Bambance-bambance |

daga lat. bambancin - canji, iri-iri

Wani nau'i na kiɗa wanda aka gabatar da jigo (wani lokaci biyu ko fiye da jigogi) akai-akai tare da canje-canje a cikin rubutu, yanayin, sautin murya, jituwa, rabo na muryoyin contrapuntal, timbre (kayan aiki), da dai sauransu A cikin kowane V., ba kawai kashi ɗaya ba. (misali, ., rubutu, jituwa, da sauransu), amma har da adadin abubuwan da ke cikin tara Bayan daya bayan daya, V. suna samar da wani nau'i mai ban sha'awa, amma a cikin nau'i mai girma ana iya haɗa su tare da c.-l. sauran jigogi. abu, sai abin da ake kira. tarwatsa bambancin sake zagayowar. A cikin duka biyun, haɗin kai na sake zagayowar yana ƙaddara ta hanyar gama-gari na jigogi da suka taso daga fasaha guda ɗaya. zane, da kuma cikakken layin muses. haɓakawa, yana ba da umarnin amfani a cikin kowane V. na wasu hanyoyin bambance-bambancen da samar da ma'ana. haɗin gwiwa duka. V. na iya zama samfur mai zaman kansa. (Tema con variazioni - jigo tare da V.), da kuma wani ɓangare na kowane babban instr. ko wok. siffofin (operas, oratorios, cantatas).

Siffar V. tana da nar. asali. Asalin sa yana komawa ga samfuran waƙar jama'a da instr. kiɗa, inda waƙar ta canza tare da maimaitawa biyu. Musamman dacewa ga samuwar V. chorus. waƙa, wanda a ciki, tare da ainihi ko kamance na babba. waƙoƙin waƙa, akwai canje-canje akai-akai a cikin sauran muryoyin rubutun mawaƙa. Irin waɗannan nau'ikan bambance-bambancen halayen halayen polygols ne. al'adu - Rashanci, kaya, da dai sauransu. etc. A fannin nar. ciki bambancin kiɗan ya bayyana kansa a cikin rukunoni guda biyu. raye-raye, wanda daga baya ya zama tushen raye-raye. suites. Ko da yake bambancin Nar. music sau da yawa tasowa improvisationally, wannan ba ya tsoma baki tare da samuwar bambancin. hawan keke.

A cikin prof. Bambancin al'adun kiɗa na Yammacin Turai. dabarar ta fara yin tasiri a tsakanin mawakan da suka yi rubuce-rubucen da ba su dace ba. m salo. Cantus firmus yana tare da polyphonic. muryoyin da suka ari kalmominsa, amma sun gabatar da su a cikin nau'i daban-daban - a cikin raguwa, karuwa, juyowa, tare da canza sautin rhythmic. zane, da sauransu. Matsayin shiri kuma yana cikin nau'ikan nau'ikan nau'ikan nau'ikan lute da kiɗan clavier. Jigo mai V. a zamani. Fahimtar wannan nau'i ya tashi, a fili, a cikin karni na 16, lokacin da passacaglia da chaconnes suka bayyana, suna wakiltar V. akan bass maras canzawa (duba Basso ostinato). J. Frescobaldi, G. Purcell, A. Vivaldi, JS Bach, GF Handel, F. Couperin da sauran mawaƙa na ƙarni na 17-18. yadu amfani da wannan tsari. A lokaci guda kuma, an haɓaka jigogi na kiɗa akan jigogin waƙoƙin da aka aro daga shahararrun kiɗan (V. akan jigon waƙar "Bututun Direba" na W. Byrd) ko marubucin V. (JS Bach, Aria daga 30th karni). Wannan jinsin V. ya yadu a bene na 2. 18th da 19th ƙarni a cikin aikin J. Haydn, WA ​​Mozart, L. Beethoven, F. Schubert da kuma daga baya composers. Sun ƙirƙira samfuran masu zaman kansu daban-daban. a cikin nau'i na V., sau da yawa akan jigogi aro, kuma an gabatar da V. a cikin sonata-symphony. zagayawa a matsayin ɗaya daga cikin sassan (a irin waɗannan lokuta, mawaƙin ya kasance ya tsara jigon da kansa). Musamman halayyar ita ce amfani da V. a cikin wasan karshe don kammala hawan keke. siffofin (Haydn's symphony No. 31, Mozart's quartet in d-moll, K.-V. 421, Beethoven's symphonies No. 3 da No. 9, Brahms' No. 4). A cikin wasan kide-kide 18 da 1st bene. 19th ƙarni V. kullum aiki a matsayin wani nau'i na improvisation: WA ​​Mozart, L. Beethoven, N. Paganini, F. Liszt da yawa wasu. wasu fitattu sun inganta V. akan zaɓaɓɓen jigo.

