Polyphony examples of works. Polyphonic works

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 schoolchild can show his performing 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 piano of folk lyric songs, simple cantilena works by Bach and Soviet composers (N. Myaskovsky, S. Maykapar, Yu. (Durovsky). They contribute to a better listening to the student in voice leading, cause a vivid emotional reaction to music.
Let us analyze individual samples of polyphonic arrangements of domestic musical folklore, noting their significance in the musical and pianistic education of a child.
Let us 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.
We find the combination of subvocal fabric with imitations in the Ukrainian folk songs arranged by I. Berkovich for piano, processed by N. Lysenko, N. Leontovich. In the school repertoire, the pieces “Ta Nema Psh Shkomu”, “Oh, because of the fire of Kam'yano” G, “Plive Choven”, “Lintsinok Noisy” were established in the school repertoire. The couplet structure is enriched here not only with imitations, but also with a denser chord-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 Anna Magdalena Bach's Notebook for Music. 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 terms of register 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. The expressive performance of the continuous movement of the eighth Pots in the upper voice is helped by the disclosure of the intonational characteristic of the blodia and the feeling of melodic breathing inside the 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 revealed when carefully listening to the phrasal division into different bar groups. So, for example, at the beginning of the prelude, such a 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 unite 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 to the 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 its very first sounds. In this case, one should proceed from the feeling of the character, the genre structure of the entire 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 intonational 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 learning?
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 the example of N. Myaskovsky's “Hunting Roll Call”, one can show how the corresponding 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 above-mentioned "Invention" by Yu. 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 coherent 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, B, C), 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 integral 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. Gedick, “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, today we still observe 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 pieces of small forms of homophonic order.
When considering the dynamics of three-voice cantilena small preludes, the student's auditory control should be directed to episodes of two-voice in the part of a separate hand, set out in long 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.

Material from the Uncyclopedia

Polyphony (from the Greek πολυ - “many”, φωνή - “sound”) is a type of polyphonic music in which several independent equivalent melodies sound simultaneously. This is its difference from homophony (from the Greek "homo" - "equal"), where only one voice is leading, while others accompany it (as, for example, in Russian romance, Soviet mass song or dance music). The main feature of polyphony is the continuity of the development of musical presentation, fluidity, avoidance of periodically clear division into parts, uniform stops in the melody, rhythmic repetitions of similar motifs. Polyphony and homophony, having their own characteristic forms, genres and methods of development, are nevertheless interconnected and organically intertwined in operas, symphonies, sonatas, concertos.

There are two stages in the centuries-old historical development of polyphony. Strict style - polyphony of the Renaissance. It was distinguished by its harsh coloring and epic slowness, melodiousness and euphony. It is these qualities that are inherent in the compositions of the great polyphonic masters O. Lasso, J. Palestrina. The next stage is free-style polyphony (XVII-XX centuries). She introduced great diversity and freedom into the intonation structure of the melody, enriched harmony and musical genres. The polyphonic art of free style found its perfect embodiment in the works of J. S. Bach and G. F. Handel, in the works of W. A. ​​Mozart, L. Beethoven, M. I. Glinka, P. I. Tchaikovsky, D. D. Shostakovich.

In composer's work, two main types of polyphony are distinguished - imitation and non-imitation (different-dark, contrast). Imitation (from the Latin - "imitation") - carrying out the same topic alternately in different voices, often at different heights. An imitation is called accurate if the theme is repeated completely, and inaccurate if there are some changes in it.

Techniques of imitation polyphony are varied. Imitations are possible in rhythmic increase or decrease, when the theme is transferred to another voice and the duration of each sound increases or shortens. There are imitations in circulation when ascending intervals turn into descending intervals and vice versa. All of these varieties are used by Bach in The Art of Fugue.

A special kind of imitation is the canon (from the Greek "rule", "norm"). In the canon, not only the theme is imitated, but also its continuation. In the form of a canon, independent pieces are written (canons for piano by A. N. Scriabin, A. K. Lyadov), parts of large works (the finale of the sonata for violin and piano by S. Frank). There are numerous canons in the symphonies of A. K. Glazunov. Classical examples of the vocal canon in opera ensembles are the quartet "What a wonderful moment" from the opera "Ruslan and Lyudmila" by Glinka, the duet "Enemies" from the opera "Eugene Onegin" by Tchaikovsky.

