Methodological development “Principles of working on polyphonic works in the piano class of the Children's Art School. Polyphonic works by J.S. Bach in the lower grades Definition of polyphony

MOU DOD "Children's School of Arts", Pugachev

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Favorite Bach -

Bach polyphony in my life

Supervisor:

special piano

Pugachev 2013

Bach is dear to me, well, how can I tell you,
It's not that there is no music today.
But such a pure crystal
We haven't received grace yet.

N. Ushakov

– German composer, an organist whose work dates back to the first half of the 18th century and belongs to the Baroque era. This is the time of the highest flowering of polyphony in the works of Bach.

“Music is a science and an art to choose the right and pleasant sound wisely, to combine them correctly with each other and to perform beautifully ...” - this is how the prominent theorist Johann Mattheson wrote.

It is little known that in Bach's time, music was viewed not as an art, but as a kind of mathematical science. Music education was compulsory. Singing lessons belonged to those classes that had to be carried out daily. Kanter, a teacher in a German school of the 17th century, had to have a good musical education, allowing him to teach Latin, mathematics, singing, playing various instruments and even composition.

And each student in the school had to know musical notation, be able to sing quite complex works from the notes. Even such genres as “school opera”, “school drama” arose, even I. Kunau himself wrote them. Music education was seen as the foundation of general education.

“Whoever knows this art is a good person, skillful in everything. It is my absolute conviction that, after theology and philosophy, there is no art equal to music,” wrote the great reformer Martin Luther.

Such ideas largely determined the path of development music education Germany.

Just for children and youth Sebastian fell on the period of the highest rise in school education in Germany. Bach was very gifted and found himself in the best environment for himself. He came from a huge musical family of Bachs, whose branches have been stretching since the 16th century - this is a huge musical workshop. Every boy of the Bach family had to study music without fail. Who has become a church organist, who has become a city musician, who has become an amateur musician, and who has become a wandering "spielman" - this is a playing person.

Little Bach impressed with his mastery of performance, the richness of his improvisations. He played the violin, viola, harpsichord and other clavier instruments, he could lead the choir, orchestra, and soloists. Knowing the basics of harmony and counterpoint, he possessed all the skills of a composer, which he then passed on to his children and students. Known are "Notebook of Anna Magdalene Bach", "Little Preludes", "Inventions", "24 Preludes and Fugues of the HTK". All these works were written by Bach for pedagogical purposes for his young children and students. It is known that Bach had 20 children. Many of them died while still young, and four became great musicians and composers. Music was a mainstay in his family life, he created and lived with music. Bach was also a talented teacher. He strictly followed musical taste his students, accustomed them to truly beautiful music.

His music seems complex, difficult, written according to the strict laws and rules of that era. This is music that requires the active participation of the intellect, great attention, interest and diligence. It does not need to be completed, completed - it needs to be known. Bach's music is based on a strict mathematical pattern; it can be compared with complex equations higher mathematics. Therefore, many mathematicians and physicists, for example, Einstein, loved her.

Sebastian was left an orphan at the age of 9, his mother died, then a year later his father. Early he had to become independent. At the age of 15, he became a chorister and had already written a collection of 36 chorales, and at 18 he became a church organist and could independently accompany the divine service. Even then, he showed numerous abilities, a great mind, and no one could doubt his genius. He was modest, individual, independent and very private person. Maybe it was the loss of childhood that affected his music, that there is a lot of depth, sadness, sadness in his music. But I am a cheerful person, and I like to play his virtuoso works, such as “Two-Part Invention in d-moll”, “Prelude and Fugue” in B-dur, I volume of HTK.

I have been familiar with all of the above Bach collections since the first grade, since Bach is my teacher's favorite composer. His works are played by our entire class. I remember his minuets, polonaises, little preludes. Now I am in the 5th grade and we are working on the Prelude and Fugue in B-dur from the first volume of the CTC. But from what I have already played, I want to tell you about my favorite invention No. 4 in d-moll.

Having passed the path from simple to complex, I already feel his style, understand his language and am no longer afraid of the “black text” of his fugues, because my teacher is next to me, who will tell you how to see and understand the inner life of each voice.

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3. And to interpret it correctly - this will determine the nature of the whole work.

The length of the theme is two measures. Swift, energetic, it rushes up, suddenly falls down to a diminished seventh, and even from the harmonic seventh grade, which gives special tension; and then the jump is filled with the same rapid downward movement.