Mafarin bambance-bambance. hawan keke a Rasha prof. ana samun kida ne a cikin manufa dayawa. shirye-shirye na waƙoƙin znamenny da sauran waƙoƙin waƙa, wanda jituwa ya bambanta tare da maimaita maimaitawar waƙa (ƙarshen 17th - farkon ƙarni na 18). Waɗannan nau'ikan sun bar alamarsu akan samarwa. partes style da mawaka. kide kide bene na 2. karni na 18 (MS Berezovsky). A cikin con. 18- bara. Ƙarni na 19 da yawa V. an halicce su a kan batutuwa na Rasha. waƙoƙi - don pianoforte, don violin (IE Khandoshkin), da sauransu.

A cikin ayyukan marigayi L. Beethoven da kuma lokutan da suka biyo baya, an gano sababbin hanyoyi a cikin ci gaban bambancin. hawan keke. A Yammacin Turai. V. kiɗa ya fara fassarawa da yardar kaina fiye da baya, dogaro da su kan jigon ya ragu, nau'ikan nau'ikan sun bayyana a cikin V., bambance-bambancen. ana kwatanta zagayowar da suite. A cikin kiɗa na gargajiya na Rasha, da farko a cikin wok., Daga baya kuma a cikin kayan aiki, MI Glinka da mabiyansa sun kafa wani nau'i na musamman. sake zagayowar, wanda a cikinsa waƙar jigon ya kasance ba canzawa, yayin da sauran sassan suka bambanta. An samo samfuran irin wannan bambancin a Yamma ta hanyar J. Haydn da sauransu.

Dangane da rabon tsarin jigon da V., akwai asali guda biyu. nau'in bambancin. cycles: na farko, wanda topic da V. suna da tsari iri ɗaya, na biyu kuma, inda tsarin maudu'in da V. ya bambanta. Nau'in farko ya kamata ya haɗa da V. akan Basso ostinato, classic. V. (wani lokaci ana kiransa tsattsauran ra'ayi) akan jigogi na waƙa da V. tare da waƙar da ba ta canzawa. A cikin tsauraran V., ban da tsari, mita da jituwa yawanci ana kiyaye su. shirin jigo, don haka ana iya gane shi cikin sauƙin koda tare da mafi tsananin bambancin. A cikin vari. A cikin hawan keke na nau'in na biyu (abin da ake kira kyauta V.), haɗin V. tare da jigon a bayyane yana raunana yayin da suke bayyana. Kowace V. sau da yawa yana da nasa mita da jituwa. shirya kuma ya bayyana fasalin k.-l. sabon nau'in, wanda ke shafar yanayin jigogi da muses. ci gaba; an kiyaye gama gari tare da jigon godiya ga innation. hadin kai.

Har ila yau, akwai sabani daga waɗannan tushe. alamun bambancin. siffofin. Don haka, a cikin V. na nau'in farko, tsarin wani lokaci yana canzawa idan aka kwatanta da jigon, ko da yake ta fuskar rubutu ba sa wuce iyakokin wannan nau'in; cikin vari. A cikin hawan keke na nau'in na biyu, tsarin, mita, da jituwa wani lokaci ana kiyaye su a cikin V. na farko na sake zagayowar kuma suna canzawa kawai a cikin na gaba. Dangane da bambancin haɗin kai. iri da nau'ikan bambancin. hawan keke, an kafa nau'in wasu samfurori. sabon lokaci (piano sonata na ƙarshe No 2 ta Shostakovich).

