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When furnishing their own home from scratch, all people want to finish and clad it outside and inside in such a way that the rooms look fashionable, stylish and beautiful, but at the same time remain functional. Yes, and it is advisable not to return to re-repair as long as possible, or to minimize possible work in the future. It is for such purposes, and also to give your home a special individuality and originality, that there is decorative plaster, the types and methods of application of which we will discuss today.
Decorative plaster: types of textures and main features
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Such a finish has been known for a long time, but in our country it began to gain popularity only a few years ago, due to the convenience and ease of application, ease of maintenance, unique properties and performance, as well as special durability. All kinds of decorative plaster are amazing, with the help of such a finish you can turn the walls into a kind of wood, natural leather, metal, concrete, and even make them completely different from any material known on the planet.
Definition
It does not hurt to figure out what decorative plaster is, and the types of textures in the photo will illustrate this in the simplest and most accessible way. In the form prepared for application to the walls, such materials resemble a heterogeneous mass that dries quickly, acquiring any shape with a textured surface, making it uneven and embossed.
The original decorative plaster, the photos and types of which we will discuss in detail and in detail, can be made on the basis of a variety of materials, which determines the correct surface preparation, wall covering technology, as well as the appearance at the final stage. An uneven wall surface with a special texture with this kind of finish can very successfully hide the imperfections and defects of the walls. However, you should be extremely careful, since some types of decorative plaster are able, on the contrary, to highlight and emphasize the shortcomings of a poorly prepared surface.
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- Mineral mixtures for decorative textured plaster are the most in demand and widespread on the market, due to their revolutionary low cost and ease of application. Such ready-made compositions will simply need to be diluted with water, and then spread on a pre-primed surface. Mineral types of decorative wall plasters allow them to breathe, are environmentally friendly, easy to clean and look beautiful.
- Acrylic plaster mixture is most often sold already in a completely ready-to-use form, in plastic buckets and barrels. This is the most durable and reliable wall covering that is easy to clean, looks great, is not afraid of absolutely any external factors and threats, does not allow fungi and mold to develop, and will suit absolutely any style of decoration.
- Silicate plaster will perfectly fit into any interior. It has water-repellent properties, but it cannot be called overly strong, since this type of decorative wall plaster is afraid of even medium mechanical damage.
- Another really suitable option is silicone mixtures for finishing interior as well as exterior walls of buildings. The cost of such plaster on the market is the highest, but its qualities are really extraordinary: water repellency, an incredible level of adhesion to any surface, an abundance of colors and textures, dust-repellent properties, ease of maintenance and an unusual appearance.
Photo from the website: decoholic.org
In addition to the composition, the types of application of decorative plaster are also different, which determine the original texture of the final pattern on the outer surface of the wall. It is on how the master applies the plaster that the whole final result and if some options can be completely done without any preparation, then others are given only to experienced specialists, and independent attempts, without an accurate understanding and knowledge of technology, are doomed to failure. Let's figure out what types of decorative plaster exist, and photos with names will help you make the final choice.
Ordinary monolithic plaster
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The most common type of decorative plaster for interior decoration is a monolithic version. This is exactly the same coating that we most often see on the walls. After applying such a coating, they become smooth and even, which is why they got such a name - a monolith. As a result of all actions, a durable and reliable layer is obtained that is not afraid of moisture, as well as medium-level mechanical damage.
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Monolithic finishes with decorative plaster can be further processed, for example, painted in any suitable color, or you can leave it without a final finish. In the full sense, it is probably impossible to call this type of processing decorative, but skillfully painted, and sometimes with whole paintings, these coatings become attractive and unusual.
Terrazit plaster for walls and facades
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There are many different types of interior decorative plasters, but there are also universal options that are suitable not only for interior cladding, but also for exterior facades. An excellent example of this option would be terrazitic plaster, unusual and incredibly original. This is a special composition that will help imitate natural rocks, giving the building a texture unlike anything else.
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In fact, it can be ordinary cement plaster, but with a whole set of fillers that give it a textured surface and a non-standard appearance. For example, the composition may include quartz sand, mica, stone chips and dust, and indeed any more or less suitable material.
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Varieties of decorative plaster and how to apply it to the walls are best considered in the video, and this work is far from for a beginner, and even apply this species it is more expedient outside buildings, since strong noise, dust, dirt are expected during application, bulky special equipment will have to be brought, but this does not stop many at all, since the appearance of the coating can amaze even seasoned craftsmen.
Liquid Venetian marble
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All types of decorative plaster are good in their own way, but there are also those that can make a luxurious palace out of an ordinary apartment, and the Venetian version can just be considered one of the similar ones. Venetian plaster has been known to people for more than four hundred years, however, then it was produced exclusively on a lime basis, but now it inevitably includes polymers and plasticizers, for example, acrylates, which give it special properties and qualities.
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Similar types of decorative plasters for interior decoration are quite difficult to apply, but they look just amazing and photos the best of that proof. To achieve the maximum effect, it is sometimes necessary to apply from four to ten layers, which significantly stretches the work in time. Most often, the compositions for the Venetian contain marble flour and crumbs, which gives the room a special luxurious look, carved in solid stone of the room.
The well-known bark beetle
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Now there really is a huge number of types of decorative plasters for interior wall decoration, but the most famous and popular, of course, for several decades, is the notorious bark beetle. This type of textured coating is easy to apply and maintain, and also provides quite ample opportunities for using your own imagination in design.
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Special granules are added to the mixture for bark beetles, which, when rubbed over the surface, create a fancy pattern of grooves and grooves. Depending on the movements of the master, the grooves can be arranged vertically, horizontally, diagonally, or in a completely chaotic manner.
Photo from the site: bruscottages.ru
This type of decorative wall plaster is suitable for any room in any style, it will be an excellent choice for both interior and exterior decoration, it will fit perfectly into almost any design concept, and the photo testifies to this fully.
Artificial aging or craquelure
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This type of decorative plaster for interior work, like craquelure, looks very unusual and attractive. last years gained incredible popularity. Indeed, it is difficult to pass by such a masterpiece, and the secret lies in the unique composition of special mixtures. After drying, they crack themselves picturesquely, giving the walls an incredibly authentic antique look.
