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Polyphonic p'esa. Polyphonia - tse scho also? See the polyphonies. Polyphonic melodies - vimogi and format

EXPLANATORY NOTE

The discipline "Zagalna Piano" is an important language of the musical and pedagogical process of learning the instrumentalists. Employees within the framework of this subject can wear gris tips on instruments, reading from the sheet, playing games in ensembles, accompaniment, expanding the possibilities of amateur music on-the-go, expanding the mind for a wider audience in musical culture.

Bach's polyphony in my life

In addition, it’s based on harmony or sounding, the analysis of the basis on the perceptual principles of the segregation of sound streams and the generation of interpretations of respect for the voice and the wake of the skin voice. Tsei pidhid zverta respect for the rhythmic effects of such potent polyphonies, you see, as if you go from one to rely on respectful voices to the point of breaking phenomenal accents, as they couldn’t be present. In bugs in the fall, there are indirect messages to the voice, they generate a sense of syncopation, high rivn metric ієrarchії, as supervising templates to the accent of the designated meter.

The main form of the initial wicked robots in class є lesson, yak individually busy we will learn a teacher.

Development of the technique of reading notes from the sheet

Robot over a handful of fingers on materials for smart people right and on children

Robot over polyphoning, great form, p'єsoyu

Gra in the ensemble

It is necessary to vykhovuvati in scholarship about putting to the artistic thought of the creator, so that vikonuyutsya, when vivchenna, aware of and read from the sheet systematically pratsuvati over the system of musical-vikonavskih primes on the primary-additional

This is a fundamental characteristic of the metric structure of Bach, as it can be absorbed, as music is reluctant to be monophonic and isochronous. Go early to the broadcast polyphony. In the eighteenth and eighteenth centuries, the implied polyphony was most often described as a way of converting the rich-headed harmonious progress into one melody line for additional arpeggiations. Oskilki lute is not good for showing stylish sounds, arpeggiation gave the opportunity to grate in chord passages, as the sense of the voice was still too weak.

The projected repertoire lists are rendered both as academic, as in the academic repertoire, as well as in the individual entrance to the skin science, allow the urgency of the repertoire for style, form, zmist, actively introduce modern music, including jazz music.

The stage of success to be successful at control occupations (2 times per day), sessions (4 and 6 times at night) and at play-ups at critical thematic concerts:

The theoretical interpretations of the eighteenth century depict an analogous idea before the implicit polyphony is explained. For Matteson, "evil" meant that "the pitch is not washed out at once, but one after the other." Thus, the tsya methodology is used to change the number of voices in the background while saving more harmonious content.

Kirnberger also reckoned on the polyphony in his own negotiation, how to see the changes and changes in the intervals and by themselves the unique "unacceptable" melodic progressions. As one of the ways to mask these intervals, Kirnberger said that "if a single-row melody is composed of such a rank, that harmony depends on respect and sounds like two - or a three-part p'єsa, the progression of progress will not sound like that." For example, it is typical to follow the written record with innocent permission.

I pivrechchya (crim 1 roku navchannya) - 2-3 distinctive p'usi (one ensemble)

II pivrichchya - 3 different characteristic creations (of which there is only one ensemble)

RICHNI VIMOGI BY CLASS

With a broach naval rock uchni guilty vivchiti:

1st class - 15-20 creations, with a song and dance character, with elements of polyphony, children, ensembles.

Heinichen respecting the suggestions about the maintenance are acceptable, as industrial resins give options, as the moment is allowed. So, as there are variations in some of the great intervals, the stench is often textured, the notes about prispinnennya and persuasion should lie with one implied voice, and the intermediate tone should lie with the other. Such a rank, embellishment of dissonance to the point of permission, could make up the mind to rely on respect for polyphony.

Two theorists of the twentieth century, Genrikh Schenker and Ernst Kurt, also wrote in detail about the transfer of polyphony. Unimportant on the fundamental prominence of the new passages, Schenker and Kurt mostly whispered about linear progress, which is clearly not put on the foreground of music. Alle tsі progressії not necessarily represented the same і the same, і they had the same characteristics. According to Schenker's theory, how to rely on respect for polyphony is tied to the basic principles of arpeggiation, change and spoilage. Kurt, on the other hand, letting go of the main line of progress, toil on respect or to create a voice, which is set by "the obvious characteristics of the line contour and psycho-audit trails."

