Imitation (from lat. imitation - imitation) - holding one andthe same melody in different voices. Names adopted in Russia simulation elements:
proposta(Italian Progo sta (P ) - sentence) - beginning voice;
risposta(Italian risposta (R ) - answer) - imitating voice (the same melody, stated in another voice);
counterposition - counterpoint to the imitating voice (givesin the first voice at the end of the simulated melody).
In the literature (both foreign and domestic) there are also other designations of the main elements of imitation (mutualderived from logic): antecedent (preceding), consequent(subsequent)
The number of votes participating in the simulation must be at leasttwo. The upper limit is basically unlimited. In the latest music, imitative forms are known, covering more than 40Losov (Schnittke). But even in earlier, for example, the Renaissance artIn fact, imitation compositions were sometimes created for a hugenumber of votes (36, 24). Imitations can be accompanied by free votes.
AT simulation characteristic includes:
1) entry interval rispo sty,
2) entry distance ,
3) simulation direction (up or down).
Simulation interval any is possible. There are, however, polyphonic forms with strictly defined imitation intervals:fugue is characterized by fourth-quint imitations (in exposition), in Inventions are dominated by octave imitations.
There are compositions in which various indicators of imitations are “played out”.
1. In Bach's "Goldberg Variations" every third variation is a canon with successively increasingXia with the interval of entry of the risposta (from unison to nona). prototypefor this - in Renaissance music.
2. Do Okegema in Mass " Prolationum » (cm. Simakova N.Vocal genres of the Renaissance. Appendix No. 6), where each part is written in the canonical technique, the interval of imitations is also consistently expanded (from unison to octave).
3. In Canonical Mass of Palestrina Repleatur os meum » (cm.: Simakova N. Vocal genres of the Renaissance. Appendix No. 20) from the first to the last part, the imitation interval is sequentially reduced - from octave to unison. In the same mass of Palestrina, moreover, a successive diminution is given entry distances - from eight semibrevis to one (in modern notation, semibrevis is equal to one whole note).
Different indicators of imitations have polyphonic works of different historical eras. For the polyphony of strict writing, stretta imitations are characteristic: the distance of entry is half a measure-a measure, one and a half measures, a maximum of 2 measures. At the same time, at the beginning XVI in. imitations in unison-octave are spreading, in the second half of the century (Palestrina) - fourth-fifth (pre-fused) imitations. In the polyphony of free writing, a monophonic proposta can be very long.
2. Classification of imitations
Systematics of imitations is carried out according to different criteria:
a) simulation duration ,
b) simulation accuracy,
c) melodic-rhythmic integrity or separation,
d) material transformation in the rispost,
e) the number of simulated topics,
f) a combination of the listed types .
a) By simulation duration there are two types: a simple imitation reproduction of only the initial part of the imitated voice, without opposition; canonical imitation - long continuous imitation, including counteraddition. For examples of simple imitations, see the two-voice invention C- dur Bach (No. 1), canonical imitations - in a two-part invention with - moll (No. 2).
b) From the point of view simulation accuracy subdivided strict and free imitations. Strict imitations preserve the rhythm and staging of the theme. Free imitations allow one or another of their changes.
in) Separation of melodic-rhythmic parameters in imitation. There are two types. One - imitating only the rhythmic pattern of the theme, without reproducing the melodic line - rhythmic imitation. There are examples both in the music of the past centuries and in the latest music. Another type - imitation of only the pitch parameter, without preserving the rhythmic pattern - sound imitation. Characteristic of the latest music, in particular serial.
G) Simulation with transformation : in inversion, rakokhod, rakhod inversion, in rhythmic increase or decrease
e) Number of propos c t - single-dark imitations, double, triple, etc.
3 . Canon
Unlike imitation, the concept of "canon" can also refer to the form independent work written in the technique of continuous imitation
Canon types differ:
1) by the number of props - with one (simple or single) and with several (double, triple);
2) on the basis of finiteness or repeatability - finite and infinite;
3) by equality or inequality of entry distances — I and II discharge; four) by the nature of imitation - normal and with transformations;
5) according to the degree of similarity risposta and proposta - full and partial, as well as strict and free. The latter - with a variable interval of entry or with inaccurate imitation.
-final canon
The canon received this name due to the fact that at a certain stage the moment of imitation of one voice by another stops, and the canon is interrupted, goes into a free formation or receives a cadence.
The outline of the canon (with a minimum extent) is as follows:
A__________ B_ _ _ _ _ _ _ _ C======== D—————……
A__________ B_ _ _ _ _ _ _ C========…….
However, the real magnitude of the scale of the canon, its duration in music strict style, of course, much more. In general, it depends on the total number of simulated departments and on the size of the initial department. But in any case, this type of canon has an ending, which is evidenced either by a cadenza or by the introduction of new material that does not participate in the process of imitation, the appearance of which violates the established order of voices.
In the case when the canonical exposition does not capture the entire topic, but concerns only a part of it, a fragment, it is customary to use the term "canonical imitation" and talk about the "canonical intro" of voices ; if the canonical presentation extends to the entire topic (or part of the composition), it is more correct to speak about canon, which, in relation to the music of the period under consideration, is denoted by the wordFuga.
Final canon (fuga finita ) can be of various types: single-dark and multi-dark, in direct and inverted form, in circulation (inversion), as well as in increase, in decrease, with zero time distance, etc.
Examples:
1. Johannes Okegem. Mass "Prolationum". Pleni (Simakova, p. 162) - the final mensural canon in seventh (* mensural- a canon in which parts of the voices are recorded in different scales (i.e., sizes))
2. Josquin Deprez. Chanson "Petite camusette" ”(Simakova, p. 303) - a two-voice canon (in 3 and 4 voices) is part of a 6-voice warehouse, marked by simple imitation.
3. Johann Sebastian Bach. Two-Part Invention #2 c-moll - the canon is inscribed in the form of a "period of the unfolding type" (baroque one-part form).
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Introduction
Polyphony - (from the Greek polus - many and ponn - sound, voice; lit. - polyphony) - a type of polyphony based on the simultaneous sounding of two or more melodic lines or melodic voices. “Polyphony, in its highest sense,” pointed out A.N. Serov, - must be understood as a harmonic fusion of several independent melodies, going in several voices at the same time, together. In rational speech it is inconceivable that, for example, several persons speak together, each his own, and that this does not result in confusion, incomprehensible nonsense, but, on the contrary, an excellent general impression. In music such a miracle is possible; it constitutes one of the aesthetic specialties of our art.” The concept of "Polyphony" coincides with the broad meaning of the term counterpoint. N.Ya. Myaskovsky referred to the field of contrapuntal mastery the combination of melodically independent voices and the combination of several thematic elements at the same time.