Bambance-bambancen Rubutu. zagayowar nau'in farko an ƙaddara ta hanyar haɗin kai na abun ciki na alama: V. bayyana zane-zane. yuwuwar jigon da abubuwan da ke bayyana su, a sakamakon haka, yana tasowa, mai yawa, amma tare da yanayin muses. hoto. Ci gaban V. a cikin sake zagayowar a wasu lokuta yana ba da hanzari a hankali na rhythmic. ƙungiyoyi (Handel's Passacaglia a g-moll, Andante daga Beethoven's sonata op. 57), a wasu - sabuntawa na polygonal yadudduka (Bach's aria tare da 30 bambance-bambancen karatu, jinkirin motsi daga Haydn's quartet op. 76 No 3) ko tsarin ci gaba na ci gaba. da intonations na theme, da farko da yardar kaina motsi, sa'an nan kuma taru tare (1st motsi na Beethoven's sonata op. 26). Ƙarshen yana da alaƙa da dogon al'adar kammala bambance-bambancen. sake zagayowar ta hanyar riƙe jigon (da capo). Beethoven yakan yi amfani da wannan fasaha, yana kawo nau'in ɗayan bambance-bambancen ƙarshe (32 V. c-moll) kusa da jigon ko maido da jigon a ƙarshe. sassa na sake zagayowar (V. akan jigon tafiya daga "Ruins of Athens"). Ƙarshe (na ƙarshe) V. yawanci ya fi faɗi a cikin tsari kuma yana sauri cikin ɗan lokaci fiye da jigon, kuma yana yin aikin coda, wanda ya zama dole musamman cikin zaman kansa. ayyukan da aka rubuta a cikin nau'i na V. Don bambanci, Mozart ya gabatar da V. daya kafin wasan karshe a cikin lokaci da hali na Adagio, wanda ya ba da gudummawa ga mafi kyawun zaɓi na sauri na karshe V. Gabatar da yanayin da ya bambanta V. ko rukuni V. a tsakiyar zagayowar yana samar da tsari na uku. Magajin da ke fitowa: ƙarami - babba - ƙarami (32 V. Beethoven, ƙarshen wasan kwaikwayo na Brahms No. 4) ko babba - ƙarami - manyan (sonata A-dur Mozart, K.-V. 331) yana wadatar da abun ciki na bambancin. sake zagayowar kuma yana kawo jituwa ga sifar sa. A wasu bambancin. sake zagayowar, an gabatar da bambanci na modal sau 2-3 (bambance-bambancen Beethoven akan jigo daga ballet "Yarinyar daji"). A cikin zagayowar Mozart, tsarin V. yana wadatar da bambance-bambancen rubutu, an gabatar da shi inda jigon ba shi da su (V. a cikin piano sonata A-dur, K.-V. 331, a cikin serenade don ƙungiyar makaɗa B-dur, K.-V. 361). Wani nau'i na "tsari na biyu" na nau'i yana ɗaukar siffar, wanda yake da mahimmanci ga bambancin launin launi da faɗin ci gaban bambance-bambancen gaba ɗaya. A wasu abubuwan samarwa. Mozart ya haɗu da V. tare da ci gaba da jituwa. sauye-sauye (attaca), ba tare da karkata daga tsarin batun ba. A sakamakon haka, an samar da nau'i mai ban sha'awa mai ban sha'awa a cikin sake zagayowar, ciki har da B.-Adagio da karshe mafi yawan lokuta a ƙarshen zagayowar ("Je suis Lindor", "Salve tu, Domine", K. -V. 354, 398, da dai sauransu). Gabatarwar Adagio da saurin ƙarewa yana nuna alaƙa tare da hawan keke na sonata, tasirin su akan hawan keke na V.

Tonality na V. a cikin na gargajiya. kiɗa na ƙarni na 18th da 19th. mafi sau da yawa ana kiyaye ɗaya kamar yadda yake a cikin jigon, kuma an gabatar da bambancin modal bisa tushen tonic na kowa, amma riga F. Schubert a cikin manyan bambance-bambance. hawan keke ya fara amfani da tonality na VI low mataki na V., nan da nan ya bi ƙananan, kuma ta haka ya wuce iyakar tonic ɗaya (Andante daga Trout quintet). A cikin marubuta na gaba, bambancin tonal a cikin bambance-bambance. ana haɓaka hawan keke (Brahms, V. da fugue op. 24 akan jigon Handel) ko, akasin haka, raunana; a cikin na biyu hali, dũkiya na jituwa aiki a matsayin diyya. da bambancin timbre ("Bolero" na Ravel).