Having rushed two measures, the theme is picked up by the second voice in the same key, in the same mood, but the theme in the first voice does not end, it is picked up in opposition by sharp, tenacious eighth notes and, with its spasmodic movement, excites the theme even more and gives it even greater intensity and energy. . But that's not all - the theme is repeated again in the first voice and in the same key - what consistency, what unity! Requires extreme activity of attention.

In developing a theme, Bach often takes its most lively motive and creates continuous movement on its basis. In this case, it is the rise and fall of mind7. And, developing the theme already sequentially and going crazy7 to b7: A - B flat (bars 7-8), then to M7: G-A (bars 9-10), and again to M7: F-G (11-12 bars) and M7: mi-fa (bars 13-14), as if softening the “ardor” of the theme, its tension, leading it into the bright F major. But in this non-stop movement, we “hear” a dialogue between motives: bars 7-10 in the upper voice and bars 11-16 in the lower voice - which lead to the F major cadenza.

One of the features of Bach's style manifests itself - when the climax of the movement flows into the cadence.

Here it is necessary to show the independence of each motive, without disturbing the movement, what is most important in polyphony is its continuous fluidity.

In the center of attention of composers of the XVII-XVIII centuries. what was important was not so much the euphony and beauty of the theme as its development and transformation throughout the entire work.

Such continuous imitation is also called canonical or simply canon.

The theme of the invention meets all the requirements for a melody of a strict style - undulation, breadth, mandatory filling of jumps, chant.

AT early music articulation and rhythm were the most important means of expression.

In the Bach era, great importance was attached to the skills of the correct division of the melody, this is called inter-motive articulation. It is used to separate one motif from another with the help of a caesura. The division of motives is done almost imperceptibly, do not take your hands off the keyboard at the end of the previous motive, calmly transfer it to the beginning of the next motive.

This technique is found throughout Bach's polyphony and it is simply necessary to master it.

Motives (from 7 t) go from a weak tact time to a strong one, they are called iambic.

All thematic accents are subordinated to the inner life of the theme.

Carefully studying the issues of articulation in Bach's polyphony, the professor deduced two rules:

1. reception of the eighth (or eighth), i.e., adjacent durations are played with different articulation. For example, eighths and sixteenths: eighths (larger values) are played staccato, and sixteenths are played legato.

The dynamics in the invention is rather melodic, connected with the intra-motive, natural development of the theme.

The work must have a single, strictly sustained tempo.

Trills in development bring particular difficulty. Bach often fills the entire duration with decoration, but here the trill sounds for four bars, where the theme passes in F major and in A minor, as if foreshadowing the end of the reprise in A minor. But beforehand, it is colored both by harmonic A minor and melodic.

The theme here takes place, as it were, in doubling, widely, on a large scale, everything is also excited, but its character is no longer emphasized by eighth notes, but by a long trill. It is important that it sound easy, free, adjusting, and not weighing down the theme.

In the reprise, the sonority and dynamic rise is enhanced by multiple repetitions of the theme, resulting in an energetic, bright cadenza.

The theme enters first in the upper, then in the lower, then again in the upper voice, as if interrupting each other - now in harmonic G minor, then in A minor, then in melodic D minor. And Bach cools this dispute ... by the appearance of a tonic at the top of the glow, after which the dynamic tension is released.

If we turn to the symbolism of Bach, then everything is there:

1. ascending flights - resurrection

2. figures of rotation - the image of a noisy crowd

3. move to the sixth - joyful excitement

4. emphasis on a weak beat (14 v.) - exclamation

5. trill - running, fun.

We know that the fingers are not the same in size, they are not the same in properties. Bach, on the other hand, sought to ensure that the fingers of both hands were equally strong and used with the same ease and purity of performance and double notes, and passages, and trills.

A lot of work needs to be done in order to easily get such places where some fingers play a trill, while others lead the theme.

It is difficult to play music in which the theme is repeated many times. It seems that it should be singled out everywhere, shown, but not everywhere it is possible.

It is difficult to get together - you allow a lot of accidents.

The music is as beautiful as it is difficult.

I have to think about each of them, hear each of them.

It is very difficult, the most important thing is not to confuse them, not to create chaos.

Of course, we got acquainted with various editions of the invention, and I know that Busoni's edition is used at school. But we worked with the invention, using the urtext, and we marked all the terms that are found in the work in the urtext with different colors, so that I could better understand the structure of the work. We listened to a lot of the prelude music on the recording, and most of all, we liked the performance of Glenn Gould - that's the sound of the invention I imagined.

