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Music theory. Musical composition and texture

Has 5 varieties:

1. Heterophony is a principle of the relationship of voices when each of them reproduces a version of the same melody. At the same time, an episodic branch from unison is characteristic. This pattern is typical for the Western Russian tradition, as well as for the northern regions (Smolensk, Pskov, Novgorod, partly Tver; Arkhangelsk, Vologda, Vyatka).

In heterophony, four types have emerged:

1). Heterophony of the “Unison” type, or “Monodic”.

2). Heterophony "Regulated".

In it, a strict, constant separation of vocal lines is observed not only in the endings of the melody, but also in the development of voices.

3). Heterophony "Branched".

4). Heterophony “Developed” or “Saturated”.

Polyphonic consonances arise in it, both dissonances and consonances. This type of heterophony was defined by N.N. Gilyarova according to characteristics 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 third and then returns.
  • 3). A special form of bourdon is “Bourdon with quantum frame”.

This type of singing with bourdon is formed as a result of the stratification of the main two voices and the occasional appearance of three or four voices. In such cases, the harmonious thinking of the performers is manifested. All voices are melodically developed, and a fifth is often heard between the extremes.

4). "Singing with an imaginary bourdon."

It is found in Central Russia, the South, the Volga region, the Urals, and Siberia.

Two varieties have been noted:

The main, most general principle of Russian contrasting two-voices is a clear, prominent opposition of the upper vocal line, which has an auxiliary meaning, with the part of the lower voice, which makes up the melodic core, the intonation basis of the melody.

There are transitional forms between heterophony and contrasting 2-voice, when in archaic tunes with a limited chanting range - no more than 6.3 - there is a noticeable inclination of some voices to the upper register, and others to the bass register.

When performing songs based on the principles of contrasting two-voices by two singers, the lower part usually forms the melodic basis of the tune and carries out the main musical idea. As a rule, it is performed by the lead singer, continuing to lead the ensemble after the entry of the upper voice, which colors the melody with modal colors and rhythmically enriches it. When a song is performed by a trio, quartet, quintet or even a choir, the lower parts interact with each other according to the principle of heterophony - they contain variations of the main melody.

Polyphonic and harmonic properties of contrasting two-voices

  • - vocal lines are contrasted intonationally (movement of one voice against the background of a sustained tone in another; movement in opposite directions);
  • - rhythmic contrast of voices;
  • - the rules for constructing horizontals are typical - the lower voice is a sequence of fourth melodic moves, and the upper voice is a patterned singing of fifths.

At the same time, the vocal lines, despite their relative independence, are constantly consistent vertically. The resolution of more intense consonances into less intense or consonant ones is clearly felt; the use of arrests and other characteristic harmonic techniques.

In the songs of the late historical layer (urban, soldier) authentic connections can be traced between series of consonances. There is a particularly strong craving for harmonic musical thinking in southern Russian singing folklore, and, above all, in songs of a dance nature - round dances, weddings, and honors.

The most definite reliance on harmony is found in cadences, in which the functional tension of the musical development of a melody is concentrated, followed by resolution in unison to the tonic sound.

2). Three-voice, where the middle voice (alto or baritone) sings, the upper one is a supporting voice, the lower one, in a fifth ratio with the upper one, is a stable bass. If the voices are separated, then three-, four-voice, sometimes five-voice harmonies are periodically formed (but it is the three main voices that are separated when there are many singers). Folk singers say: “The upper ones “prompt”, the lower ones “bass.” Great value in such singing it acquires a harmonic verticality, where the hidden parallelism of triads often sounds.

In the most complete and complete form this system Polyphony 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 subvoice, or a party of two or three complementary upper voices (for example, the tradition of the Middle Don).
  • -The third group of voices is located below, mainly in fifths with the top, forming a stable bass foundation.
  • -Since the parts are closely spaced, a very dense texture arises, replete with three-, four-, five-voice and sometimes more complex harmonies.

This form of polyphony, obviously, was formed no earlier than the 16th-17th centuries and was developed already in mid-19th century." The developed three-voice texture is not typical for all genres, but only for lyrical lingering ones, and partially for urban lyrical songs.

  • 4. “Tape” polyphony.
  • (or according to T. Bershadskaya’s definition - “Warehouse from the second”).
  • 1). “Warehouse from the second” assumes a two-voice basis, where the voices move in parallel (in thirds, sometimes in fourths, fifths), sometimes merging in unison. The main voice is the lower one, the upper one acts as an auxiliary voice.

Characteristic: for the Urals, Siberia, the Middle Volga region, the Urals, Central Russia.

This is the same “warehouse with the second”, but with doubling in an octave (higher or lower) the sound of the main voices.

Found in the North, in the Moscow region, in the Volga region, in the Urals

5. Imitation polyphony.

It comes in two varieties:

  • 1. “Canon” (or two-way singing) - singing, for example, wedding, calendar songs in two groups: one begins, the other begins.
  • 2. Folk "Aleatorics".