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Craquelure effect stucco can look even more extreme and attractive if all cracks are thoroughly touched up with a brush. Professional craftsmen act somewhat differently, they first cover the wall with monolithic plaster, to which a contrasting color is added, and then pass craquelure on top. Then the drawing turns out to be incredibly voluminous and interesting.
Difficult but possible: sgraffito
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Quite difficult to implement are the types of decorative plaster, called graffito or sgraffito, which appeared quite a long time ago, but have not received wide distribution due to problematic application. Creating such a plaster layer will require a lot of time and attention, especially from a beginner who has not done anything like this before.
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The essence of the work is that you need to apply plaster of any chosen type in several layers, and then, while the finish layer is not completely dry, remove part of the mixture with special spatulas or cutters according to a stencil or your own drawing. It is clear that the work is quite painstaking, but the result will certainly exceed all expectations.
Modeling plaster for walls
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Modeling decorative plaster will be a good choice for interior decoration of a wide variety of rooms and premises in the house, and the types of plastering of such a plan will largely differ from the desire and skill of a specialist. The composition of mixtures for modeling coatings often includes a wide variety of fillers, for example, natural and artificial fibers and granules, stone chips and dust, wood shavings, and more.
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However, the initial texture of the coating is only the first step towards creating a unique design for your room. Unusual and embossed textures with the help of such mixtures can be made by any master, easily and simply operating with whatever means at hand, in the manner of a crumpled plastic bag, ordinary sponge, paper, brush or hard brush, textured roller, rag, broom, and in general, anything.
Musical thought can be expressed in various ways. Music, like a fabric, is made up of various components, such as melody, accompanying voices, sustained sounds, etc. This whole complex of means is called an invoice.
Texture is a way of expressing musical fabric.
In artistic practice, the texture is different in density. It depends on the number of votes composing it (from one to several dozen).
Often the word texture is replaced by the word warehouse, which is similar in meaning. Currently, two main types of texture are known: homophony and polyphony. Mixed
type appears when the first two interact.
Monody (unison) (from the Greek “mono” - one) is the oldest monophonic texture, which is a monophonic melody, or holding a melody by several voices in unison, or in octave doubling.
heterophony- also an ancient type of texture (originated in the 9th century).
homophony- (from the Greek "homo" - a person, "background" - sound, voice). Homophony or homophonic-harmonic texture is one and the same.
Homophonic - harmonic texture consists of melody and accompaniment. She established herself in music Viennese classics(second half of XVIII
century) and is the most common texture to this day.
chord texture- is a chord presentation without a pronounced melody. Examples are church hymns - chorales
(quite often such a texture is called choral), it includes instrumental and choral works of a chordal warehouse.
Polyphony(from the Greek "poly" - a lot and "background" - sound, voice) - older than homophonic, it flourished in the Baroque era (XVII century -
first half of the 18th century). This is a type of polyphony in which two or more voices have an independent melodic meaning (“equality” of all voices).
in).
polyphonic texture There are three varieties: contrast, imitation, subvocal.
Contrasting (different-dark) polyphony o It is formed if the themes (melodies) in polyphony are different, contrasting.
Imitation (from lat. - imitation)- is formed in that case. When the melodies of a polyphonic warehouse are the same or similar, they enter into a relationship with a shift in time. Imitative polyphony reached its peak in the work of J.-S. Bach.
heterophony- also an ancient type of texture (it appeared in the 9th century), it is the most primitive kind of polyphony. In it, the voices move parallel to each other (tape movement - in fourths, fifths, thirds, sixths).
mixed invoice- arose as a result of the interaction of textures of different types, it can be polyphonic-harmonic, heterophonic-harmonic
Differences between warehouse and invoice. warehouse criteria. Monodic, polyphonic and harmonic warehouses.
Warehouse (German Satz, Schreibweise; English setting, constitution; French conformation) is a concept that determines the specifics of the deployment of voices (voices), the logic of their horizontal, and in polyphony also vertical organization.
Invoice (lat. factura - manufacturing, processing, structure, from facio - I do, carry out, form; German Faktur, Satz - warehouse, Satzweise, Schreibweise - manner of writing; French facture, structure, conformation - device, addition; English. texture, texture, structure, build-up; Italian strutture). In a broad sense - one of the sides of the muses. forms, is included in the aesthetic and philosophical concept of muses. forms in unity with all means of expression; in a narrower and use. sense - the specific design of the muses. fabrics, music exposition.
Warehouse and texture correlate as categories of genus and species. For example, an accompaniment (as a functional layer) in a homophonic-harmonic warehouse can be performed in the form of a chord or figurative (for example, arpeggiated) texture; a polyphonic piece can be sustained in a homorhythmic (
in which each voice of a polyphonic whole moves in the same rhythm) or in an imitation texture, etc.
Monody and its historical forms. The difference between a monodic warehouse and a monophonic texture.
Monody (from Greek - singing or reciting alone) - a musical warehouse, the main textural feature of which is monophony (singing or
performance on a musical instrument, in a polyphonic form - with duplications in an octave or unison). In contrast to monophonically performed (monophonic texture) new European melodies, which in one way or another describe or imply tonal functions, works of a monodic warehouse do not imply any harmonization - the laws of their pitch structure modern science explains immanently, as a rule, from the standpoint of modality. Thus, monodic compositions are not the same as monophonic compositions (monophonic texture). In music theory, monody is opposed to homophony and polyphony. Monodic. the warehouse assumes only a "horizontal dimension" without any vertical relationship. In strictly unison monodich. samples (Gregorian chant, Znamenny chant) single-headed. music fabric and texture are identical. A rich monodic texture distinguishes, for example, the music of the East. peoples who did not know polyphony: in the Uzbek and Tajik maqom, singing is duplicated by an instrumental ensemble with the participation of percussionists performing usul. The monodic structure and texture easily turn into a phenomenon intermediate between monody and polyphony - into a heterophonic presentation, where unison singing in the process of performance is complicated by various melodic-textural options.
Antique (Ancient Greek and Roman) music was monodic in nature. Monodic are the songs of European minstrels - troubadours, trouveurs and minnesingers, the oldest traditions of liturgical singing in the Christian church: Gregorian chant, Byzantine and Old Russian chants, medieval
paraliturgical songs - Italian laudas, Spanish and Portuguese cantigas, monophonic conducts, all regional forms of the Eastern maqamat
(Azerbaijani mugham, Persian dastgah, Arabic maqam, etc.).