Wok. V. tare da wannan waƙar a cikin Rashanci. mawaƙa kuma sun haɗa haske. rubutun da ke gabatar da labari guda ɗaya. A cikin ci gaban irin wannan V., hotuna wani lokaci suna tasowa. lokaci daidai da abun ciki na rubutu (Persian mawaƙa daga opera "Ruslan da Lyudmila", Varlaam ta song daga opera "Boris Godunov"). Bambance-bambance masu buɗewa kuma suna yiwuwa a cikin opera. zagayowar zagayowar, idan irin wannan nau'i ya kasance ne ta hannun marubucin wasan kwaikwayo. halin da ake ciki ( scene a cikin bukka "Don haka, na rayu" daga opera "Ivan Susanin", mawaƙa "Oh, matsala na zuwa, mutane" daga wasan opera "The Legend of the Invisible City of Kitezh").

Ku vari. nau'in nau'in 1st suna kusa da V.-biyu, wanda ke biye da jigon kuma yana iyakance ga ɗaya daga cikin bambance-bambancen gabatarwa (da wuya biyu). Bambance-bambance. ba su yin zagayowar, domin ba su da cikar; ɗaukar zai iya zuwa ɗaukar II, da sauransu. A cikin instr. kiɗa na karni na 18 V.-biyu yawanci ana haɗawa a cikin ɗakin, yana bambanta ɗaya ko da yawa. rawa (partita h-moll Bach don violin solo), wok. A cikin kiɗa, suna tasowa lokacin da aka maimaita ma'aurata (Triquet's couplets daga opera "Eugene Onegin"). V.-biyu za a iya la'akari da gine-ginen da ke kusa da su biyu, wanda aka haɗa ta hanyar tsarin jigo na kowa. abu (orc. Gabatarwa daga hoton II na gabatarwar a cikin opera "Boris Godunov", No1 daga "Fleeting" na Prokofiev).

Bambance-bambancen Rubutu. hawan keke na nau'in na biyu ("free V.") sun fi wahala. Asalin su ya samo asali ne tun a karni na 2, lokacin da aka samar da suite na tauhidi; a wasu lokuta, raye-rayen sun kasance V. (I. Ya. Froberger, “Auf die Mayerin”). Bach in partitas - V. akan jigogi na mawaƙa - ya yi amfani da gabatarwar kyauta, yana ɗaure maɗaukakin waƙar waƙar tare da interludes, wani lokacin kuma yana da faɗi sosai, kuma ta haka ya bambanta daga tsarin asali na choral ("Sei gegrüsset, Jesu gütig", "Allein". Gott in der Höhe sei Ehr”, BWV 17, 768 da dai sauransu). A cikin V. na nau'in 771nd, tun daga ƙarni na 2th da 19th, modal-tonal, genre, tempo, da ma'auni suna haɓaka sosai. ya bambanta: kusan kowane V. yana wakiltar wani sabon abu a wannan yanayin. Haɗin kai na sake zagayowar yana goyan bayan yin amfani da ɗigon taken taken. Daga waɗannan, V. yana haɓaka jigogi na kansa, waɗanda ke da takamaiman 'yancin kai da ikon haɓakawa. Saboda haka da amfani a cikin V. na wani reprise biyu-, uku-sashe, da kuma fadi nau'i, ko da take taken ba shi da shi (V. op. 20 Glazunov for piano). A cikin ƙaddamar da nau'i, jinkirin V. yana taka muhimmiyar rawa a cikin hali na Adagio, Andante, nocturne, wanda yawanci a cikin bene na 72nd. sake zagayowar, da kuma na karshe, ja tare da dama intonations. abu na dukan sake zagayowar. Sau da yawa V. na ƙarshe yana da kyakkyawan hali na ƙarshe (Schumann's Symphonic Etudes, ɓangare na ƙarshe na 2rd suite for orchestra da V. akan jigon rococo na Tchaikovsky); idan an sanya V. a ƙarshen sonata-syphony. sake zagayowar, yana yiwuwa a haɗa su a kwance ko a tsaye tare da jigogi. kayan aiki na baya (Tchaikovsky's trio "A Memory of the Great Artist", Taneyev's quartet No. 3). Wasu bambancin. hawan keke a cikin wasan karshe suna da fugue (symphonic V. op. 3 na Dvořák) ko kuma sun haɗa da fugue a ɗaya daga cikin pre-final V. (78 V. op. 33 ta Beethoven, kashi na biyu na Tchaikovsky uku).