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. Found in weddings: Northern, Siberian, Central Russia.

Municipal government educational institution additional education children

"Sychevsk Children's Art School"

Methodological report

BASIC TYPES OF POLYPHONY AND GENERAL PRINCIPLES OF WORKING ON IT IN CHILDREN'S MUSIC SCHOOL.

( V piano class)

Prepared by: piano teacher

Ermolaeva

Oksana Alexandrovna

Sychevka

Methodological report plan

I. Important role polyphony in general musical development student.

II. Types of polyphony.

2. Imitation (canon, invention, fugue).

III. Features of the form of invention and fugue. Working on a fugue.

IV. Conditions for all types of polyphonic works necessary for understanding the melodic lines of voices and their totality. (Working with a student in the classroom).

For general music education For a student at a children's music school, the development of his polyphonic hearing is extremely important. Without the ability to hear the entire musical fabric of a work, to follow while playing all the lines of 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 performance. This is explained by the enormous importance that developed polyphonic thinking and mastery of polyphonic texture have for every piano player. Therefore, the student develops and deepens the ability to hear polyphonic fabric and perform polyphonic music throughout the course of his studies.

The basic principles of working on a piece are 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 the main task of the student: the need to hear and lead each voice polyphonic work separately and the entire set of votes in their interrelation. As a result of this, what is associated with maintaining a melodic line acquires everything higher value and demands special attention teacher and student.

The student begins to get acquainted with polyphony from the first classes, thanks to which by the senior grades of school he usually acquires certain working skills. But sometimes we encounter a lack of basic literacy in this regard among students even in their fifth or sixth year of study. As a result, the meaningfulness of the execution is not ensured. A polyphonic work turns out to be merely memorized in some way – and that’s all. In such a case, there is a need already at this relatively late stage of classes to explain the very principle of polyphonic presentation, to introduce it to characteristic techniques; you have to learn to hear the lines of individual voices and their simplest combinations, learn to lead the voice, perceiving and conveying 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 such gaps lies mostly the fact that the teacher did not sufficiently draw his student’s attention to the content and expressiveness of the polyphonic pieces they had worked on earlier, did not teach him to delve into author's intention, understand the meaning of each melodic line, and worked with him mainly on issues of technology for their execution. All the student’s efforts 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 works.

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, and build a musical perspective of different sound planes.

In one case, during the bass of a homophonic-harmonic piece, you need to find an echo, in the other, you need to hear and more clearly perform in the chords the sounds that form the melodic progression. The structure of a broken line can be represented as a hidden two-voice. Developed Voices of a polyphonic piece are revealed only when each one performs with its own characteristic sound. By 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 living sound picture.

Consistently getting to know different types polyphonic works, the student gets used to analyzing, determining the melodic lines of voices, the meaning of each, hearing their interrelation and finding 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 – imitative, contrastive and subvocal. There are three periods in the history of polyphony. The main genres of the early polyphonic period (9th – 14th centuries) are organum, motet. Polyphony of the Renaissance or choral polyphony of a strict style is characterized by reliance on diatonic and smooth melody. Non-dynamic, smoothed rhythmic pulsation; The main genres are mass, motet, chanson. Free style polyphony (17th – 20th centuries) – predominantly instrumental with an orientation towards secular genres: toccatas, ricercatas, fugues and others. Its features are associated with the evolution of harmony and tonality in the 20th century. – also with dodecaphony and other types of compositional techniques. /New illustrated encyclopedia 2003/

Types of polyphony.

Polyphony is usually divided into imitative and non-imitative types. Non-imitation polyphony combines subvocal and contrastive polyphony. An example of subvocal polyphony can be arrangements of folk songs in which the main melody is accompanied by subvocals imitatively associated with the main voice. For example, such plays from Nikolaev’s “School” as “On the Mountain, the Mountain” (arranged by Lysenko, arranged by Berkovich). A play written in this style can easily be imagined performed by a choir. Here the student will easily distinguish the main melody from the secondary melodies.

An example of CONTRAST polyphony can be ancient dances, small keyboard 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 votes, but not strictly maintained. The voices are “opposed” to each other in their meaning (expressiveness, development), represent independent melodic lines and sometimes cover a fairly wide part of the keyboard. Usually in such plays main voice– top. For example, a number of two-voice pieces from the “Notebook of Anna - Magdalena Bach”, G. Purcell “Aria”.

W. Mozart “Minuet”F - dur/"School" Nikolaev

In three-voice plays, as a rule, one voice is distant, and the other two are closely spaced and more dependent on each other (J. S. Bach “The Music Book of Anna - Magdalena Bach”, “Minuet”g - moll, "Polonaise"g - moll № 5.