Polyphony is one of the most important means of musical composition and artistic expressiveness. Numerous techniques of polyphony serve to diversify the content of a musical work, the embodiment and development of artistic images; By means of polyphony, musical themes can be modified, compared and combined. Polyphony is based on the laws of melody, rhythm, mode, harmony. The expressiveness of polyphony techniques is also influenced by instrumentation, dynamics and other components of music. Depending on a certain musical context, the artistic meaning of certain means of polyphonic presentation may change. There are various musical forms and genres used to create a work of a polyphonic warehouse: fugue, fughetta, invention, canon, polyphonic variations, in the 14-16 centuries. - motet, madrigal, etc. Polyphonic episodes (for example, fugato) are also found in other forms.
1. The concept of imitation in polyphony
A type of polyphony in which jointly sounding voices alternately (at different times) carry out the same theme. Recall that this type of polyphony got its name from the Latin term meaning imitation.
The independence of voices in imitation polyphony is relative. But due to the fact that melodically identical (or changed according to the norms accepted in musical practice) voices sound not simultaneously, but with a shift in time, the contrast between them as an integral feature of a polyphonic warehouse is certainly present.
Imitative polyphony has many varieties, among which the most important are various types of simple and canonical imitation, including special varieties based on the imitating voice carrying melodic material in increase, decrease, in circulation or in circulation. On the principles of imitative polyphony, such forms as canon, fugue, fugetta, fugato, some inventions, polyphonic preludes, etc. are built. In these forms, the theme repeated in different voices is considered as an intonation source, an impulse for the melodic development of voices and the form as a whole. A polyphonic device based on the conduction (repetition) of melodic material, which was first heard in one voice, by other voices at the same or changed pitch. The Latin term imitatio means imitation. The melodic commonality of voices, which gives figurative integrity to polyphony, at the same time makes the sound diverse, thanks to the possibility of register, modal, rhythmic and other transformations of the theme.
2. Types of imitation
The characteristics of an imitation is based on the determination of three parameters of its structure: the interval of the introduction of the imitating voice (as a rule, the interval between the first sounds of the initial and imitating voices), the direction of the entry of the imitating voice (i.e., the introduction of the imitating voice above, below the initial voice or at the same pitch ), the imitating voice entry distance (i.e. how much later the imitating voice enters, otherwise the shift in imitation). For example: imitation in the upper octave with a shift of two measures.
The two main types of imitation have the following names - simple and canonical. Their difference is related to the duration of imitation: the imitation voice repeats only the monophonic part of the melody (simple imitation) or there is a continuous imitation of the oppositions formed in the initial voice (canonical imitation).
Transformations of the theme in the imitating voice lead to the emergence of special varieties of imitation: in circulation, in increase, in decrease, in rakokhod. The variety of types and spectacular sound make imitation one of the most common contrapuntal techniques in music of different eras and styles. Numerous forms are based on imitation, including canons, fugues, fughettas, fugatos, as well as such specific techniques as stretta, canonical sequent, endless canon, etc.
Imitation in circulation. Special variety imitation, in which the imitating voice repeats with the opposite intonational orientation a melody that sounded earlier in another voice. With such a transformation, the step size of the intervals is preserved, but the ascending intervals become descending, and the descending intervals become ascending. This kind of imitation is possible in both simple and canonical imitation. The technique has been widely used in composing practice since the Renaissance. It is often used in combination with another special kind of imitation - in magnification.
Imitation in circulation requires special skills when composing or performing educational tasks, since this type of imitation must be based on intonations and rhythms, which, after transforming the melody by the imitating voice, leave it recognizable. Otherwise, the meaning of using the imitation technique is lost, the effect of imitation, which is the essence of the imitation development of musical material, is weakened.
Imitation in magnification. A special kind of imitation, in which the imitating voice repeats for longer durations a melody that sounded earlier in another voice. The rhythmic increase in the sounds of the melody of the initial voice can occur two or four times. The use of imitation in magnification is possible both in two-voice and in three-voice. In the latter case, the durations sequentially, as the voices enter, increase first by a factor of two, then by a factor of four, fixing the listener's attention on the increasingly emphasized, "enlarged" sound of the melodic material. Often, imitation in magnification is used at climaxes to achieve a striking effect in the final presentation of the theme.
When analyzing examples for canonical imitation in magnification, it should be taken into account that the newly entering voice, pursuing the theme with longer durations, accordingly has longer links. This circumstance technically complicates the reception, requires compliance with additional rules. It is possible to use imitation in magnification in combination with another special kind of imitation - in circulation.
Imitation in reduction. A special kind of imitation, in which the imitating voice repeats in shorter durations a melody that sounded earlier in another voice. Rhythmic reduction occurs, as a rule, twice. This type of imitation has not been widely used, probably because there is no particularly great effect from carrying out the theme in a rhythmically “accelerated” sound. Nevertheless, in training examples for analysis and in creative tasks, imitation in reduction can take place.
Shellfish imitation. A special kind of imitation in which the imitating voice repeats from the end to the beginning a melody that sounded earlier in another voice. Reception occurs infrequently and is rather complicated in technical terms. It is known that for any kind of imitation, the principle of "recognizability" is especially important (recall that in translation the term imitation means imitation).
It is especially necessary to observe it if the melodic material in the imitating voice is subjected to various transformations. Therefore, when using imitation in a rakokhod, it is necessary to provide for such a rhythmic organization of the melody and its interval structure, which in the "return" movement will retain the most vivid (recognizable) melodic and rhythmic elements of the original melody.
A fairly complex polyphonic technique of rakokhodnaya imitation can be even more complicated by a combination with imitation in circulation, which is typical, for example, for polyphonic works of the 20th century.
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 individual 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.
In the above scheme, the letter A denotes the first link of the canon (its monophonic beginning), respectively, B is the second link, C is the third. According to the number of voices, two-voice, three-voice, four-voice canons are distinguished. By the number of topics - simple (on one topic), double (on two topics) and even triple (on three topics). The terms "final canon" and "infinite canon" refer to such varieties of the canon that either do not contain in their development a return to the original material (final canon), or at a certain stage of development return the canon to its initial link and repeat the already sounded musical material ( infinite canon).