By the (false) analogy with ancient monody, Western musicologists (since the 1910s) generally use the word “monody” to refer to solo singing with instrumental
accompaniment (usually limited to a digital bass), that is, instances of a homophonic-harmonic warehouse that are observed in Italian and German music of the early baroque (between approximately 1600 and 1640) - arias, madrigals, motets, songs, etc.
The term "monodic style" (stylus monodicus, instead of the then common stylus recitativus) in relation to the music of Caccini, Peri and Monteverdi in 1647
year suggested J.B. Doni.
Polyphony and its types. Difficult counterpoint.
Polyphony (from Greek - numerous and - sound) - a warehouse of polyphonic music, characterized by the simultaneous sounding, development and interaction of several voices (melodic lines, melodies in the broad sense), equal in terms of compositional and technical melodic development) and musical-logical (equal carriers of "musical thought"). The word "polyphony" also refers to the musical-theoretical discipline that studies polyphonic compositions (formerly "counterpoint").
The essence of polyphony. warehouse - correlation at the same time. sounding melodies. lines are relatively independent. the development of which (more or less independent of the consonances arising along the vertical) constitutes the logic of the muses. forms. In polyphonic music The tissues of the voice show a tendency towards functional equality, but they can also be multifunctional. Among the qualities of polyphonic F. creatures. density and rarefaction ("viscosity" and "transparency") are important, to-rye are regulated by the number of polyphonic. voices (masters of a strict style willingly wrote for 8-12 voices, preserving one type of F. without a sharp change in sonority; however, in masses it was customary to set off magnificent polyphony with light two- or three-voices, for example, Crucifixus in the masses of Palestrina). Palestrina only outlines, and in free writing, polyphonic techniques are widely used. thickening, thickening (especially at the end of the piece) with the help of increase and decrease, strettas (fugue in C-dur from the 1st volume of Bach's Well-Tempered Clavier), combinations of different themes (the code of the finale of Taneyev's symphony in c-moll). In the example below, textural thickening due to the rapid pulse of the introductions and textural growth of the 1st (thirty-second) and 2nd (chords) elements of the theme are characteristic: F. d "Ana. An excerpt from a motet.
The opposite case is polyphonic. F., based on the full metrorhythm. independence of voices, as in the mensural canons (see the example in v. Canon, column 692); the most common type of complementary polyphonic. F. is determined thematically. and rhythmic. like themselves. voices (in imitations, canons, fugues, etc.). Polyphonic F. does not exclude a sharp rhythmic. stratification and an unequal ratio of voices: contrapuntal voices moving in relatively short durations form the background for the dominant cantus firmus (in masses and motets of the 15th-16th centuries, in Bach's organ choral arrangements). In the music of later times (19th-20th centuries), polyphony of different themes developed, creating unusually picturesque F. (for example, the textured interweaving of the leitmotifs of fire, fate, and Brünnhilde's dream at the conclusion of Wagner's opera The Valkyrie).
Among the new phenomena of music of the 20th century. should be noted: F. linear polyphony (the movement of harmonically and rhythmically uncorrelated voices, see Milhaud's Chamber Symphonies); P., associated with complex dissonant duplication of polyphonic. voices and turning into polyphony of layers (often in the work of O. Messiaen); "dematerialized" pointillistic. F. in op. A. Webern and the opposite polygon. severity orc. counterpoint by A. Berg and A. Schoenberg; polyphonic F. aleatory (in V. Lutoslavsky) and sonoristic. effects (by K. Penderecki).
O. Messiaen. Epouvante (Rhythmic canon. Example No 50 from his book "The Technique of My Musical Language").
Polyphony is divided into types:
Sub-vocal polyphony, in which, along with the main melody, its echoes sound, that is, slightly different options (this coincides with the concept of heterophony). Typical for Russian folk song.
Imitation polyphony, in which the main theme sounds first in one voice, and then, possibly with changes, appears in other voices (there may be several main themes). The form in which the theme is repeated without change is called canon. pinnacle imitative polyphony is an fugue.
Contrasting polyphony (or polymelody), in which different melodies sound simultaneously. First appeared in the 19th century.
Complex counterpoint- a polyphonic combination of melodically developed voices (different or similar in imitation), which is designed for contrapuntal modified repetition, reproduction with a change in the ratio of these voices (unlike simple counterpoint - German einfacher Kontrapunkt - a polyphonic combination of voices used in only one , given their combination). Abroad, the term "S. to." does not apply; in him. musicological literature uses the related concept mehrfacher Kontrapunkt, denoting only triple and quadruple vertically movable counterpoint. In S. to., the original (given, original) connection of melodic is distinguished. voices and one or more derivative compounds - polyphonic. original options. Depending on the nature of the changes, there are, according to the teachings of S. I. Taneyev, three main types of counterpoint: mobile counterpoint (divided into vertically mobile, horizontally mobile and doubly mobile), reversible counterpoint (divided into complete and incomplete reversible ) and counterpoint, which allows doubling (one of the varieties of mobile counterpoint). All these types of S. to. are often combined; for example, in the Fugue Credo (No 12) from J.S. Bach's mass in h-moll, two response intros (in bars 4 and 6) form the initial connection - a stretta with an entry distance of 2 bars (reproduced in bars 12-17), in in bars 17-21, a derivative connection sounds in doubly movable counterpoint (the distance of the entry is 11/2 measures with a vertical shift of the lower voice of the original connection up by a duodecime, the top one - down by a third), in measures 24-29 a derivative connection is formed from the connection in measures 17-21 in vertically movable counterpoint (Iv = - 7 - double octave counterpoint; reproduced at a different height in bars 29-33), from bar 33 follows a stretta in 4 voices with an increase in the theme in the bass: top. the pair of voices represents a compound derived from the original stretta in doubly movable counterpoint (introduction distance 1/4 bar; played at a different pitch in bars 38-41) with doubling the top. voices by the sixth from the bottom (in the example, polyphonic voices that are not included in the above combinations, as well as the accompanying 8th voice, are omitted).
Imitation polyphony. Theme. Simulation characteristics (interval and distance). Types of imitation. Counterposition.Canon. Proposta and risposta.