I still do not quite understand how Bach should sound, but I know for sure that it should be competent, in character, clean, attentive, strict and beautiful.

And also, I like it when they speak briefly, wisely - but clearly!

According to statistics, now music is the most music performed in the world. He has the most a large number of biographers.

“Everyone knows him - and no one knows! - a great secret!

Did you know that a recording of Brandenburg Concerto No. 2 was sent into space in 1977 aboard an American spaceship"Voyager" is a recognition of the greatness of Bach by earthlings. His music flies towards new civilizations.

touch the keys reluctantly
we are all led by a gray-haired artist
we enter Bach's bottomless world.

The moment the organist's fingers
frightened off two black and white flocks
with a gray-haired artist into a thorny world
let's enter to understand the secret

Bach's creative legacy is immense. Only a small part of his compositions has survived to this day, but what has survived is enough to understand the grandeur of his contribution to the development of musical art. His musical images are born from the element of polyphony, “Counterpoint was the poetic language of a brilliant composer,” wrote N. A. Rimsky-Korsakov.
Polyphony in Greek means polyphony. Moreover, such polyphony, in which each naked person is equally important and leads his own expressive melody. After all, there is also such polyphony, in which only one voice, in which the melody sounds, has a leading meaning. The rest of the voices only accompany him. This style is called homophony. Any romance or song with accompaniment can serve as an example of this style.
It must be said that polyphonic music appeared many decades before Bach. With his art, which has reached true perfection, he, as it were, summed up the results of the development of polyphony.
Over many centuries of existence, polyphonic music has also developed its own special forms and genres, its own means of development. One of the most important among them is imitation. This Latin word (imitatio) means imitation. To imitate means to imitate. In music, this word refers to the repetition of a melody that has just sounded in another voice or another instrument. More precisely, this is an alternate introduction of voices, in which each voice, a little late, repeats the same melody. Almost all polyphonic genres are based on this technique. It is thanks to imitation that the continuity of the melodic movement is achieved.
Bach already used this technique in small plays that he wrote for his sons - small preludes and fugues, inventions and symphonies. It manifested itself very clearly in Bach's fifteen two-part inventions.
In these compositions, Bach's invention and ingenuity really manifested themselves. It is difficult to learn how to lead several voices at the same time, as if they are played by more than one pianist, but by several singers. This is difficult to do even on a modern piano with a longer and more melodious sound than the old harpsichords, Bach always strived to ensure that his students played smoothly and softly.
Bach wrote his inventions in order to teach his students "a beautiful and melodious method of performance." But his inventions are not mere exercises. These are high quality plays. At the heart of each of them is a short but expressive theme. In imitation works, this theme first sounds in one voice, and then it is imitated by another voice. Moreover, the first does not fall silent, he continues to move, set off the topic. This continuation of the melody is called the counteraddition. In general, there are sections in the inventions in which the topic is not carried out. They can develop elements of the main melody. Such sections are called interludes (translated from Latin, "inter" means "between"), because they are between the passages of the topic.
But Bach did not always use only this principle. Another type of imitation is common in polyphonic music. In it, the next voice repeats not only the theme itself, but also the opposition. That is, all voices perform the same melody, but not together, but entering in turn, sometimes from the same sound, sometimes from different ones. Such imitation is called canonical or simply canon. In fact, it is a continuous simulation. Such a development is inherent in Invention No. 8 in F major.
A real encyclopedia Bach's images became his famous "Well-Tempered Clavier". Bach wrote his first volume in Köthen in 1722. It includes 24 preludes and fugues. In Leipzig, many years later, a second volume appeared, also consisting of 24 cycles. Bach wanted to use this composition to put into practice the ability to use all the keys of the tempered scale.
The title itself indicated that this work was designed for the piano of a new tuning system and, due to its technical difficulties, can serve as a good course in studying the technique of piano playing. Bach did not even imagine that the works he created would become treasures of art, that great geniuses would learn from them: Beethoven, Chopin, Schumann, Liszt. Composing them, he set himself modest pedagogical goals.
The great Russian pianist A. G. Rubinstein in his book “Music and Its Representatives” called this work by Bach “a pearl in music”, said that “if it were not for misfortune that all Bach’s motets, cantatas, masses and even music for the Passion Lord's" (Bach's greatest work) were lost and only this would have survived, then there would be nothing to despair - the music did not die.
Each prelude and fugue is a two-movement cycle. For the most part they are in contrast to each other. Almost all preludes are improvisational in nature. Fugues are strictly polyphonic. But just like in the suite, each cycle is united by a common tonality and subtle internal connections.
A striking example of such a small cycle is the Prelude and Fugue in D major from the 1st volume of the Well-Tempered Clavier.
The airy, as if woven from lace, fabric of the prelude, the feeling of its light, rushing forward movement, are complemented by a clear chased rhythm, the masculine character of the fugue.
The prelude was written according to all the laws of the prelude improvisational genre. She seems to be growing out of a small initial theme, which already shows both the nature of the movement and the features of the texture.
A pattern of melody is continuously woven in right hand, while the left only gives light support. Both hands, as it were, each lead their own line. In terms of technique, this is very reminiscent of the desire to convey a light violin texture on the harpsichord. The whole prelude is very similar to a violin improvisation accompanied by a cembalo and is a continuous movement. Sections seem to be strung on top of each other.
Now let's move on to the fugue. Ego is the highest, most complex form of polyphonic music. The fugue is built according to special, very strict laws. The word "fugue" in Latin means running.
The fugue is usually based on one theme - a bright, memorable one. It is consistently expounded by all the voices, depending on the number of which the fugues are two-part, three-part, and even five-part. The main method of fugue structure is the same imitation. In fugue, as in invention, there are counterpositions, interludes. There are fugues based on not one theme, but two, and even three. Then they are respectively called double or triple.
In the fugue in D major, as in the prelude, there is no transition from one state to another, there is no internal growth of images. She is very reminiscent of Aria. Italian opera, in which the characteristic of the musical image is integral and closed. This image is presented in the topic, and its further development only complements, but does not change its essence.
This topic is very close in nature. heroic images oratorio-cantata music of that time.
Both the theme and its presentation in the exposition confirm courageous energy and determination. In the exposition, the theme is presented in all voices sequentially. In the middle section of the fugue - development - an intensive development of the theme is given using various means: enhancing dynamics, frequent changes in keys, harmonic instability. With the return of the main key, the third section of the fugue begins - the reprise. FROM French This word is translated as renewal, repetition. The theme in the reprise sounds only in the main key. In contrast to the development with its tonal instability, the reprise should give us a sense of tonal balance, stability and completeness of the whole work.

