Municipal state educational institution additional education 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.
( V piano class)
Prepared by: piano teacher
Ermolaeva
Oksana Alexandrovna
Sychevka
I. The important role of polyphony in general musical development 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 during the game musical presentation, 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 explained by the enormous importance that developed polyphonic thinking and possession of polyphonic texture has for every piano player. 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 - also determines the main task of the student: the need to hear and lead each voice of a polyphonic work separately and the entire set of voices 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 different plans sound.
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 when each is performed 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 of SUB-VOICE polyphony can be arrangements of folk songs, in which the main melody is accompanied by sub-voices, 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 for Anna - Magdalena Bach”, “Minuet”g - mall, "Polonaise"g - mall № 5.
But quite often there are compositions in which the voices are more interconnected, provide mutual "support", transferring to each other the right to speak in the foreground with their expressive element melodies. 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. 1). 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". The voice that starts a new phrase all the time can be imagined by the child as a “teacher”, and the voice that repeats 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 nature 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 development musical movement 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. "Trace" the same movement of the melody different voices in their totality, it is possible, 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 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 long sounds, requires a 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 downbeat 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 worked not so much musical memory, hearing, how much motility, motor sensations, visual memory. 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 formed combinations 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 the pieces of any polyphonic throughout the student'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.
It is advisable for a younger student to study 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 arrangement 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 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 the previously indicated methods of practicing can be useful:
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 of Bach's clavier works in 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".
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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 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; means of polyphony can be modified, compared and combined musical themes. 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.
Imitation polyphony has many varieties, among which the most important are different kinds simple and canonical imitation, including special varieties based on the conduction of melodic material by an imitation voice in an increase, decrease, in circulation or a rakokhod. 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 imitation development, is weakened. musical material.
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 imitation has not become widespread, 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 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.
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 for the introduction 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. The 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 the masses, the Cantus firmus chant (as a rule, Gregorian chant) set out in large lengths served as a melodic source for one of the parts, acquiring a new interpretation in other parts, 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 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 educational development of 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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It should be clarified that polyphony is a kind of polyphony, which is based on the combination, as well as the development of several melodic lines that are completely independent. Another name for polyphony is an ensemble of melodies. In any case, this is a musical term, but polyphony in mobile phones is quite popular and constantly conquers new frontiers.
The basic concept of polyphony
Polyphony implies a certain polyphony, and the number of such voices can be completely different and range from two to infinity. But in fact, several dozen votes are the standard number, and this option is the most common.
Now we can no longer imagine a telephone that would be needed only for calls. On this moment mobile can fully personify its owner. Among other things, the owner will demand a lot from the same phone - the more functions, the better. That is why polyphony is now in demand. Surprisingly, mobile phones are now much “stronger” in their power than even the first computers.
The difference between polyphony and monophony
Now the possibilities of our mobile phones are almost unlimited, but before, the question of simply the need for the existence of polyphony made people think. This was due to the fact that they did not fully realize what exactly she was like.
A monophonic phone can play only one note or voice at a certain moment, but a polyphonic phone can simultaneously combine up to several dozen different notes and voices at the same time.
That is why the most successful explanation would be a comparison of polyphony and monophony. Imagine in your head the sound of the orchestra and the playing of the soloist. Feel the difference? So, polyphony is an orchestra with its bizarre interweaving of melodies from various musical instruments. It is polyphony that can create a full-fledged high-quality sound and satisfy the desires of even the most demanding music lover.
Polyphonic melodies - requirements and formats
The main requirement is to have at least one powerful speaker. And, of course, this concerns the fact that the mobile phone has enough free memory. Now the presence of such is taken for granted for us. Moreover, for better sounding of the melody, you can also use headphones, for example, vacuum ones.
Now there are many sites that can offer you to download a couple of similar pieces of music from the "polyphony melodies" section. common types files in this case are midi, mmf, wav, and also amr.
The historical beginning of the development of polyphony
It is surprising that polyphony would not have “come” to the phone if it were not for brilliant creations Johann Sebastian Bach.