The analysis of the canon is based on the same characteristics as in the simple simulation (interval, direction, distance of entry of the rispost), but with the addition of the number of links in the canon.
The figurative and artistic specificity of the canon lies in the thematic unity of voices and, consequently, in the melodic integrity of the form. For centuries of history development of the canon, its musical notation had various forms. There were recording options when the entry of the risposta was not fixed (“mysterious” canons), the performer was asked to unravel, decipher the canon, and find the place of entry of the imitating voice himself. In some cases, such canons were "adapted" to different options the entry of the risposta, which made it even more difficult to decipher the unusual entry.
Canonical imitation. A kind of imitation in which the imitating voice repeats not only the monophonic part of the melody, but also the opposition appearing in the initial voice. Such imitation is often called continuous.
Let us clarify that the new element of canonical imitation that has appeared - the link, in comparison with simple imitation, is an additional element and denotes the repeating parts of canonical imitation. In the scheme above, three sections are repeated - A, B, C, and, therefore, such canonical imitations have three links in their composition. The initial link can be very short in duration, for example, it can be only a fraction of a measure. In this case, the subsequent links will also be small, and their number can reach a significant number.
The characteristics of the canonical imitation include the same parameters as the simple imitation (interval, direction, distance of the imitating voice entry), but with the addition of the number of links.
Cantus firmus. latin expression Cantus firmus (C.f.) in translation means strong, firm singing. So it is customary to call the main, unchanging melody, which is the basis of a polyphonic work. C.f. could represent the tune of a chorale or borrowed from a secular musical tradition. Ancient polyphonic forms were built on the basis of the specific technique of cantus firmus. For example, in masses, the Cantus firmus chant (as a rule, Gregorian chant) set out in large durations served as a melodic source for one of the parts, acquiring in other parts new interpretation, developing within the framework of a different contrapuntal technique.
In the training exercises, Cantus firmus means a melody chosen for polyphonic processing, which can be borrowed from a professional or folk music or composed specifically for educational purposes.
It is usually marked with the symbol Cantus firmus, remains unchanged during polyphonic processing, and serves as a kind of melodic “core” of a polyphonic texture.
Final canon. A kind of canon in which the development of thematic material, based on a "chain" of links that form a single intonation line, ends with a cadenza or passes into further polyphonic (free) development. The term was introduced to distinguish between two concepts - finite and infinite canons. In the last form - the infinite canon - the original material returns at a certain moment, "intrudes" into the development of the canon, forming a specific structure with the possible repeated repetition of previously sounded material, with characteristic figurative and technical features.
The final canon, having become widespread in a variety of stylistic periods of development musical art, is an attractive polyphonic technique for modern composers as well. Final simple (on one topic) canons are especially simple in technical terms, since they are composed according to the rules of simple counterpoint. It is these canons that are included in creative tasks in the process of learning to master polyphony.
The characteristic of the final canon is similar to that of the canonical imitation and includes such elements as spacing, direction, distance of entry of the risposta, and the number of links of the canon.
Conclusion
Having studied this topic It can be said that polyphony is one of the most important means of musical composition and artistic expression. Numerous techniques of polyphony serve to diversify the content of a musical work, the embodiment and development of artistic images; By means of polyphony, musical themes can be modified, compared and combined. Polyphony is based on the laws of melody, rhythm, mode, harmony. The expressiveness of polyphony techniques is also influenced by instrumentation, dynamics and other components of music. Depending on a certain musical context, the artistic meaning of certain means of polyphonic presentation may change. There are various musical forms and genres used to create a work of a polyphonic warehouse: fugue, fughetta, invention, canon, polyphonic variations, in the 14-16 centuries. - motet, madrigal, etc. And also after analyzing educational literature we can say that imitation polyphony has many forms and varieties.
Bibliography
1. Osipova V.D. Polyphony. Tutorial in two parts. Part 1. polyphonic techniques.
2. Ushakov D.N. Dictionary Ushakov. 1935-1940.
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Polyphony (from the Greek πολυ - “many”, φωνή - “sound”) is a type of polyphonic music in which several independent equivalent melodies sound simultaneously. This is its difference from homophony (from the Greek "homo" - "equal"), where only one voice is leading, while others accompany it (as, for example, in Russian romance, Soviet mass song or dance music). The main feature of polyphony is the continuity of the development of musical presentation, fluidity, avoidance of periodically clear division into parts, uniform stops in the melody, rhythmic repetitions of similar motifs. Polyphony and homophony, having their own characteristic forms, genres and methods of development, are nevertheless interconnected and organically intertwined in operas, symphonies, sonatas, concertos.
There are two stages in the centuries-old historical development of polyphony. Strict style - polyphony of the Renaissance. It was distinguished by its harsh coloring and epic slowness, melodiousness and euphony. It is these qualities that are inherent in the compositions of the great polyphonic masters O. Lasso, J. Palestrina. The next stage is free-style polyphony (XVII-XX centuries). She introduced great diversity and freedom into the intonation structure of the melody, enriched harmony and musical genres. The polyphonic art of the free style found its perfect embodiment in the works of J. S. Bach and G. F. Handel, in the works of W. A. Mozart, L. Beethoven, M. I. Glinka, P. I. Tchaikovsky, D. D. Shostakovich.
In composer's work, two main types of polyphony are distinguished - imitation and non-imitation (different-dark, contrast). Imitation (from the Latin - "imitation") - carrying out the same topic alternately in different voices, often at different heights. An imitation is called accurate if the theme is repeated completely, and inaccurate if there are some changes in it.
Techniques of imitation polyphony are varied. Imitations are possible in rhythmic increase or decrease, when the theme is transferred to another voice and the duration of each sound increases or shortens. There are imitations in circulation when ascending intervals turn into descending intervals and vice versa. All of these varieties are used by Bach in The Art of Fugue.
A special kind of imitation is the canon (from the Greek "rule", "norm"). In the canon, not only the theme is imitated, but also its continuation. In the form of a canon, independent pieces are written (canons for piano by A. N. Scriabin, A. K. Lyadov), parts great works(finale of the sonata for violin and piano by S. Frank). There are numerous canons in the symphonies of A. K. Glazunov. Classical examples of the vocal canon in opera ensembles are the quartet "What a wonderful moment" from the opera "Ruslan and Lyudmila" by Glinka, the duet "Enemies" from the opera "Eugene Onegin" by Tchaikovsky.