The musical development of a child involves the upbringing of the ability to hear and perceive both individual elements of the piano fabric, i.e., the horizon!b, and a single whole - the vertical. In this sense, great educational value is attached to polyphonic music. The student gets acquainted with the elements of subvocal, contrast and imitative polyphony already from the 1st grade of the school. These varieties of polyphonic music in the repertoire of grades 3-4 do not always appear independently. We often find in children's literature a combination of contrasting voicing with subvocal or imitative voicing.
It is impossible not to mention the irreparable mistake of those teachers who, observing the formal requirements of the program, use polyphonic music in educating a student, which is beneficial only for showing him. Often these are works where a student can show his performance achievements not so much in polyphony, but in a mobile, toccata type of polyphonic texture (for example, the preludes in C minor and F major from the first notebook of “Little Preludes and Fugues” by J. S. Bach). Considering that only two or three polyphonic works are studied throughout the year, it is clear how much their one-sided selection limits the development of the child.
A special role belongs to the study of cantilena polyphony. The school curriculum includes polyphonic arrangements for folk pianos lyrical songs, simple cantilena works by Bach and Soviet composers(N. Myaskovsky, S. Maykapar, Yu. (Durovsky). They contribute to a better listening of the student to voice leading, cause a vivid emotional reaction to music.
Let us analyze individual samples of polyphonic arrangements of the domestic musical folklore, noting their importance in the musical and pianistic education of the child.
Let's take for example such pieces: “Podblyudnaya” by A. Lyadov, “Kuma” by A. Alexandrov, “You, garden” by V. Slonim. accompaniment, plucked folk-instrumental background, colorful transfers to different registers. Working on these pieces, the student acquires the skills of cantilena polyphonic playing, episodic two-voice in the part of a separate hand, contrasting articulatory strokes, hearing and feeling the integral development of the entire form.
The connection of the subvocal tissue with imitations is found in the Ukrainian piano compositions arranged by I. Berkovich folk songs processed by N. Lysenko, N. Leontovich. In the school repertoire, the pieces “Ta Nema Psh Shkomu”, “Oh, because of the Kam'yano G, “Plive Choven”, “The Little Lion’s Noise Made a Noise” were established in the school repertoire. The couplet structure is enriched here not only with imitations, but also with a denser chordal-choral texture .
The student comes into contact with contrasting voice leading mainly when studying the polyphonic works of J. S. Bach. First of all, these are pieces from “ Notebook Anna Magdalena Bach". So, in the two-voice “Minuet” in C Minor and “Aria” in G minor, the child easily hears voice leading due to the fact that the leading upper voice is intonationally plastic and melodious, while the lower one is significantly distant from it in register terms and is more independent in terms of melodic-rhythmic pattern. The clarity of the syntactic captivity of short phrases helps to sense the melodic breath in each voice.
A new step in mastering polyphony is familiarity with Bach's characteristic structures of a continuous, metrically similar Movement of Voices. An example would be the "Little Prelude" in C minor from the ^th notebook. expressive performance The uninterrupted movement of the eighth Pots in the upper voice helps to reveal the intonational character of the blodia and the feeling of melodic breathing inside long constructions. The structure of the melody itself, set out predominantly by harmonic