Imitation (from Latin imitatio - imitation) in music is a polyphonic technique in which, after the presentation of the topic in one voice, it is repeated in other voices. In the canons and fugues, the elements of imitation are named - proposta and risposta, theme and answer. The initial voice is called proposta (from Italian proposta - sentence (i.e. topic)), imitating voice - risposta (from Italian risposta - answer). There can be several risposts, depending on the number of votes. There is a simulation interval (according to initial sound), distance (according to the length of the proposta), and side (above or below the proposta). Imitation is simple and canonical.
Canonical imitation is a kind of imitation in which the imitating voice repeats not only the monophonic part of the melody, but also the oppositions that appear in the initial voice. Such imitation is often called continuous.
Simple imitation differs from canonical imitation in that only the monophonic part of the proposta is repeated in it.
The risposta can be different: in circulation (each interval in the proposta is taken in the opposite direction); in increase or decrease (in relation to the rhythm of the proposta); in combination of the first and second (for example, in circulation and increase); in a rakhode (movement in a rispost from the end to the beginning of the proposta); inaccurate (incomplete match with proposta).
Contrasubjectum (lat. contrasubjectum, from contra - against, and subjicio - to lay) in music - a voice accompanying the theme, in polyphonic or imitation polyphony. The main property of opposition is aesthetic value and technical independence in relation to the topic. It is achieved with the help of a different rhythm, a different melodic pattern, articulation, register, etc. At the same time, the opposition should form an ideal connection with the main voice.
Canon. A polyphonic form based on the technique of canonical imitation.
Translated from Greek, the term canon means rule, law. The voices of the canon have specific names: Proposta and Risposta. Proposta - the initial voice of the canon, in translation means a sentence, I propose. Risposta - imitating the voice of the canon, in translation means continuation, I continue.
In terms of composition technique, canon and canonical imitation are close; in the process of analyzing these polyphonic devices, a strict distinction between terms is not always observed. However, it should be borne in mind that the term "canon" refers not only to the technique of continuous imitation. This is the name of an independent composition - a complete form of canonical imitation in the form of a completed section or a separate work. Note that the canon as an independent composition belongs to the most ancient forms of the polyphonic warehouse. As for canonical imitation, the canon is characterized by such an element as a link. The number of links from two minimum can reach up to twenty or more.
Fugue. Theme. Answer and its types. Sideshows. Composition of the fugue as a whole. Fugues are simple and complex (double, triple). Fugato. Fughetta.
Fugue (lat. fuga - “running”, “escape”, “fast flow”) is a musical work of an imitation-polyphonic warehouse, based on the repeated performance of one or more themes in all voices. The fugue was formed in the 16-17th century from a vocal and instrumental motet and became the highest polyphonic form. Fugues are 2, 3, 4, etc. voice.
The theme of the fugue is a separate structural unit, which very often develops without any caesura into a codette or counterposition. The main sign of the isolation of a polyphonic theme is the presence in it of a stable melodic cadence (on the I, III or V steps). Not every theme ends with this cadence. Therefore, there are topics closed and open.
The main sections of the fugue are the exposition and the free part, which can be subdivided in turn into the middle (development) and final (reprise).
Exposure. The theme (T) in the main key is the leader. Carrying out the theme in the key of the Dominant - the answer, the companion. The answer is real - the exact transposition of the theme in the key of D; or tonal - slightly modified at the beginning to gradually introduce a new key. The counterpoint is the counterpoint to the first answer. The opposition can be withheld, i.e. unchanged to all themes and answers (in the complex counterpoint of the octave, - vertically movable) and unrestrained, i.e. new every time.
A bunch from a theme to an opposition (two or more sounds) is a codette.
Sideshow - building between the conduct of the topic (and answer). Interludes can be in all sections of the fugue. They may be sequential. Sideshow - a tense area of action (prototype of developments sonata forms). The order of entry of voices (soprano, alto, bass) may be different. Additional topics are possible.
A counter-exposure is possible - a second exposure.
Middle part. A sign is the appearance of a new tonality (not expositional, not T and not D), often parallel. Sometimes its sign is the beginning of active development: the theme is magnified, stretta imitation. Stretta is a compressed imitation, where the theme enters in a different voice before it ends. Stretta can be found in all sections of the fugue, but is more typical of the final movement, or middle movement. It creates the effect of "thematic condensation".
Final part (reprise). Its sign is the return of the main key with the theme carried out in it. There may be one holding, 2, 3 or more. T - D are possible.
Often there is a coda - a small cadence construction. Possible T organ point, adding voices is possible.
Fugues are simple (on one topic) and complex (on 2 or 3 topics) - double. triple. The presence of a free part, in which all themes are combined contrapuntally - required condition complex fugue formation.
Double fugues are of 2 types: 1) Double fugues with a joint exposition of themes sounding simultaneously. Usually four voices. They are similar to fugues with a retained counterposition, but, unlike the latter, double fugues begin with two voices of both themes (the counterposition in ordinary fugues sounds only with the answer). Topics are usually contrasting, structurally closed, thematically significant. Note. Kyrieeleison from Mozart's Requiem.
2) Double fugues with separate exposure of topics. The middle part and the final part, as a rule, are common. Sometimes there is a separate exposition and a middle part for each topic with a common final part.
Numerous forms are based on imitation, including canons, fugues, fughettas, fugatos, as well as such specific techniques as stretta, canonical sequent, endless canon, etc.
Fughetta is a small fugue. Or a fugue of less serious content.
Fugato is an exposition of a fugue. Sometimes the exposition and the middle part. Often found in the development of sonatas, symphonies, in sections of cycles (cantatas, oratorios), in polyphonic (on basso ostinato) variations.
Harmonic Warehouse. Types of invoices in it. Definition of a chord. Classification of chords. Invoice receipts. non-chord sounds.
Most often, the term "Texture" is applied to music of a harmonic warehouse. In the immeasurable variety of types of harmonic Textures, the first and simplest is its division into homophonic-harmonic and proper chordal (which is considered as a special case of homophonic-harmonic). Chordal F. is monorhythmic: all voices are set out in sounds of the same duration (the beginning of Tchaikovsky's overture-fantasy Romeo and Juliet). In homophonic harmonic. F. drawings of melody, bass and complementary voices are clearly separated (the beginning of Chopin's c-moll nocturne).