But quite often there are compositions in which the voices are more interconnected, providing mutual “support”, transferring to each other the right to speak to the fore with their expressive element of melody. Most often, such an element is a more mobile motive, which creates almost continuous movement in the play. For example: J. S. Bach “Minuet”G - durNo. 3 from “The Music Book of A. M. Bach”, “Little Preludes”C – dur № 2, g- mollNo. 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 – moll, E - dur(No. 3, No. 5, II notebook),a - moll(No. 12, 1 notebook) and others.

IMITATION - (from lat.imitatio– imitation. 1). Imitation of someone or something, reproduction; fake. 2). In music, the exact or modified repetition in one voice of a melody that was previously heard in another voice. The basis of canon, ricercarte, fugue, invention and other forms of polyphony. /New illustrated encyclopedia. 2003, T. 7/.

IMITATION polyphony includes such forms as canon, invention, fugue. In such compositions the voices are equally developed, “full-fledged”, but also subject to the law of “Mutual compliance” in the construction of the ensemble.

CANON – polyphonic form, based on exact imitation, in which a melody with a given voice begins before it ends in another voice. /New illustrated encyclopedia. 2003, T. 7/

IN THE CANON, the melodic line of one voice is invariably repeated by another, with some “delay.” The voice that constantly starts a new phrase can be presented to the child as a “teacher,” and the one that repeats after him as a “student.” It is very important to understand the culmination of melodic phrases, their final declines (both “teacher” and “student”). These moments between the voices do not coincide. This discrepancy in phrasing shades creates the “coloring” of voices, the contrast of their sound. The activity of the “student’s” performance depends on the structure of the first motive: it begins with a weak or strong beat. (example)

S. Maikapar, 11th variation from “Variations on a Russian Theme”

L. Beethoven "Canon"

Invention and fugue are forms built on the main musical idea - theme. The theme, which represents the “main grain” of the work, is usually stated laconically and determines the character of the music of the play as a whole.

INVENTION – (from lat.inventio- invention, invention), a small polyphonic musical piece in which any specific compositional and technical idea is essential. There are known inventions for the clavier by J. S. Bach. /New illustrated encyclopedia. 2003. T. 7/

INVENTION is not something 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-part 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 is often in two voices, with a statement of the theme and at the same time a counterpoint of another voice (counterposition). Sometimes, instead of counter-addition in a two-voice invention, the canonical presentation of the theme in another voice is used. In some inventions the form is two-part with a certain ending first part, while the form of the fugue is closer to a three-part one, 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 type, based on the implementation of the same theme in all voices; highest form polyphonic music. Imitation of the theme is echoed by interludes in which the theme does not pass; they are usually constructed in the form of fugue sequences, written in 2 – 6 or more voices, there are fugues on two, less often three themes. Examples of fugues from Bach, Handel, Mozart and others. /Soviet encyclopedic dictionary, 1988/

FUGA - usually the classical structure of a 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 - alternating T andD(less often). The theme carried out 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 an opposition. All parts of the fugue (invention) are interconnected by interludes, which are usually built on elements of a theme or counterposition. The significance of the interlude is not only to connect, but also to develop the material, as well as to communicate the overall continuous movement of the entire play.

DEVELOPMENT is distinguished by tonal instability and greater sound intensity; the theme is often carried out in a different mode; interludes are marked by the nature of development.

REPRISE states the main key, often beginning with the theme in the main key, but not necessarily. Sometimes in this section of the fugue the technique of “thematic condensation” is used - strettas: a canon-like presentation of the theme. Stretta dynamizes the sound and therefore is also found in developments. After the reprise, a conclusion may also follow, in the process of development musical movement voices that change places: the middle voice can sound higher than the top, etc. such a presentation is called crossing voices. For example, in such Bach inventions as the two-voice “Invention”f – moll(9), three-part "Invention"D – dur (3).

There are double and even triple fugues in high schools. Thus, the three-part invention of J. S. Bacha – moll(13) is a double fugue, since it is built on two themes.

I topic

II topic

In a three-voice inventionf – mollNo. 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. It is possible to “trace” the movement of the melody of different voices in their totality by giving each voice “individuality,” a distinctive sound, and a unique coloring.

Only this condition makes it possible to reveal the polyphony, and not just the harmony of the fabric, when the voices sound together.

The student’s determination of the functions of each voice in any polyphonic piece is achieved:

1. varying degrees richness of the sound of voices with dynamics and different timbres;

2. various strokes in the sheet music (leagues, dots, tenuto and accent marks);

3. discrepancy in phrasing in simultaneously sounding voices (as, for example, in a canon).

Use of contrasting strokes (one voice -legato, second -nonlegatoetc.) most simply creates the characteristic 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 needs to have some ideas about the peculiarities of the sound of a piano with its relatively short sound, different timbre and dynamic capabilities of the registers. Many problems in performing polyphony on the piano cannot be resolved.

For example, performing long durations with a superficial, not deeply extracted sound can lead to their “loss.” A voice expressed in continuous sounds requires more weighty playing. 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 the right amount of time.