It was thanks to him that in the 16-17 centuries such polyphony could reach the peak of its popularity. It was this composer who created the classical definition of polyphony as a melody in which all voices are equally expressive and also important.
Types of polyphony
Later, certain special genres arose in polyphony. This applies to some polyphonic variations - the chaconne, as well as the passacaglia, inventions and pieces that used imitation techniques. Fugue is considered the pinnacle of polyphonic art.
The fugue is a polyphonic polyphonic melody, which was composed following special and rather strict laws. One of these laws says that this piece of music should be based on a bright and very well-remembered theme. Most often you can find a three-part or four-part fugue.
Musical polyphony is not just the sound of the orchestra, it is important that it plays one melodic line. At the same time, it makes absolutely no difference how many people will participate in such an orchestra.
It often happens that when several people sing the same melody, everyone wants to bring something of themselves into it and give it some shade of individuality. That is why the melody can, as it were, “stratify” and turn from monophony into polyphony. This form of it appeared a long time ago and is called heterophony.
Tape is considered another and also ancient form of polyphony. It is represented by such a piece of music in which several voices simultaneously perform the same melody, but at different frequencies - that is, one sings a little higher and the other lower.
The first phones with polyphony
The first phone with polyphony appeared in 2000, it was the famous Panasonic GD95. Then it was a grandiose breakthrough in the field of technology, and now it is normal for us if the phone has at least a few polyphonic melodies in its arsenal.
Exactly East Asia became a pioneer in this area and did not lose at all. Polyphony is something that even now does not cause much surprise, because it has conquered the whole world. After that, the GD75 appeared, which was just able to show all people that polyphony is a rather useful tool. This model is very for a long time was in the top of all sales.
Polyphony is an improvement that most manufacturers have been striving for. That is why in the future, a novelty appeared from Mitsubishi, which was able to demonstrate to the entire public new model Trium Eclipse mobile phone. It was he who was able to qualitatively and, most importantly, loudly reproduce three-tone melodies.
Only after that, Europe joined in such a race of innovations and France was able to tell the whole world about a mobile phone that could support playback of eight-tone polyphony. The only thing that sophisticated music lovers did not like was that it did not sound loud enough.
Polyphony is also what Motorola was striving for, but came to this quite late. She was able to introduce the T720, which supported a similar music format. But the famous company "Nokia", which is popular in our time, then chose the path of improving the characteristics of their phones, in particular, this concerns musical characteristics, using MIDI files.
As you can see, polyphony has gone through a rather long and branched path of improvement and, no matter how strange it may sound, it first appeared in classical musical works. But the year 2000 became a new step in its development - it was then that it first appeared on a mobile phone and won the hearts of many music lovers.
Polyphony and its varieties
POLYPHONY
INTRODUCTION.. 2
Polyphony and its varieties. 2
CONTRAST POLYPHONY.. 4
Formation contrast polyphony. 4
Strict writing - melodic. 7
Free style. Varieties of contrast polyphony. 28
Conditions for harmonizing contrasting melodies. 29
Simple and complex counterpoint. 31
Types of complex counterpoint. 32
Double counterpoint. 34
SIMULATED POLYPHONY.. 36
Imitation - composition and parameters.. 36
Types of imitation. 37
Canon. 39
Types of developed imitative-polyphonic works. 42
General structure fugues. 43
Typical features of the theme in fugue. 45
Answer. 47
Counterposition. 48
Sideshows. 49
The structure of the exposition part of the fugue. 51
Development part of the fugue. 52
Reprisal part of the fugue. 53
Fugues of non-three-part structure. 54
Double and triple fugues. 55
INTRODUCTION
Polyphony and its varieties
The musical warehouse is monodic, harmonic (homophonic-harmonic) and polyphonic. The monodic warehouse is the basis of the folklore of many peoples and ancient species. professional music. The monodic warehouse is monophonic: the sounds add up to a melody, their linear-melodic connection is achieved primarily by means of the mode. Harmonic and polyphonic warehouses as polyphonic are contrasted together with monodic. In polyphony, sounds are correlated and connected not only melodically, horizontally, but also harmonically, that is, vertically. In a harmonic warehouse, the vertical is primary, harmony directs the movement of the melody. Here the main role is played by the melodic line, which is often in the upper voice and is opposed to the chord accompaniment. In a polyphonic warehouse, everything is different.