There are the following main types of presentation of harmonic consonances (Tyulin, 1976, ch. 3rd, 4th):
a) harmonic figuration of a chord-figurative type, representing one or another form of successive presentation of chord sounds (prelude C-dur from the 1st volume of Bach's Well-Tempered Clavier);
b) rhythmic figuration - the repetition of a sound or chord (poem D-dur op. 32 No 2 by Scriabin);
c) color figuration - dec. duplications, for example, into an octave in an orchestral presentation (a minuet from Mozart's g-moll symphony) or a long doubling into a third, sixth, etc., forming a "tape movement" ("Musical Moment" op. 16 No 3 by Rachmaninov);
d) various types of melodic. figurations, the essence of which is the introduction of melodic. movements in harmony. voices - complication of chord figuration by passing and auxiliary. sounds (Etude in c-moll op. 10 No 12 by Chopin), melodicization (choir and orchestra presentation of the main theme at the beginning of the 4th painting "Sadko" by Rimsky-Korsakov) and polyphonization of voices (introduction to Wagner's "Lohengrin"), melodic-rhythmic "revival" org. point (4th painting "Sadko", number 151).
The above systematization of types of harmonic textures is the most general. In music, there are many specific textural techniques, the appearance of which and the methods of use are determined by the stylistic norms of a given musical-historical era; therefore, the history of the Texture is inseparable from the history of harmony, orchestration (in a broader sense, instrumentalism), and performance.
Chord (French accord, lit. - consent; it. accordo - consonance) - 1) a consonance of three or more sounds, capable of having a different interval structure and purpose, which is the leading structural element of the harmonic system and necessarily possesses in relations with its similar elements three such properties as autonomy, hierarchy and linearity; 2) a combination of several sounds various heights, acting as a harmonic unity with an individual colorful essence.
chord classification:
by ear impression
by position in the music system
by position in tone
according to the position of the main tone.
according to the number of tones included in chord triads, etc.
according to the interval that determines the structure of the chord (terts and non-terts structures. The latter include consonances of three or more sounds arranged in fourths or having a mixed structure).
chords, the sounds of which are located in seconds (tones and semitones), as well as in intervals of less than a second (by a quarter, third of a tone, etc.), are called clusters.
Non-chord sounds - (German akkordfremde or harmoniefremde Töne, English nonharmonic tones, French notes йtrangires, Italian note accidentali melodiche or note ornamentali) - sounds that are not part of the chord. N. h. enrich harmonies. consonances, introducing melodic into them. gravitation, varying the sound of chords, forming additional melodic-functional connections in relations with them. N. h. are classified primarily depending on the method of interaction with chord sounds: do N. z. to a heavy beat of the measure, and chord ones to a light one, or vice versa, does the N. z. return? to the original chord or goes into another chord, whether N. z appears. in progressive motion or taken abruptly, whether N. z. a second movement or it turns out to be thrown, etc. There are the following main. types of N. h.:
1) detention (abbreviation: h);
2) appoggiatura (ap);
3) passing sound (n);
4) auxiliary sound (c);
5) cambiata (k), or abruptly thrown auxiliary;
6) jump tone (sk) - detention or auxiliary, taken without preparation and abandoned. without permission;
7) lift (pm).
Mixing warehouses (polyphonic-harmonic). warehouse modulation.
The canon may be accompanied by harmonic accompaniment. In this case, a mixed polyphonic-harmonic warehouse appears. A work that begins in one warehouse may end in another.
History of warehouses and history musical thinking(epochs of monody, epochs of polyphony, epochs of harmonic thinking). New phenomena of the XX century: sonor-monodic warehouse, pointillism.
The evolution and changes in the structure of the musical are associated with the main stages in the development of the European professional music; Thus, the epochs of monody (ancient cultures, the Middle Ages), polyphony ( late medieval and Renaissance), homophony (modern times). In the 20th century new varieties of the musical warehouse arose: sonoristic-monodic (a formally polyphonic, but essentially a single line of inseparable, timbre-meaning evucheities is characteristic, see Sonorica), pointillistic musical warehouse (individual sounds or motifs in different registers, formally forming a line, actually belong many hidden voices), etc.
harmonic warehouse and Invoice originate in polyphony; for example, Palestrina, who perfectly felt the beauty of the triad, could use the figuration of emerging chords over many measures with the help of complex polyphonic (canons) and the choir itself. means (crossings, duplications), admiring the harmony, like a jeweler with a stone (Kyrie from the Mass of Pope Marcello, bars 9-11, 12-15 - five counterpoint). For a long time in instr. prod. composers of the 17th century chorus addiction. The style of strict writing was obvious (for example, in the organ. op. by J. Sweelinka), and composers were content with relatively uncomplicated techniques and drawings of mixed harmonica. and polyphonic. F. (for example, J. Frescobaldi).