In non-imitation polyphony, different, contrasting melodies sound simultaneously. Russian and Eastern themes are combined in the symphonic picture "In Central Asia» A. P. Borodin. Contrast polyphony has found wide application in opera ensembles (the quartet in the last scene of the opera Rigoletto by G. Verdi), choirs and scenes (Khovansky's meeting in the opera Khovanshchina by M. P. Mussorgsky, the picture of the fair in the opera The Decembrists by Yu. A. Shaporin).
The polyphonic combination of two melodies after its initial appearance can be given in a new combination: the voices exchange places, that is, the melody that sounds higher is in the lower voice, and the lower melody is in the upper one. This technique is called complex counterpoint. It was used by Borodin in the overture to the opera Prince Igor, in Glinka's Kamarinskaya (see example 1).
In contrasting polyphony, no more than two diverse themes are most often combined, but there is a joint sound of three (in the overture to the opera Die Meistersingers by R. Wagner) and even five themes (in the finale of Mozart's Jupiter symphony).
The most important of the polyphonic forms is the fugue (from the Latin for "flight"). The voices of the fugue seem to follow each other. A short, expressive and easily recognizable theme with each appearance is the basis of the fugue, its main idea.
A fugue is composed for three or four voices, sometimes for two or five. The main technique is imitation. In the first part - the exposition, all voices sing the same melody (theme) in turn, as if imitating each other: first one of the voices enters without accompaniment, and then the second and third follow with the same tune. Each time the theme is carried out, it is accompanied by a melody in a different voice, called the counterposition. In the fugue there are sections - interludes, where the theme is absent. They enliven the flow of the fugue, create a continuity of transition between its sections (Bach. Fugue in G minor. See example 2).
The second part - the development is distinguished by its diversity and freedom of structure, the flow of music becomes unstable and tense, interludes appear more often. Here one encounters canons, complex counterpoint and other techniques of polyphonic development. In the final part - the reprise, the original stable character of the music is resumed again, the whole implementation of the theme in the main and close keys. However, the fluidity inherent in polyphony, the continuity of movement, penetrates here as well. The reprise is shorter than the other parts, it often has an acceleration of the musical presentation. Such is the stretta - a kind of imitation, in which each subsequent introduction of the theme enters before it ends in another voice. In some cases, in the reprise, the texture is condensed, chords appear, free voices are added. Directly adjacent to the reprise is a coda summing up the development of the fugue.
There are fugues written on two, and extremely rarely on three themes. In them, topics are sometimes presented and imitated simultaneously, or each topic has its own independent exposition. Fugue reached its full flowering in the works of Bach and Handel. Russians and Soviet composers included the fugue in opera, symphony, chamber music, in cantata-oratorio compositions. Special polyphonic works - a cycle of preludes and fugues were written by Shostakovich, R. K. Shchedrin, G. A. Mushel, K. A. Karaev and others.
The following stand out from other polyphonic forms: fughetta (diminutive of fugue) - a small, modest fugue in content; fugato - a kind of fugue, often found in symphonies; invention; polyphonic variations based on the repetition of an unchanged theme (in this case, accompanying melodies pass in other voices: passacaglia by Bach, Handel, Shostakovich's 12th prelude).
Sub-voiced polyphony is a form of Russian, Ukrainian, Belarusian folk polyphonic song. During choral singing, a branch from the main melody of the song occurs and independent versions of the melody are formed - undertones. In each verse, more and more beautiful combinations of voices sound: they, intertwining with each other, then diverge, then again merge into one with the voice of the lead singer. Expressive possibilities subvocal polyphony was used by Mussorgsky in Boris Godunov (prologue), Borodin in Prince Igor (choir of villagers; see example 3), S. S. Prokofiev in War and Peace (soldiers' choirs), M. V. Koval in the oratorio "Emelyan Pugachev" (peasant choir).
Municipal state educational institution of additional education for children
"Sychevskaya Children's School of Arts"
Methodological report
MAIN TYPES OF POLYPHONY AND GENERAL PRINCIPLES OF WORK ON IT IN A CHILDREN'S MUSIC SCHOOL.
( in piano class)
Prepared by: piano teacher
Ermolaeva
Oksana Alexandrovna
Sychevka
I. The important role of polyphony in the overall musical development of the student.
II. types of polyphony.
2. Imitation (canon, invention, fugue).
III. Features of the form of invention and fugue. Fugue work.
IV. Conditions for all types of polyphonic works, necessary for understanding the melodic lines of voices and their totality. (Work with the student in the classroom).
For the general musical education of a student of a children's music school, the development of his polyphonic hearing is extremely important. Without the ability to hear the entire musical fabric of the work, to follow all the lines of the musical presentation during the game, their coordination, subordination to each other, the performer cannot create a full-fledged image. Working on polyphonic works is an integral part of learning piano performing arts. This is due to the enormous importance that developed polyphonic thinking and mastery of polyphonic texture. Therefore, the ability to hear polyphonic fabric, perform polyphonic music, the student develops and deepens throughout the training.
The basic principles of working on a work are also preserved when studying polyphonic music, but at the same time, many of the requirements for the student take on a slightly different shade. The characteristic most important feature of polyphony - the presence of several simultaneously sounding and developing melodic lines - determines and main task learner: the need to hear and lead every voice polyphonic work individually and the totality of votes in their interconnection. As a result, what is associated with the maintenance of a melodic line is becoming increasingly important and requires special attention from the teacher and student.
The student begins to get acquainted with polyphony from the first lessons, due to which, by the senior classes of the school, he usually acquires certain working skills. But sometimes you have to meet with the lack of even elementary literacy in this regard among students even in the fifth or sixth year of study. As a result, the meaningfulness of execution is not ensured. A polyphonic work turns out to be only somehow memorized - and that's all. In such a case, it becomes necessary already at this relatively late stage of the lesson to explain the very principle of polyphonic presentation, to acquaint him with characteristic techniques; you have to learn to hear the lines of individual voices and their simplest combinations, learn to lead the voice, perceiving and transmitting its expressiveness in the game.
Shortcomings in the performance of polyphonic music are characteristic of students who played works of this type. The reason for these gaps is for the most part in the fact that the teacher did not draw enough attention of his student to the richness and expressiveness of the polyphonic pieces on which they had previously worked, did not teach him to delve into the author's intention, to understand the meaning of each melodic line, but dealt with him mainly with questions of the technology of their performance. All the efforts of the student were aimed at overcoming the difficulties caused for him only by the method of presentation. This led to the formal playing of Bach's inventions and symphonies and other polyphonic compositions.