Wani lokaci ana rubuta V. akan batutuwa biyu, ba kasafai akan uku ba. A cikin sake zagayowar duhu biyu, V. ɗaya don kowane jigo lokaci-lokaci yana canzawa (Andante tare da Haydn's V. a cikin f-moll don piano, Adagio daga Symphony na Beethoven No 9) ko da yawa V. (hannun sashi na Beethoven's trio op. 70 No 2) ). Form na ƙarshe ya dace don bambancin kyauta. abubuwan da aka tsara akan jigogi guda biyu, inda V. aka haɗa ta hanyar haɗa sassa (Andante daga Beethoven's Symphony No. 5). A cikin ƙarshen Beethoven's Symphony No. 9, wanda aka rubuta da vari. form, ch. wurin yana cikin jigon farko ("jigon farin ciki"), wanda ke karɓar bambance-bambance mai yawa. ci gaba, ciki har da bambancin tonal da fugato; jigo na biyu ya bayyana a tsakiyar ɓangaren ƙarshe a cikin zaɓuɓɓuka da yawa; a cikin gabaɗayan fugue reprise, jigogi suna da sabani. Abun da ke ciki na duka wasan ƙarshe yana da kyauta sosai.

A al'adun gargajiya na Rasha V. akan batutuwa biyu suna da alaƙa da hadisai. Siffar V. zuwa waƙar da ba ta canzawa: kowane jigogi na iya bambanta, amma abun da ke ciki gabaɗaya ya zama kyauta saboda jujjuyawar tonal, haɗin gine-gine da ƙima na jigogi (“Kamarinskaya” na Glinka, “ A tsakiyar Asiya" ta Borodin, bikin aure daga opera "The Snow Maiden"). Ko da mafi free shi ne abun da ke ciki a cikin rare misalai na V. on uku jigogi: da sauƙi na canje-canje da plexus na thematicism shi ne ba makawa yanayin ( scene a cikin tanadi gandun daji daga opera The Snow Maiden).

V. na iri biyu a cikin sonata-symphony. samfur. ana amfani da su sau da yawa a matsayin nau'i na jinkirin motsi (sai dai ayyukan da aka ambata a sama, duba Kreutzer Sonata da Allegretto daga Beethoven's Symphony No. 7, Schubert's Maiden and Death Quartet, Glazunov's Symphony No. 6, piano concertos by Prokofiev's Scriabin da kuma A'a. Symphony No 3 kuma daga Violin Concerto No 8), wani lokacin ana amfani da su azaman motsi na farko ko ƙarshe (misali an ambata a sama). A cikin bambance-bambancen Mozart, waɗanda suke ɓangare na sake zagayowar sonata, ko dai B.-Adagio ba ya nan (sonata don violin da pianoforte Es-dur, quartet d-moll, K.-V. 1, 1), ko kuma irin wannan sake zagayowar kanta. ba shi da sassa masu jinkirin (sonata don piano A-dur, sonata don violin da piano A-dur, K.-V. 481, 421, da sauransu). V. na nau'in 331st galibi ana haɗa su azaman wani abu mai mahimmanci a cikin sigar da ta fi girma, amma ba za su iya samun cikakke ba, da bambance-bambance. sake zagayowar ya kasance a buɗe don canzawa zuwa wani jigo. sashe. Bayanai a cikin jeri ɗaya, V. suna iya bambanta da sauran jigogi. sassan babban nau'i, mai da hankali ga ci gaban muses guda ɗaya. hoto. Kewayon bambancin. siffofin sun dogara da fasaha. ra'ayoyin samarwa. Don haka, a tsakiyar ɓangare na 305st na Shostakovich's Symphony No. 1, V. yana gabatar da wani babban hoto na mamayewar abokan gaba, jigo guda da hudu V. a tsakiyar kashi na 1 na Symphony na Myaskovsky No. 7 zana kwantar da hankali. hoton almara. Daga nau'ikan polyphonic siffofin, V. Catcle yana ɗaukar hoto a tsakiyar fayale na concerto na prokofie ya taso a V. Daga tsakiyar Scherzo Trio OP. 1 Taneva. An gina tsakiyar tsakiyar dare na Debussy “Bikin” a kan bambance-bambancen katako na jigon, wanda ke ba da motsin jerin gwano mai ban sha'awa. A cikin duk irin waɗannan lokuta, ana zana V. a cikin wani sake zagayowar, thematically contrasting with the around sections of form.