P. Tchaikovsky “Old French Song” part I.

Conclusion of the same piece: the main sound isla- “floats out” only if it is sufficiently saturated and (necessarily) the remaining voices have died down:

Voices spoken at a distance are easier to hear: the different timbres of the registers in which they are performed create their color. It is only necessary to balance the dynamic levels, since a melody in the lower register with its longer and stronger sound, played as tightly as a voice in a higher register, inevitably falls into the foreground, regardless of its meaning.

Voices located 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 guidance, dynamic separation of voices is necessary here (for example, J. S. Bach Polonaiseg – moll, № 5).

In three-voice works, in addition to the task of different colors of close voices, it is important to find the correct relationship between them and the distant voice. So, when singing a theme with a bass voice, it is more important to listen to the two upper voices so as not to lose the sonic perspective. (J. S. Bach “Little Prelude”e – moll, No. 7, 1 notebook).

Here it is quite common to treat the two-voices of the right hand as an accompaniment and not listen to the expressiveness of the resolved syncopations in the upper voice, but pay all attention to the bass.

Thus, the richness 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 single-voice melody: to hear its length, expressiveness; understand phrasing, feel “breathing”. The smoothness of a melodic line performed legato determines not only the mastery of a melodious sound, but also:

1. correct sound ratio of durations (from long notes, subsequent ones seem to “flow out” - they begin somewhat 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 constructions - phrases, sentences.

In order for a beginning student to perceive a series of notes played by him as a melody, he must meaningfully sing this motive. This is easier to achieve with song material that has verbal lyrics.

Singing melodic material in further work is one of the conditions for the development of linear hearing; There are students already playing the piece, knowing it by heart, but not knowing how to sing the melody. In this case, it was not so much musical memory and hearing that worked, but motor skills, motor sensations, and visual memory. It is safe to say that the student does not yet know the music of the piece being studied if he cannot sing its melody without playing along.

Direction of hearing, memorization of a melody by singing (after analysis and initial mastery of the piece) must be developed from the first steps of learning. Singing any studied melody, first with playing along with it on the piano, then without “help” in the form of playing along; singing a melody with playing an accompaniment or backing instrument – effective ways student's 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 planes of sound. Mastering the versatility of sound also depends on the degree of development of independence of the student’s hands.

The discrepancy between the tasks in the hand parts, starting with the presentation of the melody and simple accompaniment, gradually becoming more complex, 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 the main and secondary, first and second planes of sound in the piece being studied; a brighter timbre in the melody and a softer one - accompaniment or backing. The main “guidance” while working on such a task is provided by the student’s hearing. The teacher can help by showing an example “by contradiction” - he plays the piece first with the same sound of both hands, then with the correct “coloring” of each part. This usually causes the student to react correctly: he correctly determines the meaning and dynamics of each voice. By then working on the piece, the student better coordinates the physical sensations of both hands with the received auditory ideas.

But sometimes there are children with insufficiently developed hand coordination. In such cases, a preliminary exercise is useful, which can help master the movements: the child’s hands are placed on his 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 lightly touches the knee. The exercise is performed 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 coloration. In the process of studying polyphony in high school, the student himself learns to analyze the relationship of voices.

When the voices are farther apart, and when one of them is more expressive and developed, it is relatively easy for the student to determine how to combine them. When voices are placed closely together and performed with one hand, the task becomes noticeably more difficult.

First of all, the beginning 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 ​​​​what the recording of such voices (even an element of them) looks like in the part of one hand; calm notes in different directions - 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 orientation of hearing to search for the appropriate sound is cultivated by the ability to hear the combinations formed between sustained and passing sounds, the desire to ensure that a long sound does not “go out” ahead of time, and that a passing sound does not drown out the sustained voice.

Ways to work in in this case should be aimed at ensuring that the student understands the functions of voices and hears them, both individually and in combination. This can be a separate performance of each of the supporting 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. Goedicke “Piece”, op. 36 (conclusion).

Quite 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 clearly. The task of performing two voices (or more) in the part of one hand occurs in the plays of any polyphonic type throughout the student's education. The ability to separate voices dynamically is based on the feeling of double weight in one hand.

The student’s initial exercise and mastery of this performance technique can be playing chords (intervals, triads with inversions), in which it is necessary to highlight the upper or lower sound (voice) more clearly. This is achieved by tightly immersing the weight of the entire hand on the corresponding finger - extracting a “heavy” sound; then the finger is held on the key and another sound is added by easy touch. The addition of a light sound occurs faster and faster during the exercise and is finally produced simultaneously with the same sensation. different weights in the fingers.

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 colors of voices are necessary not only when one of them leads the main melody, but also when both represent the background sound. Quite often, the performance of voices is reduced to playing them more quietly in the solo melody, while forgetting that the vocal guidance is thus lost, turning into harmonic accompaniment that is uninteresting in sound. Example: J. S. Bach “Minuet”g – moll. The bass voice should sound brighter than average.