Polyphony (from the Greek poly - many; background - sound, voice; literally - polyphony) is a type of polyphony based on the simultaneous combination and development of several independent melodic lines. Polyphony is called an ensemble of melodies. 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.
There are various musical forms and genres used to create works of a polyphonic warehouse: fugue, fughetta, invention, canon, polyphonic variations, in the XIV - XVI centuries. - motet, madrigal, etc. Polyphonic episodes (for example, fugato) are also found in other forms - larger, larger-scale ones. For example, in a symphony, in the first part, that is, in sonata form, the development can be built according to the laws of the fugue.
Core Feature polyphonic texture, which distinguishes it from the homophonic-harmonic one, is fluidity, which is achieved by erasing the caesuras that separate constructions, by the invisibility of transitions from one to another. The voices of a polyphonic structure rarely cadence at the same time, usually their cadences do not coincide, which causes a feeling of continuity of movement as a special expressive quality inherent in polyphony.
There are 3 types of polyphony:
2. multi-dark (contrasting);
3. imitation.
Sub-vocal polyphony- an intermediate stage between monodic and polyphonic. Its essence is that all voices simultaneously perform various options the same tune. Due to the difference in options in polyphony, sometimes voices merge in unison and move in parallel unisons, sometimes they diverge into other intervals. A striking example- folk songs.
Contrasting polyphony is the simultaneous sounding of different melodies. Here, voices with different directions of melodic lines are combined, and differing in rhythmic patterns, registers, and timbres of melodies. The essence of contrast polyphony is that the properties of melodies are revealed in their comparison. An example is Glinka "Kamarinskaya".
Imitative polyphony is a non-simultaneous, sequential entry of voices conducting one melody. The name of imitation polyphony comes from the word imitation, which means imitation. All voices imitate the first voice. An example is an invention, a fugue.
Polyphony - as a special type of polyphonic presentation - has come a long way historical development. At the same time, its role was far from the same in individual periods; it either rose or fell depending on the changes in the artistic tasks put forward by one or another era, in accordance with changes in musical thinking and with the emergence of new genres and forms of music.
The main stages in the development of polyphony in European professional music.
2. XIII - XIV centuries. Move to more votes. The huge prevalence of three-voice; the gradual appearance of four- and even five- and six-voices. A significant increase in the contrast of jointly sounding melodically developed voices. The first examples of imitative presentation and double counterpoint.
3. XV - XVI centuries. The first period in history of the heyday and full maturity of polyphony in the genres of choral music. The era of the so-called "strict writing", or "strict style".
4. 17th century In the music of this era, there are many polyphonic compositions. But in general, polyphony is relegated to the background, giving way to a rapidly developing homophonic-harmonic warehouse. Especially intensive is the development of harmony, which at that time becomes one of the most important formative means in music. Polyphony only in the form of various methods of presentation penetrates into the musical fabric of opera and instrumental works who in the 17th century are the leading genres.
5. First half of the 18th century Creativity I.S. Bach and G.F. Handel. The second heyday of polyphony in the history of music, based on the achievements of homophony in the 17th century. The polyphony of the so-called "free writing" or "free style", based on the laws of harmony and controlled by them. Polyphony in the genres of vocal-instrumental music (masses, oratorios, cantatas) and purely instrumental (HTK by Bach).
6. The second half of the XVIII - XXI centuries. Polyphony in general component complex polyphony, to which it is subject, along with homophony and heterophony, and within which its development continues.