2nd class - 10-12 different characteristic creations

Grade 3 - 4 etudes, 4 colorful characters, one great form, 1-2 create a polyphonic style, 2 ensemble.

4th class - 4 etudes, 4 colorful characters, 1-2 create a polyphonic style, one great form, 2 ensemble.

5th class - 4 etudes, 4 colorful characters, 1-2 create a polyphonic style, one tvir of great form, 2 ensemble

Polyphonic melodies - vimogi and format

The main reason for Kurt’s interest is psychology, and it’s lightness in the fact that the polyphonic melody is in line rice, and not in harmony alone. Yak vin stating that the line is not the first, latent harmonious form, but navpaki, navpak, are included in their form harmony factor, for the growth of harmony is not meaningful in rosy musical performance. In his robots, according to the same theme, Kurt Vikoristovuvuvuvuvuvuvuvuvuyu a little butt from the solo Bach strings, then demonstrate how reestratsіyne prіsіnі, harmony dissonance, melodic dissonance and straightened out of tune melodiously to sound a lot for the background.

6th class - 4 etudes, 4 colorful characters, 1-2 create a polyphonic style, one tvir of great form, 3-4 ensemble

7th class - 2 etudes, one tvir of polyphonic style, one tvir of great form, 2 p'esi, accompaniment to two songs, 2 ensemble.

RICHNI TECHNICHNI VIMOGI

Recognition of the on-going din, arpeggio and akordiv.

On the view of Schenker's modern reductions, it seems that Kurt's voice is heard both according to the downward and downward patterns and in some cases, the intervals are longer than a second. In addition, Kurt didn’t think about a systematic method of viznennya instead of cich Sheinstein.

Perceptual response to the analysis of the transmission polyphony. Bagato applied implicit polyphonies in non-supportive Bach fragments can be explained by the principles of arpeggiations, verbatim, dissonance and voice. However, if you want to arpeggiate can be a simple procedure, if some of the voices seem to be fixed, if all voices sound uninterrupted, most of the voices may be due to the importance of the polyphony of Bach, there should be no ambiguity. Transmitting to the voice, it seems, is recognized, but then it is not easy to go through the methods of arpeggiations.

I pivrechchya - up to і sіl major і la і mi minori, gami with two hands by one octave, arpeggio and akordi okremo with a skin hand

II pivrichya - fa and si-BIMOL major, minor re and sil with two hands one octave, arpeggio and akordi with a skin hand okremo.

I half - major and minor keys to two characters with two hands on two octaves, arpeggio and akordi with two hands on two octaves.

Basic understanding of polyphony

By an analogous rank, the visibility of the voices without interruption can cause problems for the passage of the wrinkle of the skin, relying on the respect of the voices and stretching out the entire fragment. It will be understood that the analysis of arpeggiations and voice transmissions is supplemented by the analysis of hearing and reception. On the whole perceptual pidhid was infused with a delay on the segregation of the auditory flow, noting that the characteristics of the sound were different, as they could have a monophonic subtle effect, as they could be sprinkled in the decile streams.

II period is similar to flat gami.

1st half - major and minor up to three characters direct rusi, Akordi, short arpeggio, chromatic scale with two hands.

The first half - from major gamma and minor to chotiroh signs in a direct viglyad, akord, a short arpeggio, a dominant-seventh chord, a chromatic scale with two hands.

To this, the accent goes back to the primordial monophonic after-effects and the speed, as it depicts a clear substrate to increase the counterpoint, previously folded material. The basic principle of classroom segregation of streams can be seen as a specific formulation of the laws of gestalt psychology. It is common knowledge that there was a tendency before monophonic tonalities in the last distribution of perceptual streams, in the function of the auditory system, and the segregation of the most significant in the last frequency sublimation

II pivrichchya - similar to flat gami.

