Ukusabalala kwesihloko |
Ukuguqulwa kwesihloko – countermovement, inversion (Latin inversio, Italian moto contrario, rovescio, riverso, rivoltato, French reversement, German die Umkehrung, die Gegenbewegung) – polyphonic. indlela yokuguqula itimu, ehlanganisa ukudlala izikhawu zayo kwelinye ihlangothi elisuka komsindo othile ongaguquki: ukuya phezulu kwetimu ekuhambeni kwayo okuyinhloko (kuya phambili) (lat. motus rectus) ekunyakazeni okuhlehlayo (lat. motus contrarius) ihambisana nokwehla ngesikhathi esifanayo ( futhi ngokuphambene nalokho). Umsindo ongaguquki ojwayelekile endikimbeni kokuhlukile okuyinhloko nokuhlanekezelwe ubizwa ngokuthi i-eksisi yokuhlehla; empeleni, noma yisiphi isigaba singasebenza njengaso. Kusistimu ye-tonal enkulu-encane, ukuze kulondolozwe ukufana kokusebenza kokubili okukhethwa kukho, idigri yesithathu ngokuvamile isebenza njenge-eksisi yokujikeleza; ngesitayela esiqinile (ikhulu le-14-16) ne-diatonic yayo ngokwemvelo. ukuguqulwa kwama-frets kuvame ukwenziwa cishe kwengxenye yesithathu kanxantathu onciphile, okuqinisekisa ukuma okufanayo kwemisindo ye-tritone:
JS Bach. I-Art of the Fugue, i-Counterpoint XIII.
Palestrina. IMisa yeCanonical, Benedictus.
Kumatimu anechroma. O. ukunyakaza kwe-t. kwenziwa ngendlela yokuthi, uma kungenzeka, inani lekhwalithi lezikhathi ligcinwe - lokhu kuqinisekisa ukufana okukhulu ekuchazeni ukunyakaza okuhlanekezelwe nokuqondile:
JS Bach. I-Well-Tempered Clavier, uMqulu 1, i-Fugue fis-moll.
Ubuchwepheshe. ubulula kanye nobuciko. Ukusebenza kokubuyekeza itimu ngokusatshalaliswa kunqume ukusetshenziswa okuvamile nokuhlukahlukene kwale nqubo, ikakhulukazi emisebenzini ye-monothematic. Kunezinhlobonhlobo ze-fugue ezinempendulo ehlanekezelwe (i-German Gegen-Fuge - bheka i-JS Bach, i-Art of the Fugue, No 5, 6, 7) kanye ne-canon ene-rispost ehlanekezelwe (WA Mozart, c-moll quintet, umzuzu); isikhalazo sisetshenziswa ekuxhumaneni kwe-fugue (Bach, The Well-Tempered Clavier, vol. 1, fugue in c-moll); itimu esakazwayo inganikeza i-stretta enendikimba enyakazayo eqondile (Mozart, fugue in g-moll, K.-V. 401); ngezinye izikhathi zivele zilingane (Mozart, fugue c-moll, K.-V., 426). Ngokuvamile izingxenye ezinkulu zezingoma zisekelwe ku-O. t. (Bach, The Well-Tempered Clavier; vol. 1, fugue G-dur, counter-exposition; ingxenye yesibili ye-gigue) ngisho namafomu wonke (Bach, The Art of Fugue, No 2 , 12; RK Shchedrin, Polyphonic Notebook , No13, 7). Inhlanganisela ye-O.t. nezinye izindlela zokuguqulwa kwandile ikakhulukazi emculweni wekhulu lama-9. (P. Hindemith, "Ludus tonalis", cf. Isandulelo kanye ne-postlude), ikakhulukazi, ebhalwe kusetshenziswa indlela ye-serial (JF Stravinsky, "Agon", i-Simple branle). Njengendlela yokuhlukahluka nokuthuthukiswa, isikhalazo sisetshenziswa ku-non-polyphonic. umculo (SS Prokofiev, “Juliet-girl” ovela ku-ballet “Romeo and Juliet”), ngokuvamile uhlanganiswa nendikimba yokunyakaza okuqondile (PI Tchaikovsky, 20th symphony, ingxenye 6, vol. 2-17; SS Prokofiev, 24th sonata , ingxenye 4, imiqulu 2-25).
References: Zolotarev VA, Fuga. Umhlahlandlela wokufunda okusebenzayo, M., 1932, 1965, isigaba 13, Skrebkov SS, ukuhlaziywa kwe-Polyphonic, M. - L., 1940, isigaba 1, § 4; eyakhe, Incwadi ye-polyphony, izingxenye 1-2, M. - L., 1951, M., 1965, § 11; I-Taneev SI, i-Movable counterpoint yokubhala okuqinile, M., 1959, p. 7-14; I-Bogatyrev SS, i-Reversible counterpoint, i-M., i-1960; Grigoriev SS, Muller TF, Incwadi ye-polyphony, M., 1961, 1969, § 44; U-Dmitriev AN, i-Polyphony njengesici sokubunjwa, L., 1962, ch. 3; Yu. N. Tyulin, The Art of Counterpoint, M., 1964, ch. 3.
VP Frayonov
