HTK", na 1st (bar 27) da 2nd (bar 33) S. an rubuta su akan jigo a cikin motsi kai tsaye, na 3rd (bar 67) da kuma 4- I (bar 73) - a cikin cikakken juzu'i mai jujjuyawa, 5th (bar 80) da 6th (bar 89) - a cikin madaidaicin juzu'i, na 7 na ƙarshe (bar 96) - a cikin rashin cikawa mai jujjuyawa tare da muryoyi biyu; S. na wannan fugue yana samun kamanceceniya tare da tarwatsa polyphonic. bambance-bambancen sake zagayowar (saboda haka ma'anar "nau'i na tsari na 2"). A cikin fugues da ke ɗauke da S. sama da ɗaya, abu ne na halitta don la'akari da waɗannan S. a matsayin mahaɗan asali da na asali (duba Haɗin kai). A wasu abubuwan samarwa. mafi hadaddun S. shine a haƙiƙanin haɗin gwiwa na asali, sauran S. sune, kamar yadda suke, ƙayyadaddun abubuwan da aka sauƙaƙe, "haɓaka" daga asali. Alal misali, a cikin fugue C-dur daga 1st girma na "HTK", asali ne 4-manufa. S. a cikin sanduna 16-19 (yankin sashe na zinari), abubuwan da aka samo asali - 2-, 3-manufa. S. (duba sanduna 7, 10, 14, 19, 21, 24) tare da juzu'i na tsaye da a kwance; ana iya ɗauka cewa mawallafin ya fara tsara wannan fugue daidai da ƙirar fugue mafi rikitarwa. Matsayin fugue, ayyukansa a cikin fugue sun bambanta kuma ainihin duniya; ban da lamuran da aka ambata, wanda zai iya nuna S., wanda gaba ɗaya ƙayyade nau'i (fugue kashi biyu a cikin c-moll daga 2nd girma, inda a cikin m, kusan 3-kai. 1st part na S). tare da rinjaye na viscous hudu sassa, ya ƙunshi gaba ɗaya S.), da kuma a cikin S., yin aikin ci gaba (fugue daga Tchaikovsky's 2st orchestral suite) da kuma aiki predicate (Kyrie a Mozart's Requiem, sanduna 14- 1). Muryoyi a cikin S. na iya shiga cikin kowane tazara (duba misalin da ke ƙasa), duk da haka, ma'auni masu sauƙi - shigarwa cikin octave, na biyar da na huɗu - sun fi yawa, tun da a cikin waɗannan lokuta ana kiyaye sautin jigon.

Idan Stravinsky. Concerto don piano biyu, motsi na 4.

Ayyukan S. ya dogara da yanayi da yawa - akan taki, mai ƙarfi. matakin, adadin gabatarwa, amma zuwa mafi girma - daga contrapuntal. da sarkakiyar S. da nisan shigar muryoyin (ƙaramin shi, mafi inganci S., duk sauran abubuwa daidai suke). Canon mai kai biyu akan jigo a cikin motsi kai tsaye - mafi yawan nau'in C. A cikin maƙasudin 3. S. Muryar ta 3 sau da yawa tana shiga bayan ƙarshen jigon a cikin muryar farko, kuma irin wannan S. an kafa su azaman jerin canons:

JS Baci. Clavier Mai Haushi Mai Kyau, Juzu'i na 1. Fugue F-dur.