I pivrechchya - from major gami and minor to five characters in direct viglyad, akordi, short arpeggio, dominantsept chord, chromatic scale with two hands. 11 types of arpeggios from notes to.

II pivrichchya - similar to flat gami. 11 types of arpeggio from noti sil.

repertoire LIST

Zagalom, monophonic consistency, better for everything, is distributed on the outskirts of the streams of sleep, if you have to take revenge on great intervals and create at a fast pace. This is a phenomenal emphasis on the important role in the structure of the group and metrics. For example, the rule of Lerdahl and Jackendoff's revoice of the third group is to say that the transition between two notes will be a bit as between the group, as the interval is larger, less that, which is before and next to him.

The preliminaries of music knowledge also brought in information about the reception of melodic accents. If the changes are heard at regular intervals for an hour, the melodies will be simpler and easier to remember. Navpaki, not supported because of the time-consuming irregular changes, create melodiousness and become "psychologically important, because the stench means seeing in the context of the template and, with such a rank, I will enjoy the respect of the hearer."

class

etudes

A. Balazh "Gras in Soldiers"

B. Bartok F-dur, C-dur

G. Behrens op. 70 No. 8, 12, 15, 16, 24-29, 37, 41

I.Berkovich "Little children" No. 10-19, 23

A. Gedike op. 32 No. 2, 3, 24

Vol. 36, No. 13, 14, 22

Op. 46 No. 11, 18, 20

E. Gnesina "Azbuka" No. 1-3, 7, 9-13, 15, 19

A.Zhilinsky No. 9-12, 15-17, 22-24

S.Maykapar a-moll

A.Nikolaev C-dur

G. Okunev "Imagination in the water", "Little leagues", "Legato and staccato",

Rіchnі vimogi by class

If Boltz and Jones didn’t guess about the transfer of polyphony in their own time, they stink structural features I play a role in the beginning of the day. As long as the great intervals and changes in the contour lead to the appearance of a melodic accent, then rely on respect for polyphony, also leads to the appearance of a melodic accent. The accents, stemming from changes from one to the other, rely on the voices to the last, activate the isochronous, monophonic musical texture and bring about a significant rhythmic activity on the most progressive metric architecture.

"Etude in two versions", "Merry hammer"

A.Pirumov "Etude"

K. Cherny, Op. 139 by selection

L. Shitte Op. 108 No. 1-9, 13, 14, 17, 18, 20

Vol. 160 No. 1-19, 21, 22

P'єsi ta ensembles

« Fortepianna Gra "/ Edited by Mikolaev / Moscow, 1987

Rozdil I No. 1-62, 72-78

« Music pictures » /L.Heresko/

W. A. Mozart "Vesnyana"

"The first kroki of the little pianist" / compiled by T. Vzorov, G. Baranova,

The fact is that Bach is uniquely distributing the number of changes at regular intervals of the hour, the slowing down of the number of melodies, as well as the potential to “tighten the respect of the listener”. The tonal rhythms are the tones, as "they vyplyayut from the last and the combination of tones, the very tonal system of great rhythmic power". From the side, the trivial rhythms - the ts, which are set in the actual changes of the triviality and the ugrupovannya, without any kind of povaga to specific victorious channels.

It’s crazy, to relate to the monophonic and isochronous tunes of Bach’s solo string music. If I want to continuously repeat the same triviality of victories, the possibility of versatility in the same rhythms, tonal rhythms follow the other templates in accents, which appear, if the melody changes from one voice to respect.

A. Chetverukhina 1-83 /

ensembles

I. Berkovich " little answer"," Melody "," Gra "

Z. Levina "Tik-tak"

M. Krassev "Koliskova"

"Chi will go to the river"

A.Aleksandrova "Gras in distillation"

V.Vitlin "Did Moroz"

S. Prokof'ev "Brekhukha"

"Hello, winter guest"

Tatarska Narodna Pisnya

"Zhartivlya"

The presence or the visibility of such potent polyphonies can be added to those that “drown out”, and allow the same izochronous rhythmic numbers to “catch the rhythmic rhythms”. The process of progressing according to the segregation of streams, melodic accent and tonal rhythms, informed the analysis of specific moments, since the monophonic lines of Bach were lost as a result of many, - there are no voices. To that, the ideal quarters will be reversed as the shortest interval, as if it is possible to propose a change from one to relying on the respect of the voice to the last.