The expressive role of texture is enhanced in the production. 2nd floor. 17th century (in particular, spatial-textural juxtapositions of solo and tutti in A. Corelli's works). The music of J. S. Bach is marked by the highest development of F. (chaconne d-moll for solo violin, "Goldberg Variations", "Brandenburg Concertos"), and in some virtuoso op. ("Chromatic Fantasy and Fugue"; Fantasy G-dur for organ, BWV 572) Bach makes textural discoveries, subsequently widely used by romantics. The music of the Viennese classics is characterized by the clarity of harmony and, accordingly, the clarity of textured patterns. Composers used relatively simple textural means and relied on general forms movements (for example, figures such as passages or arpeggios), which did not conflict with the attitude to F. as a thematically significant element (see, for example, the middle in the 4th variation from the 1st part of the sonata No 11 A-dur Mozart, K.-V. 331); in the presentation and development of the themes from Allegri sonatas, motivic development occurs in parallel with textural development (for example, in the main and connecting parts of the 1st movement of Beethoven's Sonata No 1). In the music of the 19th century, primarily among the Romantic composers, exceptions are observed. a variety of types of F. - sometimes lush and multi-layered, sometimes cozy at home, sometimes fantastically bizarre; strong textural and stylistic differences arise even in the work of one master (cf. the diverse and powerful F. sonatas in h-moll for piano and the impressionistically refined drawing of the pianoforte of Liszt's play "Grey Clouds"). One of the most important trends in music of the 19th century. - individualization of textural drawings: the interest in the extraordinary, unique, characteristic of the art of romanticism, made it natural to reject typical figures in F. Special methods were found for the multi-octave selection of a melody (Liszt); The musicians found opportunities for updating F. primarily in the melody of a wide harmonica. figurations (including in such unusual shape like in the final fp. sonata b-moll Chopin), sometimes turning almost into polyphonic. narration (the theme of a side part in the exposition of the 1st ballad for FP Chopin). Textured variety supported the interest of the listener in the wok. and instr. cycles of miniatures, it to a certain extent stimulated the composition of music in genres directly dependent on F. - etudes, variations, rhapsodies. On the other hand, there was a polyphonization of F. in general (the finale of Frank's violin sonata) and harmonica. figurations in particular (an 8-head canon in the introduction to Wagner's "Gold of the Rhine"). Rus. musicians discovered a source of new sonorities in the textural techniques of the East. music (see, in particular, "Islamei" by Balakirev). One of the most important. achievements of the 19th century in the field of F. - strengthening its motive richness, thematic. concentration (R. Wagner, I. Brahms): in some Op. in fact, there is not a single measure of non-thematic. material (e.g. symphony in c-moll, piano quintet by Taneyev, late operas by Rimsky-Korsakov). The extreme point in the development of individualized Ph. was the emergence of P.-harmony and F.-timbre. The essence of this phenomenon is that at a certain Under conditions, harmony, as it were, passes into F., expressiveness is determined not so much by the sound composition as by the picturesque arrangement: the correlation of the "floors" of the chord with each other, with the registers of the piano, with the orchestra takes precedence. groups; more important is not the pitch, but the texture filling of the chord, that is, how it is taken. Examples of F.-harmony are contained in Op. M. P. Mussorgsky (for example, "Clock with Chimes" from the 2nd act of the opera "Boris Godunov"). But in general, this phenomenon is more typical of the music of the 20th century: F.-harmony is often found in the production of. A. N. Scriabin (the beginning of the reprise of the 1st part of the 4th piano sonata; the culmination of the 7th piano sonata; the last chord of the piano poem "To the Flame"), K. Debussy, S. V. Rachmaninov. In other cases, the merger of F. and harmony determines the timbre (fp. play "Skarbo" by Ravel), which is especially pronounced in orc. the technique of "combining similar figures", when the sound arises from the combination of rhythmic. variants of one textured figure (a technique known for a long time, but brilliantly developed in the scores of I. F. Stravinsky; see the beginning of the ballet "Petrushka").
In the claim of the 20th century. coexist different ways of updating F. As the most general trends noted: the strengthening of the role of F. in general, including polyphonic. F., in connection with the predominance of polyphony in the music of the 20th century. (in particular, as a restoration of F. of past eras in the production of the neoclassical direction); further individualization of textural techniques (film is essentially "composed" for each new product, just as an individual form and harmony are created for them); opening - in connection with the new harmonics. norms - dissonant duplications (3 etudes, op. 65 by Scriabin), the contrast of especially complex and "refinedly simple" F. (1st part of Prokofiev's 5th piano concerto), improvisational drawings. type (No 24 "Horizontal and Vertical" from Shchedrin's "Polyphonic Notebook"); combination of original textural features of nat. music with the latest harmony. and orc. technique prof. art-va (brightly colorful "Symphonic Dances" Mold. Comp. P. Rivilis and other works); continuous thematization of F. c) in particular, in serial and serial works), leading to the identity of thematism and F.
Emergence in the new music of the 20th century. non-traditional warehouse, not related to either harmonic or polyphonic, determines the corresponding varieties of Ph.: the following fragment of the product. shows the discontinuity characteristic of this music, the incoherence of F. - register stratification (independence), dynamic. and articulation. differentiation: P. Boulez. Piano Sonata No 1, beginning of the 1st movement.
The value of F. in the art of music. avant-garde is brought to logic. limit, when F. becomes almost the only one (in a number of works by K. Penderetsky) or unities. the goal of the actual composer's work (vocal. Stockhausen's "Stimmungen" sextet is a texture-timbre variation of one B-dur triad). F. improvisation in given pitch or rhythmic. within - main. reception of controlled aleatorics (op. V. Lutoslavsky); the field of F. includes an uncountable set of sonoristic. inventions (collection of sonoristic techniques - "Coloristic fantasy" for the opera Slonimsky). to electronic and specific music created without tradition. tools and means of execution, the concept of F., apparently, is not applicable.
The invoice means. shaping possibilities (Mazel, Zuckerman, 1967, pp. 331-342). The connection between the form and the form is expressed in the fact that the preservation of this pattern of the form contributes to the fusion of the construction, its change - dismemberment. F. has long served as the most important transformative tool in sec. ostinato and neostinatny variational forms, revealing in some cases large dynamic. possibilities ("Bolero" by Ravel). F. is able to decisively change the appearance and essence of the muses. image (carrying out the leitmotif in the 1st part, in the development and code of the 2nd part of the 4th piano sonata by Scriabin); textural changes are often used in reprises of three-movement forms (2nd part of the 16th piano sonata of Beethoven; nocturne c-moll op. 48 by Chopin), in the refrain in the rondo (finale of the piano sonata No. 25 of Beethoven). The formative role of F. is significant in the development of sonata forms (especially orc. compositions), in which the boundaries of sections are determined by a change in the method of processing and, consequently, F. thematic. material. F.'s change becomes one of the main. means of dividing the form in the works of the 20th century. ("Pacific 231" by Honegger). In some new compositions, the form turns out to be decisive for the construction of the form (for example, in the so-called repetitive forms based on the variable return of one construction).