In non-imitation polyphony, different, contrasting melodies sound simultaneously. Russian and Eastern themes are combined in the symphonic painting "In Central Asia" by A.P. Borodin. Contrasting polyphony has found wide application in opera ensembles (the quartet in the last scene of the opera Rigoletto by G. Verdi), choirs and scenes (the meeting of Khovansky in the opera Khovanshchina by M. P. Mussorgsky, the picture of the fair in the opera The Decembrists by Yu. A. Shaporin).

The polyphonic combination of two melodies after its initial appearance can be given in a new combination: the voices exchange places, that is, the melody that sounds higher is in the lower voice, and the lower melody is in the upper one. This technique is called complex counterpoint. It was used by Borodin in the overture to the opera Prince Igor, in Glinka's Kamarinskaya (see example 1).

In contrasting polyphony, no more than two diverse themes are most often combined, but there is a joint sound of three (in the overture to the opera Die Meistersingers by R. Wagner) and even five themes (in the finale of Mozart's Jupiter symphony).

The most important of the polyphonic forms is the fugue (from the Latin for "flight"). The voices of the fugue seem to follow each other. A short, expressive and easily recognizable theme with each appearance is the basis of the fugue, its main idea.

A fugue is composed for three or four voices, sometimes for two or five. The main technique is imitation. In the first part - the exposition, all voices sing the same melody (theme) in turn, as if imitating each other: first one of the voices enters without accompaniment, and then the second and third follow with the same tune. Each time the theme is carried out, it is accompanied by a melody in a different voice, called the counterposition. In the fugue there are sections - interludes, where the theme is absent. They enliven the flow of the fugue, create a continuity of transition between its sections (Bach. Fugue in G minor. See example 2).

The second part - the development is distinguished by its diversity and freedom of structure, the flow of music becomes unstable and tense, interludes appear more often. Here one encounters canons, complex counterpoint and other techniques of polyphonic development. In the final part - the reprise, the original stable character of the music is resumed again, the whole implementation of the theme in the main and close keys. However, the fluidity inherent in polyphony, the continuity of movement, penetrates here as well. The reprise is shorter than the other parts, it often has an acceleration of the musical presentation. Such is the stretta - a kind of imitation, in which each subsequent introduction of the theme enters before it ends in another voice. In some cases, in the reprise, the texture is compacted, chords appear, free voices are added. Directly adjacent to the reprise is a coda summing up the development of the fugue.

There are fugues written on two, and extremely rarely on three themes. In them, topics are sometimes presented and imitated simultaneously, or each topic has its own independent exposition. Fugue reached its full flowering in the works of Bach and Handel. Russian and Soviet composers included the fugue in opera, symphony, chamber music, and in cantata-oratorio compositions. Special polyphonic works - a cycle of preludes and fugues were written by Shostakovich, R. K. Shchedrin, G. A. Mushel, K. A. Karaev and others.

The following stand out from other polyphonic forms: fughetta (diminutive of fugue) - a small, modest fugue in content; fugato - a kind of fugue, often found in symphonies; invention; polyphonic variations based on the repeated repetition of an unchanged theme (in this case, accompanying melodies pass in other voices: passacaglia by Bach, Handel, Shostakovich's 12th prelude).

Sub-voiced polyphony is a form of Russian, Ukrainian, Belarusian folk polyphonic song. During choral singing, a branch from the main melody of the song occurs and independent versions of the melody are formed - undertones. In each verse, more and more beautiful combinations of voices sound: they, intertwining with each other, then diverge, then again merge together with the voice of the lead singer. The expressive possibilities of subvocal polyphony were used by Mussorgsky in Boris Godunov (prologue), Borodin in Prince Igor (choir of villagers; see example 3), S. S. Prokofiev in War and Peace (soldiers' choirs), M. V. Koval in the oratorio "Emelyan Pugachev" (peasant choir).

As we continue our music theory lessons, we gradually move on to more complex material. And today we will find out what polyphony is, musical fabric, and what a musical presentation is like.

Musical presentation

musical cloth called the totality of all the sounds of a piece of music.

The nature of this musical fabric is called texture, as well as musical presentation or letter warehouse.

• Monodia. Monody is a monophonic melody, most often it can be found in folk singing.
• Doubling. Doubling lies between monophony and polyphony and represents the doubling of a melody into an octave, sixth or third. It can also be doubled with chords.

1. Homophony

Homophony - consists of the 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:

• The 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 excitement when phones with polyphony appeared and we finally changed flat mono melodies for something more like music.