"Malyuk at the piano" / compiled by I. Leshchinskaya, V. Protskiy /

M.sov.composer 1989 r

Part II, Part III No. 1-15, 20-23, 28, 36, 38, 42, 43

Ensembles № 25, 43, 45, 57, 59

Kalinsky comp. / A. Bakulov, K. Sorokin / M. sov.composer of one thousand nine hundred and fifty times

Issue 1, part I part I

Ensemble Sarauer "Cheska Narodna Pisnya"

"Collection of Piano Pianos, Etudes and Ensembles

To this, it is not safe to change the contour along the offense of the sides from the great interval of increasing segregation. At the beginning of the analyzes, the transition points between the young and the big ones are based on the voices, which start with a great range of intervals, a changing contour and a significant change in the range of how much you want the fields.

If you want melody, to infuse perceptual tendencies into those, you can remember the future of the previous composer attachments, the possible perception of the perceptual tendencies, the future of the future, the future Besides, tsei pidhid does not get lost in the identity of the voice, or follow the path of the skin voice in the course of any passing music. Zagalny analiz All the pieces of music show how Bach often minus the number of one-hour voices, so he smoothed the appearance of an uninterrupted melodic way for the cutaneous voice.

Part I No. 1-63

Ensembles No. 1-11

"Music for children" / compiled by K. Sorokin / M. sov.composer 1983 r

Issue 1 part I "Perepilochka"

D. Turk "Veseliy Vanya"

D.Kabalevsky "Pisenka"

J. Stepoviy "Bdzhilka"

B.Kravchenko "Uperty goat", "March"

Z.Kodey "P'єsa"

H. Neizidler "Dutch Dance"

A. Baltin 3 p'єsi

Y. Slonov "Waltz"

A.Kholminov "Doschik"

V. Volkov "Sleepy Bunny"

A. Parusinov "March"

D.Kobalevskiy "Light and Tini", "Zhachok", "Pustunka", "Little Polka"

ensembles

K. Sorokin "Shpak", "Many Lita"

"To the music with radio" / compiled by O. Getalova and visna / composer

Saint Petersburg 2004

"Persha zustrich with music" / A. Artobolevskaya / M. sov.composer 1985 r

"Teaser"

Філіп "Koliskova"

A. Rubbach "Sparrow"

Ensemble "Waltz of the Dogs"

"Alive on the mountains"

class

"At the music with radio" / composer O. Getalova, I. Viznaya / composer

Saint Petersburg 2004

distributed 2-3

"Fortepianna Gra" / edited by Nikolayev / Moscow, 1978

Rozdil I No. 63-71, 79

Rozdil II No. 101-104

"Music Pictures" / L. Heresko /

"Little Drummer"

D. Shostakovich "Song of the musical"

Slovak Narodna Pisnya

V. Zolotarov "Ukhav Cossack beyond the Danube"

"Silent evening is evil to us"

S. Prokof'ev "Petya", "Kishka"

Collection of piano pianos, etudes and ensembles

/ compiled by S. Lyakhovitskaya, L. Barenboim / M. 1970

Part I No. 64-79

Ensembles No. 12-20, 22-24

Music for children / compiled by K. Sorokin / Moscow, 1983 r

E.Sigmeister "Cuckoo dancer"

E. Arro "Kozachok"

A.Pirumov "Humoreska"

K.Vilton "Sonatina"

H. Rauchverger "Sumna Pisenka", "Merry Pisenka"

T.Khrennikov Dvi p'usi

K.Orf "P'єsa"

E. Golubev "Koliskova"

D. Scarlatti "Menuet"

S.Maykapar "By the cage"

A. Gedike "Zaychenya"

A.Aleksandrov "Novorichna Polka"

G. Telemann "Grave"

R.Rautio "Dance"