Wani lokaci ana zabar nau'in V. don babban ko sakandare a cikin sonata allegro (Glinka's Jota na Aragon, Balakirev's Overture on themes of Three Russian Songs) ko kuma ga matsananciyar sassa na wani hadadden nau'i uku (na biyu na Rimsky). - Korsakov's Scheherazade). Sai V. fallasa. Ana ɗaukar sassan a cikin ramuwa kuma an sami ɓarkewar bambancin. sake zagayowar, da rikitarwa na rubutu a Krom ne tsarin rarraba a kan duka biyu sassa. Frank's "Prelude, Fugue and Variation" na gabobi misali ne na bambancin guda ɗaya a cikin Reprise-B.

Bambance-bambancen rarraba. sake zagayowar yana tasowa azaman shirin na biyu na nau'in, idan c.-l. jigon ya bambanta da maimaitawa. Dangane da wannan, rondo yana da damar musamman: babban dawowa. Jigon sa ya daɗe da zama wani abu na bambancin (ƙarshen Beethoven's sonata op. 24 don violin da piano: akwai V. guda biyu akan babban jigo a cikin reprise). A cikin hadadden tsari mai sassa uku, dama iri ɗaya don samuwar bambancin tarwatsewa. Ana buɗe hawan keke ta hanyar bambanta jigon farko - lokacin (Dvorak - tsakiyar kashi na 3 na quartet, op. 96). Komawar jigon yana iya jaddada mahimmancinsa a cikin jigon da aka ci gaba. tsarin samfurin, yayin da bambancin, canza launi da halayyar sauti, amma kiyaye ainihin jigon, yana ba ku damar zurfafa magana. ma'ana. Don haka, a cikin uku na Tchaikovsky, abin takaici. ch. jigon, dawowa a cikin sassa na 1 da na 2, tare da taimakon bambance-bambancen an kawo shi zuwa ga ƙarshe - maƙasudin ma'anar dacin hasara. A cikin Largo daga Shostakovich's Symphony No. 5, jigon bakin ciki (Ob., Fl.) daga baya, lokacin da aka yi a koli (Vc), ya sami hali mai ban mamaki, kuma a cikin coda yana jin salama. Bambancin sake zagayowar yana ɗaukar babban zaren Largo a nan.

Bambance-bambancen da aka tarwatsa. hawan keke yawanci suna da jigo fiye da ɗaya. A cikin bambancin irin waɗannan zagayowar, ana bayyana versatility na zane-zane. abun ciki. Muhimmancin irin waɗannan siffofi a cikin waƙar yana da girma musamman. samfur. Tchaikovsky, to-rye suna cike da yawa V., adana ch. jigon waƙa da canza rakiya. Lyric Andante Tchaikovsky ya bambanta sosai da ayyukansa, wanda aka rubuta a cikin nau'i na jigo tare da V. Bambanci a cikinsu ba ya kai ga c.-l. canje-canje a cikin nau'i da yanayin kiɗan, duk da haka, ta hanyar bambancin waƙoƙin. Hoton ya tashi zuwa tsayin siphony. generalizations (hannun motsi na symphonies No. 4 da No. 5, pianoforte concerto No. 1, quartet No. 2, sonatas op. 37-bis, tsakiya a cikin fantasy symphonic "Francesca da Rimini", taken soyayya a cikin "The Tempest". ", Joanna's aria daga opera "Maid of Orleans", da dai sauransu). Samuwar bambancin tarwatsewa. sake zagayowar, a gefe guda, sakamakon bambance-bambancen ne. matakai a cikin kiɗa. sifa, a daya bangaren, ya dogara da bayyanannun jigo. Tsarin samfuran, tsananin ma'anarsa. Amma bambance-bambancen hanyar ci gaban thematism yana da faɗi da bambanta da cewa ba koyaushe yana haifar da samuwar bambance-bambancen ba. zagayowar a zahirin ma'anar kalmar kuma ana iya amfani da ita cikin sigar kyauta.