figurations and broken intervals, creates natural prerequisites for its expressive intonation. It should sound very melodious with a bright shading of ascending intonation turns (for example, in bars 3, 6, 8, 18). In the continuous “fluidity” of the upper voice, the student should feel the inner breath, as if hidden caesuras, which are discovered when carefully listening to the phrasal division into different bar groups. So, for example, at the beginning of the prelude, such division is carried out in two-bar groups, in bars 9-12 - in one-bar groups, and then, with all the developing ascending intonations, in a wide breath of an integral eight-bar (bars 13-20). Such an inner feeling of syntactic articulation helps to plastically combine pianistic movements within the sound “chains” and prevent stiffness and stiffness of the muscles. In the examples considered, the melodic contrast of the voices is usually combined with the belonging of the bass voice to one or another harmonic function.
The next stage in the study of imitative polyphony is acquaintance with inventions, fughettes, small fugues. In contrast to the contrasting two-voice, here each of the two polyphonic lines often has a stable melodic and intonational imagery.
Already when working on the lightest examples of such music, auditory analysis is aimed at revealing both the structural and expressive side of the thematic material. After the performance of the work by the teacher, it is necessary to proceed to a painstaking analysis of the polyphonic material. Having divided the piece into large segments (most often, based on a three-part structure), one should begin to explain the musical semantic and syntactic essence of the theme and opposition in each section, as well as interludes. First, the student must determine the location of the topic and feel its character. Then his task is to express its intonation with the help of articulatory and dynamic coloring in the found main tempo. The same applies to the opposition, if it has a restrained character.
As you know, already in small fughettas, the theme first appears in an independent monophonic presentation. It is important to develop in the student an internal auditory attunement to the main tempo, which he should feel from the very first sounds. In this case, one should proceed from the feeling of the character, the genre structure of the whole work. For example, in "Fughette" in A minor by S. Pavlyuchenko, the author's "andante" should be associated not so much with a slow tempo as with the fluidity of the rhythm at the beginning of the theme; in "Invention" in C major by Y. Shchurovsky, "allegro" does not mean as fast as the liveliness of rhythm dance image with its characteristic pulsating accent.
Articulation plays a decisive role in the performance disclosure of the intonation figurativeness of the theme and opposition. It is known how subtly found articulatory strokes help to reveal the expressive richness of voice leading in Bach's works. A teacher who studies Bach's inventions in the classroom can find much instructive in Busoni's editions. Landshof.
What general, elementary patterns of articulation can we talk about at this stage of training?
Already in two-voice small preludes, fughettas, inventions, the expressive features of the strokes should be considered horizontally (i.e., in a melodic line) and vertically (i.e., with the simultaneous movement of a number of voices). The most characteristic in the articulation of the horizontal may be the following: smaller intervals tend to merge, larger ones - to separation; mobile metric (for example, sixteenth and eighth notes) also tends to merge, and more calm (for example, quarter, half, whole notes) - to dismemberment. Using N. Myaskovsky's "Hunting Roll Call" as an example, one can show how appropriate articulatory strokes were found for a theme that carries two figurative beginnings. The rhythmically weighted beginning of the fanfare melody, with its wide intervals, is played by a deep legato pop with emphasis on each of the four sounds. The triplet eighths of the movable final part of the theme are reproduced by the light finger legato technique.
In the same way, in the mentioned "Invention" by Y. Shchurovsky, all sixteenth notes, set out in smooth, often scale-like sequences, are performed legato or quasi legato; longer sounds with their wide interval "steps" are divided into short leagues, staccato sounds or tenuto.