When playing a homophonic-harmonic or polyphonic piece, the student needs to understand the logic of the movement of texture elements, find its main and secondary lines, build a musical perspective of different sound plans.
In one case, in the course of the bass of a homophonic-harmonic piece, you need to find an undertone, in the other, you need to hear and brighter perform the sounds in the chords that form the melodic move. The structure of a broken line can be represented as a hidden double voice. The developed voices of a polyphonic piece are revealed only during the performance of each with its characteristic sound. Imagining the mutual subordination, mutual support and at the same time the contrast of all these elements of the musical fabric, the performer can create a lively sound picture.
Consistently getting acquainted with different types of polyphonic works, the student gets used to analyze, determine the melodic lines of voices, the meaning of each, hear their relationship and find the means of performance, the diversity of their sound.
Polyphony (sound, voice) - a type of polyphony based on the simultaneous combination of two or more independent melodies. Types of polyphony - imitation, contrast and subvoice. There are three periods in the history of polyphony. The main genres of the early polyphonic period (9th - 14th centuries) are organum, motet. Renaissance polyphony or choral polyphony of a strict style, characterized by reliance on diatonic, smooth melody. Non-dynamic, smoothed rhythmic pulsation; the main genres are mass, motet, chanson. Free-style polyphony (17th-20th centuries) is predominantly instrumental with a focus on secular genres: toccatas, richercats, fugues and others. Its features are associated with the evolution of harmony, tonality, in the 20th century. – also with dodecaphony and other types of compositional technique. /New Illustrated Encyclopedia 2003/
types of polyphony.
Polyphony is usually divided into imitation and non-imitation types. Non-imitative polyphony combines subvocal polyphony and contrast. An example VOICE POLYPHONY can serve as processing folk songs, in which the main melody is accompanied by undertones imitatively associated with the main voice. For example, such plays from Nikolaev's "School" as "On the Mountain, Mountain" (arranged by Lysenko, arranged by Berkovich). A play written in this style is easy to imagine performed by a choir. Here the student can easily distinguish the main melody from the secondary melodies.
An example of CONTRAST polyphony can be ancient dances, small clavier pieces such as small preludes by J.S. Bach. In works of this type, the presentation can be two or three voices, and even more voices, but not strictly maintained. The voices are "opposed" to each other in terms of their meaning (expressiveness, development), they represent independent melodic lines and sometimes cover a fairly wide part of the keyboard. Usually in these plays main voice- top. For example, a number of two-part pieces from Anna Magdalena Bach's Notebook, G. Purcell's Aria.
W. Mozart "Minuet"F - dur/"School" Nikolaev
In three-part pieces, as a rule, one voice is distant, and the other two are in close proximity and are more dependent on each other (J. S. Bach " Notebook Anna-Magdalena Bach, Minuetg - mall, "Polonaise"g - mall № 5.
But quite often there are compositions in which voices are more interconnected, provide mutual “support”, transferring to each other the right to speak in the foreground with their own expressive element of melody. Most often, this element is a more mobile motif, which creates an almost continuous movement in the play. For example: J. S. Bach "Minuet"G - durNo. 3 from "A. M. Bach's Music Notebook", "Little Preludes"C – dur № 2, g- mallNo. 10, etc.
In a number of Bach's preludes one can notice direct imitation: the voices, "alternately adopting" the same melodic element, form a kind of "roll call" among themselves. For example, "Little Preludes"d – mall, E - dur(No. 3, No. 5, II notebook),a - mall(No. 12, 1 notebook) and others.
IMITATION - (from lat.imitation- imitation. one). Imitation of someone or something, reproduction; fake. 2). In music, the exact or modified repetition in one voice of a melody that had previously sounded in another voice. The basis of the canon, risercart, fugue, invention and other forms of polyphony. / New illustrated encyclopedia. 2003, Vol. 7/.
IMITATION polyphony includes such forms as canon, invention, fugue. In such compositions, the voices are equally developed, "full-fledged", but also obey the law of "Mutual Compliance" in the construction of the ensemble.
CANON - a polyphonic form based on exact imitation, in which a melody with a given voice enters before it ends in another voice. / New illustrated encyclopedia. 2003, Vol. 7/
In the CANON, the melodic line of one voice is invariably repeated by another, with some "delay". That voice that always starts new phrase, you can imagine the child as a "teacher", and repeating after him - a "student". It is very important to understand the climaxes of melodic phrases, their final declines (both "teacher" and "student"). These moments between voices do not match. Such a mismatch of phrasing shades creates the “coloring” of voices, the contrast of their sound. The activity of the “student” performance depends on the structure of the first motive: it begins with a weak or strong beat. (example)
S. Maykapar, 11 variations from "Variations on a Russian Theme"
L. Beethoven "Canon"
Invention and fugue are forms built on the main musical idea - the theme. The theme, which represents the "main grain" of the work, is usually stated succinctly and determines the character of the music of the piece as a whole.
INVENTION - (from lat.inventory- invention, fiction), a small polyphonic piece of music, in which any particular compositional and technical idea is essential. Known inventions for the clavier J. S. Bach. / New illustrated encyclopedia. 2003. Vol. 7/
INVENTION is not some kind of independent musical form. The name "Invention" (invention, invention) was introduced by J.S. Bach, who wrote for pedagogical purposes a number of plays close in form to fugues or in the form of fugues. Bach himself called three-voice inventions "symphonies", which means "consonance", "joint sound").
But there are still some differences between invention and fugue. For example, a fugue always begins in one voice, with a theme; an invention often begins in two voices, with a presentation of the theme and at the same time counterpoint of another voice (counterposition). Sometimes, instead of the opposition in the two-voice invention, the canonical holding of the theme in another voice is used. In some inventions, the form is two-part with a definite ending to the first movement, while the form of the fugue is closer to three-part, without a clearly defined stop at the edges of the parts: the continuity of movement is distinctive feature fugue structures. There are other discrepancies between these two forms, but in general they are close.