Shader types are often associated with a specific. genres (eg, dance music), which is the basis for combining in production. different genre features giving the music an artistically effective ambiguity (expressive examples of this kind in Chopin's music: for example, prelude No. 20 c-moll - a mixture of chorale features, funeral march and passacaglia). F. retains signs of one or another historical or individual muses. style (and, by association, era): so-called. guitar accompaniment enables S.I. Taneev to create a subtle stylization of early Russian. elegies in the romance "When, whirling, autumn leaves"; G. Berlioz in the 3rd part of the symphony "Romeo and Julia" to create nat. and historical color skillfully reproduces the sound of the madrigal a cappella of the 16th century; R. Schumann in "Carnival" writes authentic music. portraits of F. Chopin and N. Paganini. F. - the main source of music. descriptiveness, especially convincing in cases where k.-l. motion. With the help of F. visual clarity of music is achieved (introduction to Wagner's "Gold of the Rhine"), at the same time. full of mystery and beauty ("Praise of the Desert" from "The Tale of the Invisible City of Kitezh and the Maiden Fevronia" by Rimsky-Korsakov), and sometimes of amazing trembling ("the heart beats in rapture" in M. I. Glinka's romance "I remember a wonderful moment" ).
Invoice (from lat. factura - manufacturing, processing, structure) - 1) design, structure of the musical fabric; 2) a certain set, content, relationships of various elements of the musical fabric that simultaneously and sequentially unfold, including tones, harmonic intervals, consonances, sonors, all kinds of rhythmic, dynamic, stroke and articulatory structural units involved in the formation of more or less independent simplified linear or melodic voices, sonor layers or discrete space. In the broadest sense, the term "texture" embraces the timbre, all three dimensions of musical space - depth, vertical and horizontal, and is "a sensually perceived, directly audible sound layer of music", capable of acting as the main carrier of its thought - texture theme, i.e. . as a relatively independent equivalent of "theme-melody" and "theme-harmony". As a rule, when determining the texture, they also characterize: "the volume and general configuration of the sound mass of the musical fabric (for example, "crescending sound flow" and "diminating sound flow"), the "weight" of this mass (for example, the texture is "heavy", " massive", "light"), its density (texture "discrete", "sparse", "dense", "condensed", "compact", etc.), the nature of vocal connections (texture "linear", including "gamma-like ", "melodic", "discrete") and relations of individual voices (texture "sub-voice" or "heterophonic", "imitation", "contrast-polyphonic", "homophonic", "choral", "sonor", "discrete" and etc.), instrumental composition (texture "orchestral", "choral", "quartet", etc.) They also talk about the texture typical for certain genres ("texture of a marching march", "texture of a waltz", etc.) and etc." .
For example:
chord-tape texture - a monophonic or polyphonic texture, the voices of which are duplicated by chords;
arpeggio-ostinato texture - repeating arpeggio;
"diagonal texture" - texture, the leading technique of which is "crescendo-diminuendo as a way of decorating the musical fabric, giving it order and integrity", and its constituent elements are "total chromatic with continuous filling of halftone "fields", dodecaphonic series, consonance clusters ";
contrast pair-imitation texture* - texture in which voices imitating each other are thematically connected in pairs;
contrast-voice texture (= contrast-polyphonic voice);
contrast-layer texture (= contrast-polyphonic layer texture);
linear-wavy monomer texture;
vibrating band - texture, the content of which is formed in the process of a relatively slow and regular shift up and down for a second of any harmonic element, including: interval, chord, sonor. Her options are:
1 chord vibrating band (= chord vibrato),
2 interval vibrating band,
3 sonoro-vibrating band.
rehearsal-chord gliding texture - a texture in which each chord is quickly repeated with acceleration or deceleration;
static sonar tape - a texture composed of a certain set of voice-lines that do not stand out from the general sound mass; the same as the Sonoro-pedal polylinear texture;
trill texture - texture, the leading structural unit of which is a trill;
texture-allusion - texture, which is presented only as an allusion to some textures, i.e. perceived as their blurry projection;
texture-fermentation - staccato, "markat", "legate", etc. multiple "sweeping" of two or more relatively closely spaced tones, harmonic intervals, chords, reminiscent of the process of fermentation, boiling of a viscous liquid, on the surface of which regular and irregular, uneven-pitched and single-pitched "tones-bursts", "intervals-bursts" constantly or alternately appear and "burst chords";
(dictionary)
Texture- the nature of the presentation of the musical material of the work (its musical fabric).
register, range, belonging to a musical warehouse, etc.
Music warehouse- the most typical way of presenting the material.
(monody, from Greek. (Greekpoly-many, phonyo- (Greekhomos-equal) -
monos-one and ode-singing) sound) - a combination of a delivering voice with harmonica
exactly independent accompaniment
complicated one- winged figurative definition - The primacy of the vertical
moose- presentation of melo-.- division - I respect the conversation - above the horizontal.
dii parall. intervals, shchiv themselves and do not interrupt -
chords (thickened between interlocutors). Variety -
lodia, melodic layer) (Conditionally) the supremacy of the horizon- chord-harmony-
umbrellas over vertical. chesky warehouse is an
cord invoice at
Two types of polyphony: lack of expressive
contrast(intonational leading voice. individual voices), .
imitation(imitation),
general melodic turns.
heterophony(an intermediate warehouse between polyphony and complicated monophony. See below pp. 50-51).
In works of instrumental music (piano, in particular) of a homophonic warehouse, there are 4 Types of Textured Harmony Transformation(we can say 4 types of harmonic textures), (Yu. Tyulin. Short theoretical course of harmony. M., 1960):
- harmonic figuration, - all kinds of arpeggiation. (This is the texture of most lyrical plays, romances).
- rhythmic figure,- repetition of chords in a certain rhythm, determined by the genre (Chopin. Prelude e moll).
- color overlay,- duplication of chord sounds (from 5-6 voices in the harmonic fabric to 16 voices (-cis moll Rachmaninoff prelude, reprise) and more),.
- melodic figuration- melodicization of the harmonic fabric by the introduction of thematically significant echoes. (Schumann. Fantastic plays. Why?.)
In one theme, there may be a mixture of harmonica types. textures (types of texture transformation of harmony).
The means of melodic figuration are non-chord sounds.
(Melodies built only on the sounds of chords are not numerous).
4 types n.a. sounds.
On strong time (tact or metric
shares) - detention, - no. sound that delays
appearance of a chord tone:
H 
and weak time - auxiliary,
–
singsong:
- passing, - no. sound in step
(
gamma-shaped) movement:
- lift, - no. sound appearing
before your chord:
All non-chord sounds are adjacent (i.e., in a second ratio) to the chord.
Types of polyphony of Russian folk songs
Lit .: L.S. Mukharinskaya. In search of a modern look. Sov.mus..1969.p.93-96.