T.M. Sinetskaya
TYPES OF POLYPHONY
(short lecture-compendium on the course of polyphony
for ChGAKI students)
In existing polyphonic music, it is customary to distinguish two types of polyphony: imitation and non-imitation. In turn, non-imitative polyphony is divided into subvocal and contrast. In connection with the foregoing, in some manuals there is a classification that includes three types: imitation, subvocal and contrast, which is of no fundamental importance. Let us name the most significant characteristics of each of these species.
subvocal called musical warehouse, based on the simultaneous combination of the main melody and its variants. Thus, undertone- This is a variant of the main tune. The undertones can be very close to the main tune, differ minimally from it (form a parallel movement, sometimes merge into unison, etc.), but they can also differ significantly, have a pronounced independence, thus approaching contrasting polyphony. The ability to form echoes with varying degrees of contrast opens up great prospects for the creator of music, increases the number of ways to correlate voices, which leads to a variety of semantic, dynamic and emotional content.
Podvolosnost is a fundamental feature of many national musical cultures, including Russian. In the process of the centuries-old development of Russian folk choral polyphony, such stable features of subvocality have developed, such as: 1) monophonic singing, 2) choral pickup, 3) gradual splitting of unison into two, three or more voices based on a common tone, 4) gradual compression of polyphony into unison based on the general tone, 5) movement in parallel thirds and sixths, 6) parallel-variable mode, 7) octave or unison cadenzas.
Outstanding Russian classical composers, constantly studying the Russian song, listened to its sound, character, principles of texture organization and sought to transfer the stylistic features of Russian songwriting into their work. Many choral scenes in the operas of Russian classical composers are excellent examples of penetration into the spirit of national culture, recreating the nature of folk singing. Examples are numerous: M.I. Glinka - choirs "My Motherland" and "Razgulyalis-poured" from the opera "Ivan Susanin", "Oh, you, light, Lyudmila" from the opera "Ruslan and Lyudmila"; A.P. Borodin - the choir of the villagers from the opera "Prince Igor", ritual scenes in the opera by N.A. Rimsky-Korsakov's "The Snow Maiden", choral scenes in the operas "Khovanshchina" and "Boris Godunov" by M.P. Mussorgsky and others.
ATTENTION!INDEPENDENT WORK: to find 4-5 samples in the collections of Russian songs, confirming the undertone as the leading feature; to continue a number of examples in which the features of folk undertones from Russian classical music are implemented.
Contrast polyphony is based on the simultaneous connection of two or more voices (themes) that are independent in terms of melodic and rhythmic patterns. There are different levels of contrast: contrast-complementation, contrast-comparison, contrast-conflict. This type of polyphony is extremely common in music of different genres and styles: theatrical, symphonic, vocal, chamber, etc. A huge number of examples are evidence of the great expressive possibilities of contrast polyphony: double and triple fugues by different composers (“Prelude in A Major” from I. S. Bach - triple fugue with joint exposure); Prelude in G major from the cycle "24 Preludes and Fugues for Piano", reprise; The second piano concerto (the beginning of the reprise of the 1st part) and romances by S.V. Rachmaninov (for example, “Morning”, “Do not sing, beauty, in my presence”), operas by G. Verdi, for example, the introduction, the final scene in the dungeon (“Aida”), numerous ensemble scenes in Otello, etc.
simulation polyphony is called, based on the sequential holding of a theme or part of it in two or more voices. Originating in the 13th century, imitation became the basis for a number of independent forms and genres that emerged in subsequent centuries, the most important method for the development of both polyphonic and homophonic forms proper. Classical imitation genres: richercar, polyphonic canzone, fugue, fughetta, invention, different types of canons, techniques - canonical imitation, canonical sequence.
Named types of polyphony in pure form(over the course of a whole piece of music) are rare. In most cases, they are used as complementary, as a means of mutual enrichment. For example, with the leading role of imitative technique in the fugue, there is necessarily a contrasting polyphony, and undertones can be used. Different types of polyphony are also an effective means of enriching the homophonic-harmonic warehouse. All of the above expands the expressive possibilities of different types of polyphony, makes it possible to infinitely vary their ratios.
ATTENTION! INDEPENDENT WORK. Find in musical literature examples of different types of polyphony, their combination. Make a list of musical works in which one or another type of polyphony predominates or contains their complementarity (make explanations).