FUGA - a musical work of an imitation warehouse, based on the implementation of the same theme in all voices; highest form polyphonic music. Imitative performances of the theme are echoed by interludes in which the theme does not go through; they are usually built in the form of fugue sequences, written for 2 - 6 or more voices, there are fugues for two, less often for three themes. Fugue examples from Bach, Handel, Mozart and others. /Soviet Encyclopedic Dictionary, 1988/
FUGA - usually the classical structure of the fugue is defined as three-part (exposition, development, reprise). EXPOSITION - showing the theme in all voices, (according to the number of voices in the fugue). Tonal plan - alternation of T andD(less often). The theme held in the main key (T) is called "leader", the theme in other voices is called the answer or "companions". To the first "answer" the counterpoint of the second voice forms a counter-addition. All parts of the fugue (invention) are interconnected by interludes, which are usually built on elements of a theme or counterposition. The meaning of the interlude is not only in linking, but also in developing the material, as well as in communicating the whole piece of a common continuous movement.
DEVELOPMENT is distinguished by tonal instability, greater sound intensity; the topic is often carried out in a different way; the interludes are marked by the nature of the development.
REPRIZE establishes the main key, often begins with the theme in the main key, but not necessarily. Sometimes in this section of the fugue, the technique of "thematic condensation" - strettas is used: canonical holding of the theme. Stretta dynamizes the sound and therefore is also found in developments. After the reprise, a conclusion can also follow, in the process of developing a musical movement of voices that change places: the middle voice can sound higher than the top one, etc. such a presentation is called the crossing of voices. For example, in such Bach inventions as the two-part "Invention"f – mall(9), three-part "Invention"D – dur (3).
There are double and even triple fugues in the senior classes. So, the three-part invention of J.S. Bacha – mall(13) is a double fugue, because it is built on two themes.
I theme
II theme
In a three-part inventionf – mallNo. 9 - (triple fugue) - the composer uses three themes.
In polyphonic works of all types, it is necessary to understand the melodic lines of voices and hear their totality. “Tracking” the movement of the melody of different voices in their totality can be done by giving each voice “individuality”, a characteristic sound, a peculiar coloring.
Only this condition makes it possible to reveal polyphony, and not just the harmony of the fabric when the voices sound together.
The definition by the student in any polyphonic piece of the functions of each voice is achieved:
1. varying degrees of saturation of the sound of voices with dynamics, different timbres;
2. various strokes in the music sheet (ligas, dots, signs of tenuto and accents);
3. non-coincidence in simultaneously sounding voices of phrasing (as, for example, in the canon).
The use of contrasting strokes (one voice -legato, second -nonlegatoetc.) most simply creates the characteristic of the sound of voices and is available to students already at an early stage of education.
In order to find the correct ratio of voices in their “ensemble”, coloring each one accordingly, the student also needs to have some ideas about the peculiarities of the piano sound with its relatively short sound, different timbre and dynamic capabilities of the registers. Many problems with the performance of polyphony on the piano cannot be resolved.
For example, the performance of long durations with a superficial, not deeply extracted sound can lead to their “loss”. The voice expressed by prolonged sounds requires more weighty game. The ratio of moving and sustained voices should be determined in such a way that long sounds do not stop sounding. The bass sound is taken so that it lasts for the right amount of time.
P. Tchaikovsky "An old French song" part I.
The conclusion of the same piece: the main sound -la-
“emerges” only if it is sufficiently saturated and (necessarily) the rest of the voices are attenuated: 
Voices stated at a distance are easier to listen to: the different timbres of the registers in which they are performed create their coloring. It is only necessary to balance the dynamic levels, because the melody in the lower register, with its longer and stronger sound, played as tightly as the voice in the higher register, inevitably falls into the foreground of the sound, regardless of its value.
Voices that are close, in the same register, especially in the part of one hand, easily lose the relief of their melodic lines, without being performed in contrast. For clear voice leading, a dynamic division of voices is necessary here (for example, J. S. Bach Polonaiseg – mall, № 5).
In three-voice works, in addition to the task of different coloring of close voices, it is also important to find their correct correlation with the remote voice. Thus, when performing a theme with a bass voice, it is more important to listen to the top two voices so as not to lose the sonic perspective. (J.S. Bach "Little Prelude"e – mall, No. 7, 1 notebook).
Here, quite often, the two-voice of the right hand is treated as an accompaniment and they do not listen to the expressiveness of the resolved syncopations in the upper voice, but pay all attention to the bass.
Thus, the saturation of the sound of a particular voice depends not only on its "meaning", but also on the register in which they are performed.
From the first year of study, it is necessary to instill in the student the ability to perform a monophonic melody: to hear its length, expressiveness; understand phrasing, feel “breathing”. The smoothness of the melodic line performed legato determines not only the possession of a melodious sound, but also:
1. the correct sound ratio of durations (from long notes, the subsequent ones seem to “flow out” - they begin a little quieter);
2. phrasing of motives starting with a weak beat (such motives contain a desire for a strong beat and should not have an accented beginning);
3. understanding the relationship of small links - motives that form larger structures - phrases, sentences.
In order for a novice student to perceive a number of notes played by him as a melody, he must sing this motive meaningfully. It is easier to achieve this on song material that has a verbal text.
The singing of melodic material is one of the conditions for the development of linear hearing in further work; there are students already playing a piece, knowing it by heart, but not able to sing a melody. In this case, it was not so much musical memory, hearing, but motor skills, motor sensations, and visual memory that worked. It can be said with confidence that the student does not yet know the music of the piece being studied if he cannot sing its melody without playing along.
Orientation of hearing, memorization of a melody by singing (after parsing and initial possession of a piece) must be developed from the first steps of learning. Singing any melody being studied, first with playing it on the piano, then without "help" in the form of playing along; singing a melody with playing an accompaniment instrument or an accompaniment - effective ways student hearing development.
The development of hearing is also facilitated by the playing of ensembles, both homophonic-harmonic and polyphonic, with their clearly expressed presentation of the first and second sound planes. Mastering the diversity of sound also depends on the degree of development of the independence of the student's hands.
The discrepancy between the tasks in the parts of the hands, starting with the presentation of the melody and simple accompaniment, gradually becoming more complicated, leads the student to the need not only to differentiate the movements of the hands, performing their contrasting strokes and durations, but also to create a different “weight” of the hands. The task is to identify in the studied piece the main and secondary, first and second plans of sounding; a brighter timbre in a melody and a softer accompaniment or an undertone. The main "guidance" while working on such a task is the student's hearing. The teacher can help by showing an example "on the contrary" - he plays the piece first with the same sound of both hands, then with the correct "color" of each part. This usually elicits the correct reaction from the student: he correctly determines the meaning and dynamics of each voice. Working then on the piece, the student better coordinates the physical sensations of both hands with the received auditory representations.