V.M. Shchurov. The main types of Russian folk song polyphony. Tbilisi, 1985.
N. Vashkevich. heterophony. Manuscript. Method. cabinet. Tver. 1997
Bourdonnoye(pipe) singing, singing on sustained (pedal) sound. An early form of polyphony.
heterophony(from Greek heteros-other; different sound , discord), - polyphony, formed by variant-ornamental or melismatic types of undertones to the main melody. Heterophony is the oldest and most stable type of Russian peasant folk song polyphony, which retains its leading significance to this day.
Almost all polyphonic songs of the DV disc IVAN KUPALA (1999) are heterophonic. These are folk songs recorded from folklore rural ensembles different regions Russia (from the Arkhangelsk region to Astrakhan), and presented with musical accompaniment of a synthesizer (A noteworthy example of the use of folk songs in pop music, an example of the popularization of folklore).
The stratification of the melodic line, the “blurring” of the melodic contour, the “vibrating” sound of second “influxes” is a unique colorful and coloristic phenomenon of the heterophonic polyphony of the Russian peasant song. But color is outer side. The semantics of heterophony in a different way. Often heterophonic "beams" accentuate the metro-rhythm of the chant. In lyrical songs, their dissonance concentrates the tension of choreic intonations. In songs with dramatic content, heterophonic stratification “is perceived as underlining,” notes I.I. Zemtsovsky, - as a kind of oral "italics" of the most significant fragments of the text.
The wedding song “In the hallway” (Nelidovsky district, recorded by I.N. Nekrasova) is an example of the so-called “dotted” heterophony:
In The Organized Songbook ( http://intoclassics.net/news/2010-10-16-19094) these are the songs: “Among the Flat Valley”, “Down the Volga River”, “Ivushka”.
In theory textbooks, voicing is a kind of polyphony, the polyphony of folk song polyphony. In contrast, heterophony is attributed to a monophonic warehouse, or rather, a complicated monophony (forming, as it were, a thickened melody, a melodic complex, a melodic layer).
Singing with "eyeliner"- a choral two- or three-headed voice with an upper solo voice-liner contrastingly opposed to the main melody, counterpointing the main melody (often challenging the role of the leading voice with it).
An example of an eyeliner - “Here is a daring troika rushing”, lyrics by F. Glinka; "Chapaev the hero walked around the Urals."
Singing "second"(to repeat in a third) - the simplest tape terts (less often, in a sixth) two-voice.
Examples of the second - "Thin mountain ash", "Zorka-Venus", "At dawn, at dawn", "It's not the wind that bends the branch."
Presumably, the last three types of polyphony (voice, lead, second) appeared in the folk song relatively recently (3-4 centuries ago) and were established under the influence of urban song and the practice of temple partes singing.
Kant warehouse singing, homophonic, with chord-harmonic resonance for each tone of the melody. Kant is a genre of urban folklore. Kantian singing developed under the influence of Western European musical (originally Polish) culture. For cant, a 3-voice with parallel is typical. into a third by the movement of the upper voices and the bass, creating a harmonic support. Kant is characterized by square structures. Examples of melodies close to cant: "Soldiers, bravo guys",
“Donets-well done”, “Fly, falcons, eagles”,
At the end of the 19th and in the 20th century, new forms of polyphony appeared. Stylistically, they are heterogeneous:
Folklorists note that in our time you can hear the performance folk singers old song in two versions: in its inherent monophonic sound and in the polyphonic "modern".
Texture in music (from lat. facere - to do) - the manner of technical and artistic work in musical presentation composers, for example. F., or work, contrapuntal - in an essay that is distinguished by the independence and relief of each voice; F. harmonic - in which the chord sound combination prevails.
Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron. - St. Petersburg: Brockhaus-Efron. 1890-1907 .
See what "Texture in music" is in other dictionaries:
The Latin word "facturo" means processing, making, and in a figurative sense, a device. Perhaps this is the last word and will best define what texture is in music. This is the warehouse itself, the arrangement of the musical fabric, the totality of its elements ... Music dictionary
- (lat. factura doing, creation). 1) a detailed description of the sold goods with the designation of prices; invoice or invoice. 2) plan, processing of parts of a musical work. 3) among the French: register in the authorities. Dictionary foreign words included in the ... ... Dictionary of foreign words of the Russian language
- (from lat. factura processing) ..1) in music, a specific sound image of a work. The components of the texture are timbre, register position, voice leading, etc.2)] In the visual arts, the nature of the surface of a work ... Big Encyclopedic Dictionary
INVOICE, invoices, female. (lat. factura work). 1. only units originality artistic technique in poetry, music, painting or sculpture (claim). It is very difficult to imitate the texture of Pushkin's verse. 2. Inventory of the sent ... ... Dictionary Ushakov
- (lat. factura manufacturing, processing, structure, from facio I make, carry out, form; German Faktur, Satz warehouse, Satzweise, Schreibweise manner of writing; French facture, structure, conformation device, addition; English facture, texture, ... … Music Encyclopedia
texture- uh. 1) only units. The originality of artistic technique in works of art. The texture of the painting. Symphony texture. [Lomonosov] was the first to establish the texture of the verse, introduced into the Russian poem the meters inherent in the spirit of the language (Belinsky). 2) only units ... Popular dictionary of the Russian language
- (from Latin factūra processing, structure) the nature of the surface of a work of art, its processing in the visual arts, the originality of artistic technique in poetry, music, painting or sculpture. Also under the invoice ... ... Wikipedia
s; and. [from lat. factura processing, structure] 1. The nature of processing, the structure of which l. material that determines its appearance. Smooth, fleecy f. fabrics. Interesting f. tree. F. glass, granite. Reproduce the texture of marble. Handle... ... encyclopedic Dictionary
- (from lat. factura - processing, structure) in the visual arts, the nature of the surface of a work of art, its processing. In painting, F. is the nature of the paint layer: for example, “open” F. (wide stroke, uneven layer of paint) ... Great Soviet Encyclopedia
This term has other meanings, see Warehouse (meanings). Warehouse (German Tonsatz, French écriture, English texture) in music, the principle of adding voices or / and consonances, refereed by their musically logical and technical compositional function. ... ... Wikipedia