Studying junior schoolboy For such a polyphonic presentation, it is advisable to begin by familiarizing yourself with the voices separately, and then move on to mastering the part of one hand. It is useful to work on combining voices performed with one hand with both hands or in an “ensemble” with a teacher, or to play one voice and sing with the other. In the process of studying voices, it is easier for the student not only to understand them correctly, but also to understand the relationship, hear it, determine the phrasing and coloring of each line. Example: J. S. Bach “Little Prelude”g – moll, No. 10 – right hand part. It's important to understand here climaxes phrases, smooth lines of voices.

If a student does not understand a 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 move the middle voice down an octave. At this distance, it is easier to hear the peculiarities of the sound of each voice. A melodic move that is not understood by the student must be sung by him. Playing voices in such a wide arrangement can be carried out either by the student himself (with both hands) or with the teacher. Example: J. S. Bach “Little Prelude”e – moll, № 7.

After training in the listed ways, the rhythmically complex combination of the two upper voices is mastered by students with greater reliability. Voices written out in the score can also be played separately or in combination, performing them with both hands.

These learning methods are used in imitative polyphony.

In inventions and fugues, the student carries out the same process of analyzing the play by voice. Having imagined each melodic line, then, having studied thematic material in all its implementations, the student proceeds to unite the voices. In three-voice imitation pieces, mastering the material proceeds faster if you first combine the upper voice with the middle and the lower with the middle, rather than by hand parts. An exception may be such a presentation of votes when two of them are located predominantly in the party of one hand. For example, in “The Three-Voice Invention”F – dur, J. S. Bach - the middle voice is performed all the time with the right hand. The preliminary dynamic sound “outline” of each voice is subject to more precise adjustment when they sound together. Technical difficulties, such as playing the middle voice (which can change from one hand to the other), performing the crossing of voices, carrying out the stretto theme, a difficult combination of voices in the part of one hand, are practiced separately.

To master the complexities of performance and better identify voices, all the previously indicated methods of practice 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” – moll

3. playing at an octave distance of voices closely spaced in the part of one hand. J. S. Bach “Three-Voice Invention”F – dur

4. joint play with the teacher: the student plays with both hands while singing a given voice, those elements of two-voice that are performed with one hand, but are poorly heard by the students, are not colored dynamically differently.

Since the meaning of each voice changes in the imitative presentation, additional difficulties arise for the student. These difficulties are associated not only with technical, but also with auditory performance problems. It is difficult to follow the voices being performed equally. Only a mature musician can do such a task. The student's attention and hearing constantly switches from one part to another, noting the entry of voices and determining the difference in their sonority. This ability to switch, to “direct” selectively your hearing to the main thing also needs to be developed.

A useful method in this regard is to listen to each of the voices in turn (in some section or whole piece) while all the voices are playing.

“Selectivity” of listening of this kind can also be aimed at some individual difficulties in performance: transitions of the middle voice from hand to hand, crossing the main voice, carrying out the theme, etc. the student must first separately play the element that he needs to listen to in general sound.

The student’s work on analyzing and mastering polyphonic material is initially somewhat dry in nature, not bringing emotional satisfaction to the player. Therefore, you should not “stay too long” at the stage of playing by voices: the correct coloring of voices can only be found in the totality of their sound, when both the structure and the nature of the piece being learned becomes 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.

References

1. Alekseev A. - “Methods of teaching piano playing.” Ed. "Music", 1978, third edition

2. Lyubomudrova N. - “Methods of teaching piano playing.” Ed. "Music", 1982

3. Braudo I. – “On the study of Bach’s keyboard 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 the publication. "AND. S. Bach" - "Inventions" - Ed. F. Busonni - M. Music, 1983

6. “New illustrated encyclopedia.”

Types of polyphony

There are several types of polyphony: heterophony, subvocal, imitative, multi-themed polyphony.

Heterophony (from the Greek eteros - other and ponn - sound) - a type of polyphony that occurs during a joint (vocal, instrumental or mixed) performance of a melody, when deviations from the main melody occur in one or more voices. Indentationdifferences may be caused by natural differences in performance capabilities human voices and instruments, as well as the imagination of the performers. Although there are no reliable written monuments illustrating the history of the development of heterophony, traces of the heterophonic origin of folk polyphony have been preserved everywhere. Examples of heterophony.

Organum from Hukbald's Musicaenchiriadis


Dance song of the 13th century (from the collection of X. I. Moser “TönendeAltertümer”)

Lithuanian folk song "Austausrelе, teksauleле" ("The dawn is busy")

Heterophony is characterized by unison (octave) endings, parallel movement of voices (in thirds, fourths and fifths), and the predominance of synchronicity in the pronunciation of words. Expressive Possibilities heterophonies were used by I. Stravinsky in the ballets “The Rite of Spring” and “Petrushka”.