Daga Ser. Karni na 19 V. ya zama ginshiƙi na nau'ikan manyan ayyukan wasan kwaikwayo da kide kide da wake-wake, ƙaddamar da babban ra'ayi na fasaha, wani lokacin tare da abun ciki na shirin. Waɗannan su ne Rawar Mutuwa ta Liszt, Bambance-bambancen Brahms akan Jigo na Haydn, Bambancin Symphonic na Franck, R. Strauss's Don Quixote, Rakhmaninov's Rhapsody akan Jigo na Paganini, Bambance-bambance akan Jigo na Rus. nar. waƙoƙin "Kai, filina" na Shebalin, "Variations and Fugue on a Theme of Purcell" na Britten da wasu ƙididdiga masu yawa. Dangane da su da sauran irin su, ya kamata a yi magana game da haɗin bambance-bambancen da ci gaba, game da tsarin bambancin-jigo. tsari, da sauransu, wanda ya biyo baya daga fasaha na musamman da hadaddun. niyyar kowane samfur.

Bambanci a matsayin ka'ida ko hanya bisa jigo. ci gaba babban ra'ayi ne mai faɗi sosai kuma ya haɗa da duk wani sake maimaitawa wanda ya bambanta ta kowace hanya mai mahimmanci daga farkon gabatarwar batun. Taken a wannan yanayin ya zama kiɗa mai zaman kanta. ginin da ke ba da kayan aiki don bambancin. A wannan ma'ana, yana iya zama jimla ta farko na lokaci, doguwar hanyar haɗi a cikin jeri, operatic leitmotif, Nar. waƙa, da sauransu. Asalin bambancin yana cikin adana jigogi. tushe kuma a lokaci guda a cikin haɓakawa, sabunta nau'ikan gini.

Akwai nau'ikan bambance-bambancen guda biyu: a) ingantaccen maimaita jigo. abu da b) gabatar da sababbin abubuwa a ciki, suna tasowa daga manyan. A tsari, nau'in farko ana nuna shi azaman + a1, na biyu a matsayin ab + ac. Alal misali, a ƙasa akwai gutsure daga ayyukan WA Mozart, L. Beethoven da PI Tchaikovsky.

A cikin misali daga Mozart's sonata, kamancen shine melodic-rhythmic. zana gine-gine guda biyu yana ba mu damar wakiltar na biyu daga cikinsu a matsayin bambancin na farko; akasin haka, a cikin Beethoven's Largo, an haɗa jimlolin ne kawai ta hanyar waƙar farko. innation, amma ci gabansa a cikinsu ya bambanta; Andantino na Tchaikovsky yana amfani da hanya iri ɗaya da Beethoven's Largo, amma tare da haɓaka tsawon jimla ta biyu. A kowane hali, ana kiyaye halayen jigon, a lokaci guda kuma ana wadatar da shi daga ciki ta hanyar haɓaka abubuwan da suka dace. Girma da adadin ci gaban jigogi gine-gine suna canzawa dangane da fasaha na gaba ɗaya. niyyar dukan samarwa.

PI Tchaikovsky. 4th Symphony, motsi II.