But sometimes there are children with insufficiently developed hand coordination. In such cases, a preliminary exercise is useful, which can contribute to the mastery of movements: the child’s hands are located on their knees, the right hand “plays” with fingers in a row, feeling the deep immersion of each finger, and the left, in a mirror image, only touches the knee lightly. The exercise is done at a slow pace. The sensations acquired in this way should be tested and fixed on the keyboard.
By imitating the teacher, the student realizes the role of each voice and achieves the desired coloring. In the process of studying polyphony in high school, the student himself learns to analyze the ratio of voices.
When the voices are distant from each other, and when one of them is more expressive, more developed, it is relatively easy for the student to determine how to combine them with each other. With a close arrangement of voices performed with one hand, the task becomes noticeably more complicated.
First of all, the novice student must learn to understand that the combination of two sounds is not always just an interval, but a combination of two voices, and get an idea of \u200b\u200bwhat the recording of such voices (even if their element) looks like in a part of one hand; calm notes in different directions - a different rhythm, sometimes - distinguishing strokes.
Initially, children encounter such a recording when two or three passing notes sound against the background of a sustained note. The direction of the ear to the search for the appropriate sound is brought up by the ability to hear the combinations formed between sustained and passing sounds, the desire that a long sound does not “extinguish” ahead of time, and the passing one does not drown out the sustained voice.
The methods of work in this case should be aimed at making the student aware of the functions of the voices and hearing them, both individually and in combination. It can be a separate performance of each of the sub-voices. Along the way - singing (both voices are played together - by one student, the other - by the teacher with a change of "parts", or by the student himself, but with both hands). These methods can be used in various plays. For example: P. Krutitsky "Winter"; A. Gedicke "Piece", op. 36 (conclusion). 
Pretty soon, the student faces the problem of performing a more developed two-voice with one hand, when the line of each voice must be shown quite definitely. The task of performing two-voice (and more) in the part of one hand is found in plays of any polyphonic type throughout the schoolchildren's education. The ability to dynamically separate voices is based on the feeling of double weight in one hand.
The initial exercise of the student and the mastery of such a performance technique can be playing chords (intervals, triads with inversions), in which it is necessary to reveal the upper or lower sound (voice) brighter. This is achieved by tightly immersing the weight of the entire hand on the corresponding finger - extracting a "heavy" sound; the finger is then lingered on the key and another sound is added by a light touch. The addition of a light sound during the exercise is going faster and faster and, finally, are extracted simultaneously with the same sensation. different weight in the fingers of the hand.
The sound of two closely spaced voices performed with one hand is most often differentiated dynamically, but the contrast of strokes can also be used.
Different coloring of voices is necessary not only when one of them leads the main melody, but also if both represent the second plan of sound. Quite often, the performance of voices is reduced to making them play quieter in a solo melody, while forgetting that voice leading is thus lost, turning into harmonic accompaniment that is uninteresting in sound. Example: J. S. Bach "Minuet"g – mall. The bass voice should sound brighter than average.
The study junior schoolchild It is advisable to start such a polyphonic presentation by getting acquainted with the voices separately, and then move on to mastering the part of one hand. It is useful to work on connecting voices performed with one hand with both hands or in an “ensemble” with a teacher, or play one voice and sing the other. In the process of studying voices, it is easier for the student not only to correctly parse them, but also to understand the relationship, hear it, determine the phrasing, coloring of each line. Example: J.S. Bach "Little Prelude"g – mall, No. 10 - part of the right hand. Here it is important to understand the climaxes of phrases, the smoothness of the lines of voices.
If the student does not understand some combination of voices well enough (for example: due to their close location or complex rhythm), then in such cases during classes it is possible to transfer the middle voice an octave down. At this distance, it is easier to hear the peculiarities of the sound of each voice. A melodic move not understood by the student must be sung by him. The game of voices in such a wide arrangement can be carried out both by the student himself (with two hands), and with the teacher. Example: J.S. Bach "Little Prelude"e – mall, № 7.
After training in the above ways, the rhythmically complex combination of the two upper voices is assimilated by students with greater reliability. Voices written out in the score can also be played both separately and in combination, performing them with two hands.
These learning methods are used in imitative polyphony.
In inventions, fugues, the student carries out the same process of analyzing a play by voices. Having imagined each melodic line, then, having studied the thematic material in all its performances, the student proceeds to the unification of voices. In three-voice imitation pieces, mastering the material proceeds faster if you first combine the upper voice with the middle one and the lower one with the middle one, and not by parts of the hands. An exception may be such a presentation of votes, when two of them are located mainly in the party of one hand. For example, in the "Three-Part Invention"F – dur, J.S. Bach - the middle voice is performed all the time with the right hand. The preliminary dynamic sound "basting" of each voice undergoes more precise adjustment when they sound together. Technical difficulties, such as playing a middle voice (which can change from one hand to another), performing a crossover of voices, holding a stretto theme, a difficult combination of voices in a part of one hand, are worked out separately.
To master the complexities of performance, to better identify voices, all of the above can be useful. these ways classes:
1. playing with the appropriate fingering and singing the desired voice. For example, the middle one - J.S. Bach "Three-Part Inventions" – mall
3. playing at an octave distance of voices closely spaced in the part of one hand. J. S. Bach "Three-Part Invention"F – dur
4. joint game with a teacher: a student playing with two hands while singing a given voice, those elements of two-voice that are performed with one hand, but poorly heard by students, are not dynamically colored differently.
Since the meaning of each voice changes in the imitative presentation, additional difficulties arise for the student. These difficulties are connected not only with technical, but also with auditory performance problems. It is difficult to follow equally the voices being performed. Only a mature musician can do such a task. The student's attention and hearing are constantly switching from one part to another, noting the entry of voices and determining the difference in their sonority. This ability to switch, to "direct" selectively one's ear to the main thing, must also be developed.
Useful in this regard is the method of listening to each of the voices in turn (on some section or the whole work) while playing all the voices.
The “selectivity” of listening of this kind can also be directed to some individual difficulties in performance: transitions of the middle voice from hand to hand, crossing the main voice, holding a theme, etc. The student must first separately play the element that he is supposed to listen to in general sound.
The student's work on the analysis and development of polyphonic material is at first somewhat dry in nature, without bringing emotional satisfaction to the player. Therefore, one should not “sit out” too much at the stage of playing by voices: the correct coloring of voices can be found only in the totality of their sound, when both the structure and the nature of the piece being studied become clear.
