Taken zagayawa |
Juya batun batun – countermovement, inversion (Latin inversion, Italian moto contrario, rovescio, Riverso, rivoltato, Faransa reversement, Jamus mutu Umkehrung, mutu Gegenbewegung) - polyphonic. dabarar canza jigo, wanda ya ƙunshi kunna tazarar sa a gaba da wani sauti mara canzawa: motsin jigon sama a babban motsinsa (gaba) (lat. motus rectus) a cikin juzu'in motsi (lat. motus). contrarius) yayi daidai da matsawa ƙasa guda tazara (kuma akasin haka). Sautin da ba ya canzawa wanda aka saba da jigon a cikin manyan bambance-bambancen da aka juya baya ana kiransa axis na juyawa; a ka'ida, kowane mataki zai iya zama kamar shi. A cikin tsarin tonal babba-kananan, don adana aikin kamanceceniya na zaɓuɓɓuka biyu, digiri na uku yawanci yana aiki azaman axis na wurare dabam dabam; a cikin tsayayyen salo (ƙarni na 14-16) tare da diatonic ta halitta. frets juye sau da yawa ana yin kusan kashi na uku na raguwar triad, wanda ke tabbatar da matsayi ɗaya na sautunan tritone:
JS Baci. The Art na Fugue, Counterpoint XIII.
Palestine. Mass Canonical, Benedictus.
A cikin jigogi tare da chroma. O. motsi na t. ana aiwatar da shi ta hanyar da, idan zai yiwu, ana kiyaye ƙimar ƙimar tazara - wannan yana tabbatar da mafi girman kamanni a cikin ma'anar juyawa da motsi kai tsaye:
JS Baci. Clavier mai tsananin zafin rai, Volume 1, Fugue fis-moll.
Fasaha sauki da fasaha. Tasirin sabunta jigon ta hanyar zagayawa ya ƙayyade yawan amfani da wannan fasaha akai-akai, musamman a ayyukan monothematic. Akwai nau'ikan fugue iri-iri tare da amsa juzu'i (Gegen-Fuge Jamusanci - duba JS Bach, The Art of the Fugue, No 5, 6, 7) da canon tare da jujjuya rispost (WA Mozart, c-moll quintet, minti); Ana amfani da roko a cikin tsaka-tsakin fugue (Bach, The Well-Tempered Clavier, vol. 1, fugue a c-moll); jigo a wurare dabam dabam na iya ba da stretta tare da jigo a cikin motsi kai tsaye (Mozart, fugue a g-moll, K.-V. 401); wani lokacin su kan dace tare (Mozart, fugue c-moll, K.-V., 426). Sau da yawa manyan sassan abubuwan da aka tsara suna dogara ne akan O. t. (Bach, The Well-Tempered Clavier; vol. 1, fugue G-dur, counter-exposition; 2nd part of the gigue) har ma da dukan siffofin (Bach, The Art of Fugue, No 12, 13; RK Shchedrin, Polyphonic Notebook , Na 7, 9). Haɗin O.t. tare da sauran hanyoyin canji ya yadu musamman a cikin kiɗa na karni na 20. (P. Hindemith, “Ludus tonalis”, cf. prelude da postlude), musamman, an rubuta ta amfani da dabarar serial (JF Stravinsky, “Agon”, Simple branle). A matsayin hanyar bambanta da ci gaba, ana amfani da roko a cikin wadanda ba polyphonic ba. kiɗa (SS Prokofiev, "Juliet-yarinya" daga ballet "Romeo da Juliet"), sau da yawa a hade tare da jigo a cikin motsi kai tsaye (PI Tchaikovsky, 6th symphony, part 2, vol. 17- 24; SS Prokofiev, 4th sonata). , Sashe na 2, juzu'i na 25-28).
References: Zolotarev VA, Fuga. Jagora ga nazarin aiki, M., 1932, 1965, sashe na 13, Skrebkov SS, Binciken Polyphonic, M. - L., 1940, Sashe na 1, § 4; nasa, Littafin rubutu na polyphony, sassan 1-2, M. - L., 1951, M., 1965, § 11; Taneev SI, M., 1959, p. 7-14; Bogatyrev SS, Reversible counterpoint, M., 1960; Grigoriev SS, Muller TF, Littafin rubutu na polyphony, M., 1961, 1969, § 44; Dmitriev AN, Polyphony a matsayin factor na siffata, L., 1962, ch. 3; Yu. N. Tyulin, The Art of Counterpoint, M., 1964, ch. 3.
VP Frayonov
