polyphonic piece. Methodological development "Principles of working on polyphonic works in the piano class of the Children's Art School
Canon(from Greek. – ʼʼnormaʼʼ, ʼʼruleʼʼ) is a polyphonic form based on the imitation of a theme in all voices, and the voices enter before the end of the presentation of the theme, that is, the theme is superimposed on itself by its various sections. (The interval for the entry of the second voice in time is calculated in the number of bars or beats). The canon ends with a general cadence turnover or a gradual ʼʼshutdownʼʼ of voices.
Invention(from lat. - ʼʼinventionʼʼ, ʼʼfictionʼʼ) - little play polyphonic warehouse. Such plays are usually based on imitative technique, although they often contain more complex fugue techniques. In the students' repertoire music schools 2- and 3-voice inventions by J.S. Bach are widespread (3-voice ones were originally called “synphonies”). According to the composer, these pieces can be regarded not only as a means to achieve a melodious manner of playing, but also as a kind of exercise for the development of the musician's polyphonic ingenuity.
Fugue -(from lat., ital. – ʼʼrunʼʼ, ʼʼflightʼʼ, ʼʼfast currentʼʼ) – a form of polyphonic work based on repeated imitation of a theme in different voices. Fugues are composed for any number of voices (starting with two).
The fugue opens with a presentation of the theme in one voice, then other voices enter successively with the same theme. The second carrying out of the theme, often with its variation, is usually called the answer; while the answer sounds, the first voice continues the development of its melodic line (opposition, that is, a melodically independent construction, inferior to the theme in brightness, originality).
The introductions of all the voices form the exposition of the fugue. The exposition can be followed by either a counter-exposition (second exposition) or a polyphonic elaboration of the whole theme or its elements (episodes). In complex fugues, a variety of polyphonic techniques are used: increase (increase in the rhythmic value of all the sounds of the theme), decrease, inversion (reversal: the intervals of the theme are taken in the opposite direction - for example, instead of a quart up, a quart down), stretta (accelerated entry of voices, ʼʼ overlappingʼʼ each other), and sometimes a combination of similar techniques. In the middle part of the fugue, there are connecting constructions of an improvisational nature, called interludes. A fugue may end with a coda. The fugue genre has great importance in both instrumental and vocal forms. Fugues can be independent pieces, combined with a prelude, toccata, etc., and finally, be part of great work or cycle. The techniques characteristic of the fugue are often used in the developing sections of the sonata form.
double fugue, as already mentioned, it is based on two themes that can enter and develop together or separately, but in the final section they are necessarily combined in counterpoint.
Complex fugue it can be double, triple, quadruple (on 4 topics). The exposition usually shows all topics that are contrasting in terms of expressiveness. There is usually no developing section; the last exposition of the theme is followed by a combined recapitulation. Expositions are joint and separate. The number of themes is not limited in simple and complex fugue.
Polyphonic forms:
Bach I.S. Well-Tempered Clavier, Inventions
Tchaikovsky P. Symphony No. 6, 1 hour (workout)
Prokofiev S. Montagues and Capulets
Polyphonic forms - concept and types. Classification and features of the category "Polyphonic forms" 2017, 2018.
French suites: No. 2 in C minor - Sarabande, Aria, Minuet. Little preludes and fugues. Book 1: C major, F major; Tetr.2: D major.
Selected works. Issue 1. Comp. and edited by L. Roizman: Allemandra in D minor, Aria in G minor, Three pieces from V.F. Bach.
Handel G. 12 easy pieces: Sarabande, Gigue, Prelude, Allemande.
Selected works for piano. Comp. and ed. L. Roizman.
Six small fugues: No. 1 in C major, No. 2 in C major, No. 3 in D major;
Large Form:
Handel G. Sonata in C major "Fantasy". Concerto in F major, part 1.
Grazioli G. Sonata in G major.
Clementi M. Op.36 Sonatina in D major, part 1. Op.37 Sonatinas: E flat major, D major. Op. 38 Sonatinas: G major, part 1, B-flat major.
Martini D. Sonata in E major, part 2.
Reinecke K. op. 47 Sonatina No. 2, part 1. Rozhavska Y. Rondo (Collection of pedagogical plays of Ukrainian and Soviet composers).
Schumann R. op.118 Sonata in G major for youth, part 3, part 4. Sonatas, Sonatinas: A minor, B flat major.