Subvocal polyphony - a type of polyphony characteristic of Russian, Ukrainian, Belarusian folk music, as well as folklore-oriented works of professional musical art. During choral performances of songs in slow and moderate movement (lyrical plangent and wedding, slow round dance, Cossack) there is a branch from the main tune and independent variants of the melody are formed - subvocals (eyeliner, dishkant, goryak and others). Signs of subvocal polyphony: a variable number of voices (usually 3, sometimes 5 or more), free switching on and off of voices, an abundance of crossings, the use of imitations (inaccurate), unison and octave endings, simultaneous pronunciation of syllables of the text. Examples subvocal polyphony.

Song from the collection of E. V. Gippius and Z. V. Evald "Songs of Pinezhye"

Song from the collection of A. M. Listopadov "Songs of the Don Cossacks"

The expressive possibilities of subvocal polyphony were used by Mussorgsky in “Boris Godunov” (prologue), Borodin in “Prince Igor”, S. S. Prokofiev in “War and Peace” (soldier’s choirs), M. V. Koval in the oratorio “Emelyan Pugachev” ( peasant choir).

IN composer's creativity There are two main types of polyphony - imitative and non-imitative (multi-color, contrasting).Imitation polyphony (from Latin - “imitation”) - carrying out the same topic alternately in different voices. The techniques of imitative polyphony are varied. For example, a fragment from G. Dufay’s mass “ Avereginacaelorum"

IN multi-themed polyphony Different, sometimes contrasting, melodies sound at the same time. As, for example, in the first movement of Symphony No. 5 by D. D. Shostakovich

The distinction between imitative and multi-themed polyphony is arbitrary due to the great fluidity inherent in polyphonic music. When a melody is combined in inversion, increase, decrease and in a raking movement, the differences in melodies horizontally intensify and bring the imitative polyphony closer to contrasting:

Complete tasks

1. Determine the type of polyphony:

A)

POLYPHONY (from poly... and Greek φωνη - sound)

1) type of many-go-lo-siya, for some-ro-go ha-rak-ter-ny equal-right go-lo-sov, non-sov-pa-de-nie in different voices of ka-den-tions, tse-zurs, kul-mi-na-tions, ac-tsen-tov and others. 2) The main focus in this view is the many-go-lo-siya area of ​​musical art (“po-li-fo-ni-che-music”). In developed polyphonic forms (the highest of which is fu-ga), the main “construction unit” is This is a semantic and structural musical whole. Secondary pro-ve-de-de-tions of those-we-ob-ga-sha-ut-xia-use-use-zo-va-ni-em-ta-tsi-on-but-con-tra-punk -ti-che-skikh (imi-ta-tion, stret-ta, complex counter-tra-point) and to-nal-no-gar-mo-ni-che-skikh (pe-re-gar-mo -ni-za-tion, mod-du-la-tion) means. On-chi-naya with epo-hi ba-rock-ko shi-ro-ko is used for the development of precise development.

Elements of polyphony are noticeable in the folklore of various European and non-European peoples. In the history of professional European music there are: the polyphony of the Middle Ages (IX-XIV centuries), the polyphony of the Renaissance (XV-XVI centuries), polyphony of the New Time (from the 17th century). The first examples of many, preserved in the tracts of the 9th century, represent an or-ga- num. The highest dos-ti-same-niiia of the li-phonic art of the Middle-ne-ve-ko-vya - mo-tet, dis-kant, con-duct (see also in the article Ars an-tik -va). Historical significance in the polyphony of this time is the development of rhythmic contrast of voices, the experience of using -va-niya im-ta-tion, ka-no-na, emergence of os-ti-nat forms (see Os-ti-na-to). Per-ri-od ars no-va, per-re-hod-ny from Sred-ne-ve-ko-vya to Voz-ro-zh-de-niy, oz-na-me-no-van ros-tom the meaning of secular genres (mad-ri-gal, kach-cha, ron-do and others), using iso-rhythm, practical and theoretical re-technical (Phi-lippe de Vit-ri) development of various forms of go-lo-so-ve-de-niya. The largest mas-te-ra of middle-not-ve-co-voy polyphony - F. Lan-di-ni, G. de Ma-sho. In the Renaissance era, the art of polyphony flourished in England, France, Netherlands, Italy, Germany, Isa -pa-nia, Czech Republic, Poland; this is the so-called era of strict writing (or strict style), the norms of some op-re-de-le-ny J. Tsar-li -But. Po-li-phonic com-po-zi-tion so-chi-nya-lis mainly for cho-ra and ka-pel-la (created-da-va-lo-no-ma-lo so-chi -not with the participation of in-st-ru-men-tov or in-st-ru-mental-nyh, but the development of in-st-ru-mental forms as a self-sufficient region of polyphony from XVII century). The main genres are mess-sa, mo-tet, mad-ri-gal, spiritual and secular songs. Mas-te-ra stro-go-go style vla-de-li all the medium-st-va-mi kon-tra-point-ta, raz-ra-bo-ta-li prak-ti-che -ski all forms of im-ta-tion and ka-no-na, shi-ro-ko pol-zo-va-li-li-phonic pre-o-ra-zo-va-niya-mi (revolution, development, increase, decrease). The strict letter was based on the system of dia-tonic modes (see Modality, Church modes). The thematic basis was the Greek choral, and secular melodies were also used. In the 15th-16th centuries, the most representative school was the Dutch school (G. Dufay, J. Ben-chois, J. Oke-gem, Jos-ken De-pres, O. di Lasso, H. Izak, P. de la Rue, J. Ob-recht, J. Ar-ka-delt and others). In the 2nd half of the 16th century, Italian music was the leader: the Roman school was headed by J.P. yes Pa-le-st-ri-na, his traditions pro-dol-zha-whether the Spanish T.L. de Vik-to-ria, K. de Mo-ra-les; ni-der-lan-dets A. Will-lart became the os-but-in-false-of the ve-ne-tsi-an-school, the color of which is connected with A. Gab-rie-li and J. Gab-rie-li. Os-voe-nie you-ra-zi-tel-no-sti chro-ma-ti-ki in co-chi-ne-ni-yah K. Dzhe-zu-al-do and L. Ma-ren-zio de-la-et them about-car-ve-st-ni-ka-mi ba-rok-ko.