S. su ne kaɗan kaɗan, waɗanda ake aiwatar da jigon gaba ɗaya a cikin dukkan muryoyin a cikin nau'in canon (risposta na ƙarshe yana shiga har zuwa ƙarshen proposta); S. irin wannan ana kiransa main (stretto maestrale), wato, da ƙware (misali, a fugues C-dur da b-moll daga juzu'i na 1st, D-dur daga juzu'i na 2 na "HTK"). Mawaƙa suna son amfani da S. tare da decomp. polyphonic canje-canje. Batutuwa; Ana amfani da juzu'i sau da yawa (misali, fugues a cikin d-moll daga ƙarar 1st, Cis-dur daga ƙarar 2nd; juzu'i a cikin S. yana da kama da fugues na WA Mozart, misali, g-moll, K .-V. 401, c-moll, K.-V. 426) da karuwa, lokaci-lokaci raguwa (E-dur fugue daga ƙarar 2nd na "HTK"), kuma sau da yawa ana haɗuwa da yawa. hanyoyin canzawa (fugue c-moll daga girma na 2, sanduna 14-15 - a cikin motsi kai tsaye, a wurare dabam dabam da haɓaka; dis-moll daga ƙarar 1st, a cikin sanduna 77-83 - wani nau'in stretto maestrale: a cikin motsi kai tsaye. , a cikin karuwa kuma tare da canji a cikin rhythmic rabo). An cika sautin S. tare da maki (misali, C-dur fugue daga ƙarar 1st a cikin matakan 7-8); wani lokaci ana kiyaye ƙarar ko gutsuttsinta a cikin S. (bar 28 a cikin g-moll fugue daga juzu'i na 1st). S. suna da nauyi musamman, inda ake yin koyi da jigo da ɗimbin adawa ko jigogi na fugue mai rikitarwa lokaci guda (bar 94 da ƙari a cikin cis-moll fugue daga ƙarar 1st na CTC; reprise - lamba 35 - fugue daga quintet op. 57 na Shostakovich). A cikin S. da aka ambata, zai ƙara kan batutuwa biyu. kuri'un da aka tsallake (duba Kol. 325).

A. Berg. "Wozzek", mataki na 3, hoto na farko (fugue).

A matsayin wata bayyananniyar yanayin gabaɗaya a cikin haɓaka sabon polyphony, akwai ƙarin rikitarwa na fasaha na stretto (ciki har da haɗar madaidaicin juzu'i da madaidaicin madaidaicin sau biyu). Misalai masu ban sha'awa sune S. a cikin fugue sau uku na 3 daga cantata "Bayan karanta Zabura" na Taneyev, a cikin fugue daga suite "The Tomb of Couperin" na Ravel, a cikin fugue biyu a A (sanduna 58-68). ) daga zagayen Ludus tonalis na Hindemith, a cikin fugue biyu e-moll op. 87 No 4 ta Shostakovich (tsarin reprise S. tare da canon biyu a ma'auni 111), a cikin fugue daga concerto don 2 fp. Stravinsky. A cikin samarwa Shostakovich S., a matsayin mai mulkin, an mayar da hankali a cikin reprises, wanda ya bambanta mawallafin wasan kwaikwayo. rawar. Ƙwararren fasaha na fasaha ya kai S. a cikin samfurori dangane da fasaha na serial. Misali, reprise S. fugue daga karshen wasan kade-kade na K. Karaev na 3 ya ƙunshi jigo a cikin motsin raki; waƙar da aka fi sani a cikin Gabatarwa daga Waƙar Jana'izar Lutosławski kwaikwayo ce ta muryoyi goma da goma sha ɗaya tare da haɓakawa da juyawa; ra'ayin polyphonic stretta yana kawo ƙarshen ma'ana a yawancin abubuwan zamani na zamani, lokacin da muryoyin da ke shigowa suna "matsi" a cikin wani taro mai mahimmanci (misali, sautin murya huɗu mara iyaka na nau'in 2nd a farkon farkon Kashi na 3 na K. Khachaturian's string quartet).

Gaba ɗaya karɓuwa na S. babu shi. S., wanda kawai farkon batun ko jigon da ake amfani da shi. Canje-canje na waƙa wani lokaci ana kiransa rashin cikawa ko bangaranci. Tunda tushen asali na S. sune canonical. siffofin, domin aikace-aikacen sifa na S. na osn ya dace. ma'anar waɗannan siffofin. S. akan batutuwa guda biyu ana iya kiran su biyu; zuwa nau'in nau'i na "na ban mamaki" (bisa ga ka'idodin SI Taneev) sune S., dabarar da ta wuce iyakar abubuwan da suka faru na counterpoint ta wayar hannu, watau S., inda ake amfani da karuwa, raguwa, raked motsi; ta hanyar kwatanci tare da canons, S. yana bambanta a cikin motsi kai tsaye, a wurare dabam dabam, haɗuwa, 1st da 2nd Categories, da dai sauransu.