Bambanci ɗaya ne daga cikin tsoffin ƙa'idodin ci gaba, yana mamaye Nar. kade-kade da tsofaffin siffofin Prof. kara. Bambance-bambancen halayen Yammacin Turai ne. soyayya mawaki. makarantu da na Rashanci. classic 19 - farkon. 20 ƙarni, ya mamaye su "sifofin kyauta" kuma ya shiga cikin siffofin da aka gada daga litattafan Viennese. Bayyanar bambancin a cikin irin waɗannan lokuta na iya bambanta. Alal misali, MI Glinka ko R. Schumann gina wani ci gaba na sonata form daga manyan jeri raka'a (overture daga opera "Ruslan da Lyudmila", sashe na farko na quartet op. 47 na Schumann). F. Chopin yana gudanar da ch. Taken E-dur scherzo yana cikin haɓakawa, yana canza yanayinsa da gabatarwar tonal, amma kiyaye tsarin, F. Schubert a cikin ɓangaren farko na sonata B-dur (1828) ya samar da sabon jigo a cikin ci gaba, yana gudanar da shi. bi da bi (A-dur – H-dur) , sannan ya gina jimla guda huɗu daga gare ta, wanda kuma yana matsawa zuwa maɓalli daban-daban yayin da yake riƙe da waƙoƙin waƙa. zane. Misalai makamantan haka a cikin kiɗa. lit-re ba su ƙarewa. Bambanci, don haka, ya zama hanya mai mahimmanci a cikin jigo. ci gaba inda sauran ka'idojin ginin tsari suka mamaye, misali. sonata. A samarwa, gravitating zuwa Nar. siffofin, yana da ikon kama manyan matsayi. Symphony zanen "Sadko", "Night on Bald Mountain" na Mussorgsky, "Russia Folk Songs" Lyadov, farkon ballets na Stravinsky iya zama tabbatar da wannan. Muhimmancin bambance-bambance a cikin kiɗan C. Debussy, M. Ravel, SS Prokofiev yana da girma na musamman. DD Shostakovich yana aiwatar da bambancin ta hanya ta musamman; a gare shi yana da alaƙa da gabatarwar sababbin abubuwa, ci gaba da abubuwa a cikin jigon da aka saba (nau'in "b"). Gabaɗaya, duk inda ya zama dole don haɓakawa, ci gaba, sabunta jigo, ta amfani da abubuwan da suka dace, mawaƙa suna juya zuwa bambance-bambance.

Bambance-bambancen suna haɗe da nau'ikan nau'ikan bambance-bambancen, suna samar da haɗin kai da haɗin kai bisa bambance-bambancen jigon. Bambance-bambancen ci gaban yana nuna wani yancin kai na waƙa. da motsi na tonal a gaban rubutun da aka saba da jigon (a cikin nau'i na tsari na bambancin, akasin haka, rubutun yana canzawa a farkon wuri). Taken, tare da bambance-bambancen, ya ƙunshi nau'i mai mahimmanci da nufin bayyana babban hoton kiɗan. Sarabande daga babban ɗakin Faransanci na 1st na JS Bach, soyayyar Pauline "Ƙaunatattun Abokai" daga opera "The Queen of Spades", waƙar baƙo na Varangian daga opera "Sadko" na iya zama misalan nau'i daban-daban.

Bambance-bambance, yana bayyana yuwuwar bayyananniyar jigon kuma yana haifar da ƙirƙirar haƙiƙa. fasaha. Hoton, ya bambanta da bambance-bambancen jerin a cikin dodecaphone na zamani da kiɗan serial. A wannan yanayin, bambancin yana juya zuwa kamanceceniya na gaskiya da bambancin gaskiya.

References: Berkov V., Glinka's bambancin ci gaban jituwa, a cikin littafinsa: Glinka's Harmony, M.-L., 1948, ch. VI; Sosnovtsev B., Siffar Bambanci, a cikin tarin: Jami'ar Jihar Saratov. Bayanan kula da Conservatory, Kimiyya da Hanyar, Saratov, 1957; Protopopov Vl., Bambance-bambance a cikin wasan opera na gargajiya na Rasha, M., 1957; nasa, Bambance-bambancen hanyar ci gaban thematism a cikin kiɗan Chopin, a cikin Sat: F. Chopin, M., 1960; Skrebkova OL, A kan wasu hanyoyin na jituwa bambancin a cikin aikin Rimsky-Korsakov, a cikin: Tambayoyi na Musicology, vol. 3, M., 1960; Adigezalova L., The bambancin ka'ida na ci gaban song jigogi a Rasha Soviet symphonic music, a cikin: Tambayoyi na Contemporary Music, L., 1963; Müller T., Akan jujjuyawar tsari a cikin waƙoƙin jama'a na Rasha wanda EE Lineva ya rubuta, a cikin: Taimako na Sashen Ka'idar Kiɗa na Moscow. jihar conservatory su. PI Tchaikovsky, vol. 1, Moscow, 1960; Budrin B., Bambancin hawan keke a cikin aikin Shostakovich, a cikin: Tambayoyi na nau'in kiɗa, vol. 1, M., 1967; Protopopov Vl., Hanyoyin daban-daban a cikin nau'i na kiɗa, M., 1967; nasa, A kan bambancin waƙar Shebalin, cikin tarin: V. Ya. Shebalin, M., 1970

Vl. V. Protopov