Y. Slonov Dvi p'usi

H. Rauchverger "Finska Pisnya"

ensembles

K. Sorokin "Ukrainian Koliskova"

L. Beethoven "Nice dance"

M.Ravel "The Pavana of the Red Dice"

"Malyuk at the piano" / compiled by I. Leshchinskaya, V. Protskiy / M., 1989

Part III No. 33, 47-49, 51-55, 62-66, 70-81, 107-109

Ensemble number 69

"Kalinka" / compiled by A. Bakulov, K. Sorokin / M. 1988

Issue 1, part I, section II

View of Radionov "Biloruska balada" to the 3rd party, side 58

ensembles

Khagogortyan "Dance"

"Bilya vorit, vorit"

"Stepova cavalier"

M. Glinka "Glory"

"Persha zustrich with music" / A. Artobolevskaya / M. 1990 r

Striborg "Waltz pivnikiv"

W. Mozart "Menuet", "Waltz"

L. Beethoven "Nice dance"

D. Steibelt "Adagio"

A. Grechaninov "Mazurka"

Ensemble Kalinnikov "Kitka"

class

Polyphonic create

J.S.Bach "Volinka", "Menuet" d-moll

D. Scarlatti "Ariya" d-moll

W. Mozart "Pasp'є", "March"

A.Korelli "Sarabande" e-moll

L. Mozart "Menuet" in d-moll

K.Percell "Ariya", "Menuet" G-dur

A. Gedike "Inventions" d-moll, "fugato" G-dur

S.Maykapar "Canon" g-moll

Bach's creative fallacy is unimportant. Until our days, only a small part of this creation has gone, and yet, it’s all, it’s worthwhile to see the greatness of its contribution to the development of musical art. Yogo musical images of the folk poetry of polyphony, "Counterpoint by the poetic language of the genial composer", - wrote M. A. Rimsky-Korsakov.
Polyphonia in the crossbar from walnut movi means rich voices. Moreover, it also has a rich voice, in which skinny head є we are equally important and we carry our own virazny melody. Also, there is only one voice in which the meaning of the voice is, in which the melody sounds. Reshta voices only to companions. This style is called homophonous. Any romance or a song with a superconductor can serve for such a style.
It is necessary to say that polyphonic music appeared ten years before Bach. In his own mystery, as they reached the true perfection, as they brought the bags to the development of the polyphony.
For a rich table of music and polyphonic music, we have seen their own special form and genre, their own development. One of the most important among them is іimitatsіya. The Latin word (imitatio) means nasliduvannya. Imіtuvati means naslіduvati. In music, the word is called the repetition of the melody, only it sounded in the first voice or in the second instrument. More precisely, the voices entered into a skinny voice, trochas zapiznyuchis, repeating the same melody. At the same time, all polyphonic genres are based. The very leaders of the іmіtatsії reach the continuity of the melodic ruch.
Tsey priyom Bach vicorist is still in small p'es, as he wrote for his blues - small preludes and fugues, inventions and symphonies. Even more clearly manifested itself in the fifteen two-part Bach's Inventions.
Bach's vintages and wines have vividly appeared in the tsikh creatures. It is important to be able to conduct a few voices at once, so that none of them is not one pianist, but a number of spices. It’s important to play on a bitter piano with a great and sound sound, but not from old-time harpsichords, Bach started to pry until the scientists played smoothly and softly.
Bach wrote his іnventsії in order to find out his scholars "to the beautiful and sonorous method of vikonannya." Ale yogo іnventsії - tse not just right. Tse high-artistic p'єsi. Basically, the skin is short, ale virazna theme... In the imitatsiynyh creations, the theme is sometimes one-voiced, and at the same time, it is a one-voiced voice. Moreover, the first one is not zamovkaє, the wine prodovzhu ruh, will set off the theme. Such a continuation of the melody is called the counterpart. Vzagal, in іnventsії є distribution, in which the topic is not carried out. They can develop elements of the basic melody. Such razdіli are called intermedia (in the Latin translation "inter" means "mіzh"), which is known as those carried out by those.
Ale do not wait for Bach to be victorious only on this principle. In polyphonic music, extensions are of the largest type of imitation. The new offensive voice repeats not only the theme itself, but rather the opposite. So that all voices sing out one and the same melody, albeit not all at once, but coming in at once, sometimes from one and the same sound, sometimes - from children. Such an imitation is called canonical or simply canon. On the day of the right, the imitation is carried out without interruption. Such a development is the lure of Invention No. 8 in F major.