A cikin nau'i na homophonic, akwai gine-gine na polyphonic, waɗanda ba S. ba a cikin cikakkiyar ma'ana (saboda mahallin chordal, asali daga lokacin homophonic, matsayi a cikin nau'i, da dai sauransu), amma a cikin sauti suna kama da shi; misalan irin wannan gabatarwar stretta ko gine-gine irin na stretta na iya zama babba. Taken motsi na 2 na wasan kwaikwayo na 1st, farkon motsi na uku na motsi na 3 na wasan kwaikwayo na 5 na Beethoven, guntun minuet daga wasan kwaikwayo na C-dur ("Jupiter") na Mozart (bar 44 a gaba), fugato in ci gaban motsi na 1st (duba lamba 19) na Shostakovich's 5th symphony. A cikin homophonic da gauraye homophonic-polyphonic. yana samar da wani kwatanci na S. suna da rikitarwa masu rikitarwa. gine-gine (canon a cikin reprise na Gorislava's cavatina daga opera Ruslan da Lyudmila ta Glinka) da kuma hadaddun haduwar jigogi waɗanda a baya sauti daban (farkon reprise na overture daga opera The Mastersingers na Nuremberg ta Wagner, ya ƙare wani ɓangare na Coda a cikin wurin ciniki daga yanayin 4th na wasan opera - almara "Sadko" na Rimsky-Korsakov, coda na wasan kwaikwayo na Taneyev a cikin c-moll).

2) Saurin saurin motsi, karuwa a cikin saurin Ch. arr. a ƙarshe. sashe na manyan kiɗa. samfur. (a cikin rubutun kiɗan ana nuna piъ stretto; wani lokaci kawai ana nuna canjin lokaci: piъ mosso, prestissimo, da sauransu). S. - mai sauƙi kuma a cikin fasaha. dangantaka kayan aiki ne mai matukar tasiri da ake amfani da shi don ƙirƙirar kuzari. ƙarewar samfurori, sau da yawa tare da kunna rhythmic. fara. Da farko dai, sun zama tartsatsi kuma sun zama nau'in nau'in nau'i na kusan wajibi a cikin Italiyanci. opera (mafi wuya a cikin cantata, oratorio) na lokacin G. Paisiello da D. Cimarosa a matsayin sashe na ƙarshe na ƙungiyar (ko tare da halartar ƙungiyar mawaƙa) ƙarshe (misali, gungu na ƙarshe bayan Paolino's aria a Cimarosa's Sirrin Aure). Misalai na musamman na WA Mozart ne (misali, prestissimo a wasan karshe na wasan opera na biyu Le nozze di Figaro a matsayin wasan karshe a cikin ci gaban yanayin wasan barkwanci; a karshen wasan opera na farko na Don Giovanni, piъ stretto yana haɓaka ta hanyar kwaikwayon stretta). S. a karshe kuma shine na hali ga samfurin. ital. mawaƙa na ƙarni na 2 - G. Rossini, B. Bellini, G. Verdi (misali, piъ mosso a ƙarshen wasan opera na 1 na "Aida"; a cikin sashe na musamman, mawaƙin ya ware C. a cikin gabatarwar opera "La Traviata"). Har ila yau, ana amfani da S. sau da yawa a cikin aria da duets (misali, accelerando a cikin shahararren Basilio game da zarge-zarge daga opera The Barber of Seville ta Rossini), da kuma lyrically m (misali, vivacissimo a cikin duet na Gilda da kuma Duke a cikin wasan opera na 19nd "Rigoletto" na Verdi) ko wasan kwaikwayo. hali (misali, a cikin duet na Amneris da Radames daga aikin 2th na opera Aida na Verdi). Ƙaramar aria ko duet na halayen waƙa tare da maimaita-ɗaɗar melodic-rhythmic. juya, inda ake amfani da S., ana kiransa cabaletta. S. azaman hanyar magana ta musamman an yi amfani da ita ba kawai ta Italiyanci ba. mawaƙa, amma kuma ƙwararrun wasu ƙasashen Turai. Musamman, S. in Op. MI Glinka (duba, misali, prestissimo da piъ stretto a cikin Gabatarwa, piъ mosso a cikin rondo na Farlaf daga opera Ruslan da Lyudmila).