The polyphony of the Baroque era and the 18th century is called a “free style”, for which the kha-rak-ter-na has grown in-di-vi-dua-li-za-tion of av-tor-skih ma-ner. Pre-ob-la-da-nie in-st-ru-men-ta-liz-ma sti-mu-li-ro-va-lo development of hor-ral-work-bot-ki . us, ri-cher-ka-ra, from which to mid-17th century centuries sfor-mi-ro-va-las fu-ga. La-do-voy os-no-voy polyphony has become a classic functional-tsio-nal-naya system-te-ma ma-jo-ra and mi-no-ra. Merging of polyphony with ac-kor-do-voy gar-mo-ni-ey in prak-ti-ke g-ne-ral-bas-sa, attracting to-nal-no-gar- mo-nic development, mutual-mo-de-st-vie on-li-fo-ni-che-skih (fu-ga and others) and go-mo-phon-nyh (sta-rin-noy 2-part, concert) forms opened up the perspective of further innovation of polyphony, the main trends of -th-ro-th sk-cen-cen-tri-ro-va-li in the work of I.S. Ba-ha and G.F. Gen-de-la. In the music of Ba-ha, polyphony reached the highest point of its development. Mas-te-ra of the Viennese class-si-che-school of comparison -not, but their significance is great: they no-va-tor-ski used polyphony in symphony, co-nation and other forms max, use of po-li-phonic means (imi-ta-tion, ka-no-che-se-k-ven-tion and others) for raz-ra-bot-ki ma-te-ria-la in raz-ra-bo-precise times, created mixed go-mo-background-but-on- lyphonic forms and others.

In the es-te-tic system of ro-man-tiz-ma, polyphony ob-re-la not-its-st-ve-ven-to-her previously ex-press-siya, expanded presentation about polyphonic te-ma-tiz-me (pe-sen-ny in F. Schu-ber-t, under-stress-well-in-st-ru- mental on the ac-kor-do-voy os-no-ve at F. Lis-ta, A. Brook-ne-ra), the influence of the principles of go-mo has increased -fon-no-go for-mo-ob-ra-zo-va-niya in fu-gah. The reverse ten-den-tion is connected with na-me-tiv-shey back in the 18th century by-li-fo-ni-for-qi-ey go-mo-background fact -tu-ry (R. Schumann, R. Wagner and others).

In professional Russian music, the most everyday polyphonic forms developed in the 17th - 1st half of the 18th centuries (par-close concert , Kant and others). The basics of classical Russian polyphony are due to M.I. Glin-coy, who co-read the traditions of folk sub-go-lo-rich polyphony and professional Russian polyphony (M.S. Be-re-zovsky, D.S . Bort-nyansky) with the experience of Western European polyphonic culture. In Russian music of the 19th - early 20th centuries, polyphony comes from many types of me-lo-di-ki (can-ti-le- on in the ka-no-nah Glinka, A.P. Bo-ro-di-na), symphonic forms (P.I. Chai-kovsky), tya-go- te-ni-em to a mo-nu-mental-no-mu style (A.K. Gla-zu-nov, S.I. Ta-ne-ev), unusual forms application (M.P. Mu-sorg-sky and others). Traditions of Russian polyphony have been widely developed in Soviet music (N.Ya. Myaskovsky, S.S. Pro-kof- Ev, D.D. Shos-ta-ko-vich and others).