In the articulation of the vertical of a two-voice fabric, each voice is usually set off by different strokes. A. B. Goldenweiser, in his edition of Bach's two-voice invention, advises to perform all sixteenth notes in one voice in a connected manner (legato), while the contrasting eighth notes in another voice should be performed separately (pop legato, staccato).
The use of different strokes for “coloring” the theme and opposition can be found in Busoni's edition of Bach's two-part inventions (see Invention in E Major).
One of the characteristic features of Bach's themes is their predominant iambic structure. Most often, their first holding begins with a weak beat after the previous pause at a strong time. When studying small preludes (Nos. 2, 4, b. 7, 9, II from the first notebook), the teacher should draw the student's attention to the indicated structure, which determines the nature of the performance. When playing on a theme without accompanying voices (for example, in a small prelude in C major from the first notebook), the child’s hearing must immediately be included in the “empty” pause so that he feels a natural breath in it before the melodic line unfolds. The pianistic technique itself is carried out by a slight rise of the hand from the strong beat with its further elastic immersion into the keyboard. The feeling of such polyphonic breathing is very important when studying cantilena preludes.
Unlike inventions and feet, in small preludes, the theme is not always clearly expressed in one small melodic construction. Sometimes a short, laconic theme, repeated many times, is carried out in the form of smoothly changing thematic "chains". Using the example of the same small prelude No. 2 in C major, it can be seen that the first three-bar consists of three links. With an iambic structure, it is important here to hear the soft endings of the thematic segments on strong beats (a, si, do) followed by an internal sensation of short “breaths” before each new construction. If the theme is based on chord sounds, it is useful for the student to play its harmonic core with chords, directing him auditory attention to the natural change of harmonies during the transition to a new segment. For example, in each of the three initial measures of the mentioned prelude, one should try, holding the last three sounds, to hear the chord and its gravitation into a new function in the next measure. Such a transformation of the melody into compressed harmonic complexes allows, with its monophonic performance, to feel the whole line of intonational development within each functionally stable group of sounds.
For a more active listening of the student into the two-voiced fabric, his attention should be drawn to the reception of the opposite movement of voices. For example, in “Invention” by A. Gedik, “Two-Part Fugue” in D minor and “Hunting Roll Call” by N. Myaskovsky, the student almost immediately assimilates the melodic pattern of each voice with their contrasting pitch movement.
In the performance interpretation of imitations, especially in the works of Bach, a significant role is given to dynamics. For the composer's polyphony, architectonic dynamics is most characteristic, in which changes in large constructions are accompanied by a new dynamic “illumination”. For example, in the small prelude in E minor from the first notebook, the beginning of the two-voice episode in the middle of the piece, after the preceding large forte in three parts, is set off by a transparent piano. At the same time, small dynamic fluctuations, a kind of microdynamic nuance, may appear in the horizontal development of the voices. Unfortunately, we still observe today the unjustified use of undulating dynamics in small segments of Bach's music as an echo of Czerny's editing. The student does this subconsciously, under the influence of more directly assimilated dynamics in lyrical plays small forms of homophony.
Thinking over the dynamics of three-voice cantilena small preludes, the student's auditory control should be directed to the episodes of two-voices in the part of a separate hand, set out in drawn-out notes. Due to the rapid decay of the piano sound, there is a need for a greater fullness of the sound of long notes, as well as (which is very important) listening to interval connections between the long and shorter sounds passing against its background. Such features of the dynamics can be traced in the small preludes Nos. 6, 7, 10.
As we can see, the study of polyphonic works is an excellent school of auditory and sound preparation of a student for the performance of piano works of any genre.