Kadan sau da yawa S. kiran hanzari a ƙarshe. ciki samfurin da aka rubuta a cikin sauri. Ana samun cikakkun misalai a cikin Op. L. Beethoven (misali, presto mai rikitarwa ta canon a cikin coda na ƙarshen wasan kwaikwayo na 5th, "multi-stage" S. a cikin coda na ƙarshen wasan kwaikwayo na 9th), fp. waƙa ta R. Schumann (misali, jawabin schneller, noch schneller kafin coda da kuma cikin coda na kashi na 1 na piano sonata g-moll op. 22 ko prestissimo da immer schneller und schneller a ƙarshen sonata iri ɗaya; in sassa na 1 da na ƙarshe na Carnival, gabatarwar sabbin jigogi yana tare da haɓaka motsi har zuwa ƙarshen piъ stretto), Op. P. Liszt (waƙar symphonic "Hungary"), da dai sauransu. Ra'ayin da aka yada cewa a zamanin bayan G. Verdi S. ya ɓace daga aikin mawaki ba gaskiya bane; in music con. Karni na 19 kuma a cikin samarwa na karni na 20 ana amfani da Shafukan da suka bambanta sosai; Duk da haka, ana gyare-gyaren dabarar sosai har mawaƙa, yin amfani da ƙa'idar S., sun kusan daina amfani da kalmar kanta. Daga cikin misalan da yawa za a iya nuna su zuwa wasan karshe na 1st da 2nd sassa na opera "Oresteia" Taneyev, inda mawaƙin ya fito fili ya jagoranci ta hanyar gargajiya. al'ada. Kyakkyawan misali na amfani da S. a cikin kiɗa yana da zurfin tunani. shirin - wurin Inol da Golo (ƙarshen aikin 3rd) a cikin opera Pelleas et Mélisande ta Debussy; kalmar "S." yana faruwa a cikin makin Berg's Wozzeck (aikin na biyu, interlude, lamba 2). A cikin kiɗa na karni na 160 S., ta al'ada, sau da yawa ya zama hanya don isar da ban dariya. yanayi (misali A'a 20 "A cikin taberna guando sumus" ("Lokacin da muke zaune a gidan abinci") daga Orff's "Carmina burana", inda hanzari, haɗe tare da crescendo maras ƙarfi, yana haifar da tasiri wanda ya kusan mamaye shi. Tare da farin ciki irony, yana amfani da classic. liyafar SS Prokofiev a cikin monologue na Chelia daga farkon wasan kwaikwayo na 14 na opera "Ƙauna ga Lemu Uku" (a kan kalma ɗaya "Farfarello"), a cikin "Shampagne Scene" na Don Jerome da Mendoza (ƙarshen aikin na biyu). opera "Betrothal a cikin gidan sufi"). A matsayin takamaiman bayyanar salon neoclassical yakamata a yi la'akari da quasi stretto (auna 2) a cikin ballet "Agon", Anne's cabaletta a ƙarshen aikin 2st na opera "Ci gaban Rake" na Stravinsky.

3) Kwaikwayo a cikin raguwa (Italiya: Imitazione alla stretta); ba a yawan amfani da kalmar ta wannan ma'ana.

References: Zolotarev VA Fugue. Jagora ga nazarin aiki, M., 1932, 1965; Skrebkov SS, Binciken Polyphonic, M.-L., 1940; nasa, Littafin Rubutu na polyphony, M.-L., 1951, M., 1965; Mazel LA, Tsarin ayyukan kiɗa, M., 1960; Dmitriev AN, Polyphony a matsayin factor na siffa, L., 1962; Protopopov VV, Tarihin polyphony a cikin mafi mahimmancin abubuwan mamaki. Rasha gargajiya da kuma Soviet music, M., 1962; nasa, Tarihin polyphony a cikin mafi mahimmancin al'amuransa. Al'adun Yammacin Turai na ƙarni na 18-19, M., 1965; Dolzhansky AN, 24 preludes da fugues na D. Shostakovich, L., 1963, 1970; Yuzhak K., Wasu siffofi na tsarin fugue ta JS Bach, M., 1965; Chugaev AG, Features na tsarin Bach's clavier fugues, M., 1975; Richter E., Lehrbuch der Fuge, Lpz., 1859, 1921 (Fassarar Rashanci - Richter E., Fugue Textbook, St. Petersburg, 1873); Buss1er L., Kontrapunkt und Fuge im freien Tonsatz…, V., 1878, 1912 (Fassarar Rasha – Bussler L., Tsananin salo. Littafin rubutu na counterpoint da fugue, M., 1885); Prout E., Fugue, L., 1891 (Fassarar Rashanci - Prout E., Fugue, M., 1922); duba kuma kunna. ku Art. Polyphony.

VP Frayonov