Polyphony- this is polyphony, based on the simultaneous sounding 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 a sound will create something beautiful and pleasing to the ear.

Polyphony can be:

2. Imitation. Such polyphony develops the same theme, which imitatively passes 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 delay of a beat or a few, while the first voice continues its melody. A canon can have multiple voices, but each subsequent voice will still repeat the original melody.
• A fugue is a type of polyphony in which there are several voices, and each repeats the 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 themes, 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

Strict style melody

It is worth stopping at 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 other composer schools. In most cases, this style was intended for choral church singing a cappella (that is, singing without music), less often strict writing was found in secular music. It is to the strict style that the imitation type of polyphony belongs.

To characterize 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 freestyle and strict style, let's break down the difference:

Strict style is different:

• neutral themed
• One epic genre
• vocal music

Free style is different:

• Bright theme
• Variety of genres
• 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. Melody should start:

• with I or V
• from any account

2. The melody should end on the first step of the strong beat.

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

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

4. It is often worth delaying the melody on a strong beat and using syncopations (shifting the accent from a strong beat to a weak one).

5. Jumps must be combined with smooth movement.

As you can see, there are a lot of rules, and these are just the main ones.

Strict 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 the austere style in Bach's "Aus tiefer Not":

As well as the influence of a strict style can be heard in the later works of 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 technique of strict style to give an old flavor and a mystical touch to their works. And, despite the fact that a strict style is not heard in modern music, he became the founder of the rules of composition, techniques and techniques that exist today in music.

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

Email: *****@***com

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, 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 select appropriate and pleasant sounds wisely, to combine them correctly with each other and to perform beautifully…” - wrote the prominent theoretician Johann Mattheson.

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 development of music education in Germany.

Just the childhood and youth of 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 HTC". 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 the musical taste of 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 the complex equations of 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 gone 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.

Articulation and rhythm were the most important means of expression in ancient music.

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!

Music is now the most performed music in the world according to statistics. He has the largest number of biographers.

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

Did you know that the recording of the "Brandenburg Concerto No. 2" in 1977 went into space aboard the American spacecraft "Voyager" - this 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

Types of polyphony

There are several types of polyphony: heterophony, subvocal, imitation, polyphonic polyphony.

heterophony (from the Greek eteros - another and ponn - sound) - a type of polyphony that occurs during the joint (vocal, instrumental or mixed) performance of a melody, when deviations from the main tune occur in one or more voices. IndentVariations can be caused by natural differences in the performance capabilities of 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 the treatise "Musicaenchiriadis" by Huckbald

Dance song of the 13th century

Lithuanian folk song "Austausrelй, teksaulelй" ("Dawn is busy")

Heterophony is characterized by unison (octave) endings, parallel movement of voices (thirds, fourths and fifths), the predominance of synchronism in the pronunciation of words. The expressive possibilities of heterophony were used by I. Stravinsky in the ballets The Rite of Spring and Petrushka.

Sub-vocal polyphony - a kind of polyphony, characteristic of Russian, Ukrainian, Belarusian folk music, as well as folklore-oriented works of professional musical art. During the choral performance of songs in slow and moderate movement (lyrical drawling and wedding, slow round dance, Cossack) there is a "branch" from the main melody and independent variants of the melody are formed - undertones (eyeliner, dishkant, bitter, and others). Signs of subvocal polyphony: variable number of voices (usually 3, sometimes 5 or more), free turning 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 Pinezhya"

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" (soldiers' choirs), M. V. Koval in the oratorio "Emelyan Pugachev" ( peasant choir).

In composer's work, two main types of polyphony are distinguished - imitation and non-imitation (different-dark, contrast).Imitation polyphony (from Latin - "imitation") - carrying out the same topic alternately in different voices. Techniques of imitation polyphony are varied. For example, a fragment from G. Dufay's mass “ Avereginacaelorum"

AT multi-dark polyphony different, sometimes contrasting melodies sound simultaneously. As, for example, in the first part of Symphony No. 5 by D. D. Shostakovich

The distinction between imitative and polyphonic polyphony is conditional due to the high fluidity inherent in polyphonic music. When a melody is combined in circulation, increase, decrease, and in a sideways movement, the horizontal differences of the melodies intensify and bring the imitation polyphony closer to the contrast one:

Complete tasks

1. Determine the type of polyphony:

a)