1. Cough, sputum, shortness of breath, hemoptysis.

2. This can be observed with the accumulation of fluid or gases in the pleural cavity.

3. To determine the boundaries of the lungs.

4. This may indicate a compaction of the lung tissue or an accumulation of fluid in the pleural cavity.

5. It is possible to compact the lung tissue, or the presence of a cavity in the lung that communicates with the bronchus.

6. X-ray of the chest.

POLYPHONY

INTRODUCTION.. 2

Polyphony and its varieties. 2

CONTRAST POLYPHONY.. 4

Formation of contrast polyphony. four

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

Music warehouse there are 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 leading role performs a melodic line, which is often in the upper voice and is opposed to 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 musical composition and artistic expression. Numerous techniques of polyphony serve to diversify the content piece of music, embodiment and development of artistic images. By means of polyphony, you can modify, compare and combine musical themes. 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.

The fundamental feature of the polyphonic texture, which distinguishes it from the homophonic-harmonic one, is fluidity, which is achieved by erasing the caesuras that separate the constructions, by the inconspicuousness of the 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 is 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 the variants in polyphony, sometimes the 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 increased or decreased 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, which 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.

EXPLANATORY NOTE

The discipline "General Piano" is an important link in the musical and pedagogical process of educating student instrumentalists. Classes within the framework of this subject instill skills in playing the instrument, reading from a sight, playing in an ensemble, accompaniment, expanding the possibilities of domestic amateur music-making, creating conditions for greater involvement in musical culture.

The main form of educational and educational work in the classroom is a lesson, how individual lesson teacher with a student.

Development of the technique of reading music from a sheet

Work on fluency of fingers on the material of various exercises and etudes

Work on polyphony, large form, piece

Playing in an ensemble

Students need to be educated to be aware of artistic intent of the performed work, while studying, familiarizing and reading from a sheet, systematically work on a system of musical and performing techniques on educational and auxiliary (scales, arpeggios, chords and etudes) material.

The proposed repertoire lists reflect both the academic orientation of the repertoire and the possibility of an individual approach to each student, allow diversifying the repertoire in style, form, content, and actively introduce modern music, including jazz compositions.

The degree of progress is taken into account in the control classes (2 times a year), exams (4 and 6 years of study) and performances in open thematic concerts:

I half-year (except for 1 year of study) - 2-3 diverse pieces (one ensemble is possible)

II half-year - 3 diverse works (of which one ensemble is possible)

ANNUAL REQUIREMENTS BY CLASS

During school year students should study:

Grade 1 - 15-20 works, songs and dances, with elements of polyphony, etudes, ensembles.

Grade 2 - 10-12 diverse works

Grade 3 - 4 studies, 4 diverse pieces, one piece of large form, 1-2 pieces polyphonic style, 2 ensembles.

Grade 4 - 4 studies, 4 diverse pieces, 1-2 pieces of polyphonic style, one piece of large form, 2 ensembles.

Grade 5 - 4 studies, 4 diverse pieces, 1-2 pieces of polyphonic style, one piece of large form, 2 ensembles

Grade 6 - 4 studies, 4 diverse pieces, 1-2 pieces of polyphonic style, one piece of large form, 3-4 ensembles

Grade 7 - 2 etudes, one work of polyphonic style, one work of large form, 2 pieces, accompaniment to two song melodies, 2 ensembles.

ANNUAL TECHNICAL REQUIREMENTS

Acquaintance with the construction of scales, arpeggios and chords.

I half - C and G majors and A and E minors, scales with two hands for one octave, arpeggios and chords separately with each hand

II half-year - F and B-major, D minor and G with two hands for one octave, arpeggios and chords with each hand separately.

I half-year - sharp major and minor scales up to two signs with a key with two hands for two octaves, arpeggios and chords with two hands for two octaves.

II half is similar to flat scales.

I half-year - sharp major and minor scales up to three signs in direct movement, chords, short arpeggio, chromatic scale with two hands.

I half - sharp major scales and minor up to four signs in direct form, chords, short arpeggio, dominant seventh chord, chromatic scale with two hands.

II half - similarly flat scales.

I half - sharp major scales and minor up to five signs in direct form, chords, short arpeggio, dominant seventh chord, chromatic scale with two hands. 11 types of arpeggios from note to.

II half - similarly flat scales. 11 types of arpeggios from the note G.

REPERTOIRE LIST

Class

Etudes

A. Balazs "Game of toy soldiers"

B. Bartok F-dur, C-dur

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

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

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

Op.36, No. 13,14, 22

Op.46 No. 11, 18, 20

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

A. Zhilinsky № 9-12, 15-17, 22-24

S. Maykapar a-moll

A.Nikolaev С-dur

G. Okunev "Reflection in the Water", "Little Leagues", "Legato and Staccato",

"Etude in two versions", "Merry Hammer"

A. Pirumov "Etude"

K. Czerny op. 139 by choice

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

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

Pieces and Ensembles

« Piano game " / edited by Nikolaev / M. 1987

Section I No. 1-62, 72-78

« musical pictures » /L.Heresco/

W. A. ​​Mozart "Spring"

"The first steps of a little pianist" / comp. T. Vzorova, G. Baranova,

A. Chetverukhina 1-83/

Ensembles

I. Berkovich "A Little Story", "Melody", "Game"

Z. Levina "Tick-tock"

M. Krasev "Lullaby"

"Will I go to the river"