For the same reason, it seems necessary to show a polyphonic work performed by a teacher. The live sound of a piece can give the student an idea of the artistic whole and determine the direction of his search.
Bibliography
1. Alekseev A. - "Methods of teaching to play the piano." Ed. "Music", 1978, third edition
2. Lyubomudrova N. - "Methods of teaching to play the piano." Ed. "Music", 1982
3. Braudo I. - “On the study clavier compositions Bach at the music school. M. - L. Ed. "Music", 1965
4. Roizman L. - introductory article to ed. "AND. S. Bach" - "Notebook of A. M. Bach", Ed. "Music", 1973
5. Kopchevsky N. - introductory article to ed. "AND. S. Bach" - "Inventions" - Ed. F. Busonni - M. Music, 1983
6. "The New Illustrated Encyclopedia".
It has 5 varieties:
1. Heterophony is such a principle of the ratio of voices, when each of them reproduces a variant of the same melody. At the same time, an episodic branch from the unison is characteristic. Such a warehouse is characteristic of the Western Russian tradition, as well as for the northern regions (Smolensk, Pskov, Novgorod, partially Tver; Arkhangelsk, Vologda, Vyatka).
There are four types of heterophony:
one). Heterophony of the "Unison" type, or "Monodionic".
2). Heterophony "Regulated".
In it, a strict, constant division of vocal lines is observed not only in the endings of the tune, but also in the development of voices.
3). Heterophony "Branched".
four). Heterophony "Developed" or "Saturated".
In it, polyphonic consonances arise, both dissonances and consonances. This type of heterophony was defined by N.N. Gilyarova according to characteristic in Ryazan song folklore combinations, which she calls the term "cluster consonances".
There are four types of bourdon:
- 2). An intermittent bourdon is called when the lower voice periodically goes down for a second or a third and then returns.
- 3). A special form of bourdon is "Quantum Frame Bourdon".
This kind of singing with bourdon is formed as a result of the stratification of the main two voices and the episodic occurrence of three or four voices. In such cases, the harmonic thinking of the performers is manifested. All voices are melodically developed, and a fifth often sounds between the extreme ones.
four). "Singing with an imaginary bourdon".
It is found in Central Russia, in the South, in the Volga region, in the Urals, in Siberia.
Two varieties have been noted:
The main, most general principle of Russian contrasting two-voice is a distinct, embossed opposition of the upper vocal line, which has an auxiliary meaning, to the part of the lower voice, which constitutes the melodic core, the intonational basis of the tune.
There are transitional forms between heterophony and contrasting 2-voices, when in archaic tunes with a limited melody range - no more than 6.3 - one can notice the inclination of some voices to the upper register, and others to the bass.
When performing songs based on the principles of contrasting two-voice by two singers, the lower part usually forms the melodic basis of the melody and carries out the main musical idea. As a rule, it is performed by the lead singer, continuing to lead in the ensemble after the entry of the upper echo, which colors the melody with modal colors, rhythmically enriches it. When the song is performed by a trio, a quartet, a quintet, and even a choir, the lower parts interact with each other according to the principle of heterophony - they contain variants of the main melody.
Polyphonic and harmonic properties of contrasting two-voice
- - vocal lines are contrasted intonation (movement of one voice against the background of a sustained tone in another; movement in opposite directions);
- - rhythmic contrast of voices;
- - typical rules for constructing horizontal lines - the lower voice is the sequence of quarter melodic moves, and the upper one is the patterned chanting of the fifth.
At the same time, the vocal lines, despite their relative independence, are constantly aligned vertically. The resolution of more intense consonances into less intense or consonant ones is clearly felt; the use of detentions and other characteristic-harmonic techniques.
In the songs of the late historical layer (urban, soldier), authentic connections between the series of consonances can be traced. Especially great craving for harmonic musical thinking in South Russian singing folklore, and, above all, in songs of a dance character - round dance, wedding, majestic.
Most definitely, reliance on harmony is found in cadences, in which functional tension is concentrated. musical development melody followed by resolution in unison to a tonic sound.
2). Three-voice, where the middle voice (alto or baritone) sings, the upper one sings an undertone, the lower one, in fifth proportion with the upper one, is a stable bass. If the voices are separated, then three-, four-voice, sometimes five-voice consonances are periodically formed (but it is precisely the three main voices that are divided when there are many singing). Folk singers say: “The upper ones are “voicing”, the lower ones are “bassing”. Great importance in such singing, a harmonic vertical acquires, where a hidden parallelism of triads often sounds.
In its most complete and complete form, this system of polyphony has developed in a number of regions of the Russian South (Belgorod, Voronezh, Kursk).
- -Most of the voices participating in ensemble singing are divided into three main groups. The main melodic core is the line of the middle voice, it is usually led by the lead singer.
- - The middle melodic layer is opposed by the line of the upper echo, or the party of two or three complementary upper voices (for example, the tradition of the Middle Don).
- -The third group of voices is located at the bottom, mostly in fifth ratio with the top one, forming a stable bass foundation.
- -Since the parties are in close proximity, a very dense texture arises, replete with three-, four-, five-voice and sometimes even more complex consonances.
This form of polyphony, obviously, was formed no earlier than the 16th-17th centuries and was developed already in mid-nineteenth century." A developed three-voice texture is not typical for all genres, but only for lingering lyrical, partly for urban lyrical songs.
- 4. "Tape" polyphony.
- (or by the definition of T. Bershadskaya - "Warehouse from the second").
- one). "Warehouse from the second" suggests a two-voice basis, where the voices move in parallel (in a third, sometimes in a quart, fifth), sometimes merging in unison. The main voice is the lower one, the upper one plays the role of an auxiliary voice.
Characteristic: for the Urals, Siberia, the Middle Volga region, the Urals, Central Russia.
This is the same "warehouse from the second", but with an octave doubling (higher or lower) of the sound of the main voices.
Occurs in the North, in the Moscow region, in the Volga region, in the Urals
5. Imitation polyphony.
It exists in two varieties:
- 1. "Canon" (or two-horse singing) - singing, for example, wedding, calendar songs by two groups: one starts, the other comes.
- 2. Folk "Aleatorica".
This is a combination of a song (as a background) with a recitative superimposed on it (wedding singing with crying). As a result, signs of polyrhythm and polymetry are formed. It is found in weddings: Northern, Siberian, Central Russia.