Strengthening the meaning of polyphony for the entire 20th century. It emerges in an hourly relation to fu-ge, polyphonic va-ria-tsi-yam, inclusion of poly- phonic or po-li-fo-ni-zi-ro-van-nyh parts in the so-nat-no-symphonic cycle, sui-tu, can-ta-tu, opera. In-te-res to complex polyphonic technology sti-mu-li-ro-val neo-classicism (I.F. Stravinsky, P. Khin- de-mit). The musical language of polyphony has become bla-go-da-rya with the use of a wide-ranging to-nal-no-sti, sim-metric-rich scales ( at O. Mes-sia-na), non-traditional ways of var-i-ro-va-niya those-we (sound-to-you-so-no-go, rit-mi-che -skogo). In polyphony, special types of rhythmic technique have been used (in lyo-sti-na, rhythmic pro-gression and others), in In the 2nd half of the 20th century, polyphony became commonplace with-yo-ma-mi so-no-ri-ki (V. Lyu-to-slav-sky). In the music of the XX-XXI centuries, polyphony is one of the most important forms of musical thinking.

As an educational subject, polyphony is included in the system of musical-theoretical education.

Continuing our music theory lessons, we gradually move on to more complex material. And today we will learn what polyphony, musical fabric is, and what musical presentation is like.

Musical presentation

Musical fabric called the totality of all the sounds of a musical work.

The character of this musical fabric is called texture, as well as musical presentation or warehouse letters.

  • Monody. Monody is a single-voice melody, most often it can be found in folk singing.
  • Doubling. Doubling lies between monophony and polyphony and is the doubling of the melody by octave, sixth or third. Can also be doubled with chords.

1. Homophony

Homophony – consists of a main melodic voice and other melodically neutral voices. Often the main voice is the top one, but there are other options.

Homophony can be based on:

  • Rhythmic contrast of voices

  • Rhythmic identity of voices (often found in choral singing)

2. Heterophony.

3. Polyphony.

Polyphony

We think you are familiar with the word “polyphony” itself, and perhaps you have an idea of ​​what it could mean. We all remember the general excitement when phones with polyphony appeared, and we finally replaced the flat mono ringtones with something more like music.

Polyphony- this is polyphony, based on the simultaneous sound of two or more melodic lines or voices. Polyphony is the harmonic fusion of several independent melodies together. While the sound of several voices in speech will become chaos, in music such sound will create something beautiful and caressing the ear.

Polyphony can be:

2. Imitation. Such polyphony develops the same theme, which imitatively moves from voice to voice. Based on this principle:

  • Canon is a type of polyphony where the second voice repeats the melody of the first voice with a beat or several beats late, while the first voice continues its melody. A canon can have several voices, but each subsequent voice will still repeat the original melody
  • A fugue is a type of polyphony in which several voices are heard, each repeating a main theme, a short melody that runs through the entire fugue. The melody is often repeated in a slightly modified form.

3. Contrasting thematic. In such polyphony, voices produce independent topics, which may even belong to different genres.

Having mentioned the fugue and the canon above, I would like to show you them more clearly.

Canon

Fugue in C minor, J.S. Bach

Melodics of strict style

It is worth focusing on a strict style. Strict writing is a style of polyphonic music of the Renaissance (XIV-XVI centuries), which was developed by the Dutch, Roman, Venetian, Spanish and many others. composer schools. In most cases this style was intended for choral church singing a cappella (that is, singing without music), strict writing was less common in secular music. The imitative type of polyphony belongs to the strict style.

For characteristics sound phenomena in music theory spatial coordinates are used:

  • Vertical, when sounds are combined at the same time.
  • Horizontal, when sounds are combined at different times.

To make it easier for you to understand the difference between free and strict style, let's look at the differences:

The strict style is different:

  • Neutral theme
  • One epic genre
  • Vocal music

Free style is different:

  • Bright theme
  • Variety of genres
  • A combination of both instrumental and vocal music

The structure of music in a strict style is subject to certain (and, of course, strict) rules.

1. The melody needs to start:

  • with I or V
  • from any counting fraction

2. The melody should end on the first degree of the downbeat.

3. Moving, the melody should represent an intonation-rhythmic development, which occurs gradually and can be in the form of:

  • repetition of the original sound
  • moving away from the original sound up or down in steps
  • intonation jump of 3, 4, 5 steps up and down
  • movements according to the sounds of the tonic triad

4. It is often worth holding the melody on a strong beat and using syncopation (shifting the emphasis from a strong beat to a weak one).

5. Jumping should be combined with smooth movement.

As you can see, there are quite a lot of rules, but these are just the basic ones.

The austere style has an image of concentration and contemplation. Music in this style has a balanced sound and is completely devoid of expression, contrasts and any other emotions.

You can hear strict style in Bach's chorale “Aus tiefer Not”:

And also the influence of strict style can be heard in later works Mozart:

In the 17th century, the strict style was replaced by the free style, which we mentioned above. But in the 19th century, some composers still used the strict style technique to give an ancient flavor and mystical touch to their works. And, despite the fact that the strict style in modern music not to be heard, he became the founder of the rules of composition, techniques and techniques in music that exist today.