A. Alexandrova "The game of distillation"

V. Vitlin "Santa Claus"

S. Prokofiev "Chatterbox"

"Hello winter guest"

Tatar folk song

"Comic"

"Baby at the piano" / comp. I. Leshchinskaya, V. Poprotsky /

M.sov.composer 1989

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

Ensembles No. 25, 43, 45, 57, 59

Kalinska comp./A.Bakulov, K.Sorokin/M.sov.composer 1988

Issue 1, part I section I

Sarauer Ensemble "Czech Folk Song"

"Collection piano pieces, studies and ensembles

Part I No. 1-63

Ensembles No. 1-11

"Music for children" / comp. K. Sorokin / M. soviet composer 1983

Issue 1 part I "Quail"

D. Turk "Merry Vanya"

D. Kabalevsky "Song"

Y.Stepovoy "Bee"

B. Kravchenko "Stubborn goat", "March"

Z.Kodey "The Play"

H. Neusiedler "Dutch dance"

A.Baltin 3 pieces

Y. Slonov "Waltz"

A. Kholminov "Rain"

V. Volkov "Sunny Bunny"

A. Parusinov "March"

D. Kobalevsky "Light and Shadows", "Hedgehog", "Rezvushka", "Little Polka"

Ensembles

K. Sorokin "Starling", "Many years"

“To music with joy” / comp. O. Getalova and Viznaya / composer

St. Petersburg 2004

"The first meeting with music" / A. Artobolevskaya / M. Soviet composer 1985

"Teaser"

Philip "Lullaby"

A. Rubbach "Sparrow"

Ensemble "Waltz of Dogs"

"We live in the mountains"

Class

“To music with joy” / comp. O. Getalova, I. Viznaya / composer

St. Petersburg 2004

Sections 2-3

"Piano game" / edited by Nikolaev / M. 1978

Section I No. 63-71, 79

Section II No. 101-104

"Musical Pictures" / L. Heresko /

« little drummer»

D. Shostakovich "Song of the Counter"

Slovak folk song

V. Zolotarev "A Cossack rode across the Danube"

"Fly to us a quiet evening"

S. Prokofiev "Petya", "Cat"

Collection of piano pieces, 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 / comp. K. Sorokin / M. 1983

E. Sigmeister "The Cuckoo is Dancing"

E. Arro "Cossack"

A. Pirumov "Humoresque"

K.Wilton "Sonatina"

H. Rauchverger "Sad song", "Funny song"

T. Khrennikov Two pieces

K.Orff "The Play"

E. Golubev "Lullaby"

D. Scarlatti "Minuet"

S. Maykapar "In the garden"

A. Gedike "Hare"

A. Alexandrov "New Year's Polka"

G.Telemann "Grave"

R. Rautio "Dance"

Yu.Slonov Two pieces

H. Rauchverger "Finnish Song"

Ensembles

K. Sorokin "Ukrainian lullaby"

L. Beethoven "German dance"

M. Ravel "Pavane of the Sleeping Beauty"

"Baby at the piano" / comp. I. Leshchinskaya, V. Poprotsky / M. 1989

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

Ensemble No. 69

"Kalinka" / comp. A. Bakulov, K. Sorokin / M. 1988

Issue 1, Part I, Section II

From Radionov "Belarusian ballad" to the 3rd section p.58

Ensembles

Khagogortyan "Dance"

"At the gate, gate"

"Steppe cavalry"

M. Glinka "Glory"

"The first meeting with music" / A. Artobolevskaya / M. 1990

Striborg "Waltz of the Cockerels"

W. Mozart "Minuet", "Waltz"

L. Beethoven "German dance"

D. Steibelt "Adagio"

A. Grechaninov "Mazurka"

Ensemble Kalinnikov "Kiska"

Class

Polyphonic works

J.S. Bach "Bagpipes", "Minuet" d-moll

D. Scarlatti "Aria" d-moll

W. Mozart "Paspier", "March"

A. Corelli "Sarabande" e-moll

L. Mozart "Minuet" d-moll

K.Purcell "Aria", "Minuet" G-dur

A. Gedike "Invention" d-moll, "Fugato" G-dur

S. Maykapar "Canon" g-moll

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