A fair encyclopedia of bakhiv images becoming the first celebrity "Good tempering claviers". Bach wrote the first to that in Keteni in 1722 rotsi. Until now, 24 preludes and fugues have gone. Leipzig has a lot of rock, therefore another volume has appeared, it can also be stored in 24 cycles. Bach hothiv tsim with tartum into the practice of using all the tonalities of the tempered fret.
The name itself was instrumental in the fact that the piano was rooted in the piano system and due to its technical difficulties, it could serve as a good course in the development of the piano gri technique. Bach not letting go, how do you create with them, become the belongings of the art, how great genies can be drawn on them: Beethoven, Chopin, Schumann, List. Warehouse, win setting before himself modest pedagogical goals.
The great Russian pianist A.G. Rubinstein at his book "Music and representatives of the world" called Bach's tvir "pearl in the music", talking about those who "yakby ale all bachy motets, cantati, "(The greatest of Bach's works) were ruined and only for the time being, then nothing would fall into the air - the music did not disappear."
Skin prelude and fugue є two-part cycle. The stench is contrasting one to one. Mayzhe all the preludes may have an empowered character. Fugues are strictly polyphonic tvir. Ale so it is itself, as in syuity, the skin cycle is to unite the zagalny tonalities, and the subtle internal sounds.
Let us illustrate with such a small cycle є Prelude and Fugue in D major from the 1st volume “Good Tempered Clavier”.
Povitryana, like nibi zitkana with fancy, fabric of prelude, vision of the lung, rushing forward the ruch, complementing the precise carbovan rhythm, the masculine character of the fugue.
The prelude is written in accordance with all the laws of the prelude impromptu genre. Vona nibi all virosta s small cob with those In each case, the character of the ruch, and especially the texture are shown.
The melody of melody is constantly weaving in the right rutsi, at that hour, as soon as it is left, it gives an easy support. Offended hands yak bi lead skin their line. Due to the technique, the harpsichord can convey a light violin texture. The whole prelude is even more similar to the violin's impromptu in the superconductor, and it is an uninterrupted ruh. Rozdіli nіbi strung one by one.
Now let's go to a fugue. His vision, the most sophisticated form of polyphonic music. There will be a fugue with special laws. The word "fugue" in Latin means біг.
One theme lies at the heart of the fugue - yaskrava, garna. Lastly, all voices are victorious, in the absence of the number of such fugues there are two-part, three-part and five-part. The main technique of Budovi fugue is that very imitatsia. At fusi, yak i in invention, є contradiction, іntermedia. Fugues are played, in the base of which there is not one theme, but two, and three. Todi stinks are obviously called subordinate or substandard.
In Fusi in D major, like in the prelude, there is no transition from one to the next, there is no internal development of images. There is a lot more to the art of the Italian opera, in which the characteristic of the musical image is tsely and closed. The whole image is victorious in those, and the given development is only additional, and not the change of its essence.
The theme itself is closer to the character of the heroic images of the oratorial-cantata music of that hour.
The І theme, і ї ї ї ї ї viklad in the exposition is to justify the husband's energy and cost. In the exposition, the theme is victorious in our voices last time. In the middle of the distribution of fugue - rozrobtsi - an intensive development is given by those behind the additional development of the young: strengthening the dynamics, often changing tonalities, harmonious instability. By turning the head tonality, the third part of the fugue is repaired - a reprise. Z french movi The whole word is changed as renewal, repetition. The theme in the reprise is to sound only in the basic tonality. In opposing the development of tonal non-tonal stability, the reprise is guilty of introducing with us the perception of tonal equilibrium, style and completeness of all creation.