Schteibelt D. Rondo in C major.
Plays:
Berkovich I. Ten Lyrical Pieces for Piano: Ukrainian Melody (№4). Beethoven L. Allemande, Elegy.
Dargomyzhsky A. Waltz "Snuffbox".
Dvarionas B. Little Suite: Waltz in A minor.
Cui C. Allegretto in C major.
Ladukhin A. Op.10, No. 5, Piece.
Prokofiev S. op. 65. Children's music: Fairy tale, Walk, Procession of grasshoppers.
Rakov N. 24 pieces in different keys: Snowflakes, Sad Melody.
Novelettes: Waltz in F-sharp minor.
8 pieces on the theme of Russian folk song: Waltz in E minor, Polka, Fairy tale in A minor.
Eshpay A. "Quail"
Etudes:
Bertini A. 28 selected studies from Op. 29 and 42: Nos. 1,6,7,10,13,14,17.
Geller S. 25 melodic studies: Nos. 6,7,8,11,14-16,18.
Zhubinskaya V. children's album: Etude.
Lak T. 20 selected studies from Op. 75 and 95: Nos. 1,3-5,11,19,20.
Leshgorn A. Op.66. Etudes: Nos. 6,7,9,12,18,19,20. Op. 136. School of fluency. Tetr.1 and 2 (optional).
Selected etudes of foreign composers for piano. Issue 5 (optional).
Selected etudes and plays by Russian and Soviet composers. Tetr.3 (optional).
Forms and methods of control
Certification:
The evaluation of the quality of the implementation of the "Piano" program includes the current monitoring of progress, intermediate and final certification of students. Academic concerts, auditions, technical tests can be used as a means of monitoring progress.
Material and technical conditions for the implementation of the program
The material and technical conditions for the implementation of the "Listening to Music" program should ensure that students can achieve the results established by these Federal State Requirements.
Material and technical base educational institution must comply with sanitary and fire safety standards, labor protection standards. An educational institution must comply with the timely deadlines for current and major repairs.
The minimum list of audiences and logistics required for implementation within the framework of the Listening to Music program includes:
classrooms for small-group piano lessons;
educational furniture (tables, chairs, racks, cabinets);
visual and didactic tools: visual teaching aids, magnetic boards, interactive whiteboards, demonstrative models;
electronic educational resources: multimedia equipment;
room for phono, video library (class).
An educational institution must create conditions for the maintenance, modern maintenance and repair of musical instruments.
Creative mestorskaya "Music without borders"
piano
Supervisor
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 melody 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 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 (soldier choirs), M. V. Koval in the oratorio Emelyan Pugachev ( peasant choir).
AT composer's work There are two main types of polyphony - imitative and non-imitative (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 great 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)
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 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 in the education of the student polyphonic music, beneficial only for its display. 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.
Special Role belongs to the study of cantilena polyphony. AT school curriculum includes polyphonic arrangements for folk piano lyrical songs, not complicated cantilena works 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 us take for example such pieces: “Podblyudnaya” by A. Lyadov, “Kuma” by A. Alexandrov, “You, garden” by V. Slonim. All of them are written in couplet-variation form. 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 whole 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 fire Kam'yano” G, “Plive choven”, “Lintsinok rustled” were established. 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 plays from “ Notebook Anna Magdalena Bach". Thus, 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. Clarity of syntactic captivity short phrases helps to feel 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 intonation specificity 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 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 a holistic eight-bar (bars 13-20). Such an inner feeling of syntactic articulation helps to plastically unite pianistic movements within sound “chains” and prevent stiffness and tightness of the muscles. In the examples considered, the melodic contrast of voices is usually combined with belonging 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 sides. 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 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 slow pace how much with the fluidity of 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 the rhythm of the 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 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 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 should 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 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 integral line of intonational development within each functionally stable group of sounds.
For a more active listening of the student into the two-voice fabric, his attention should be paid to the technique opposite movement votes. For example, in the “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 directed 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 pieces of small forms of homophonic order.
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, it becomes necessary to make the sound of long notes more full, and also (which is very important) to listen to the 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 the student for performance. piano works any genres.
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 of musical composition and artistic expression. Numerous techniques of polyphony serve to diversify the content of a musical work, the embodiment and development of artistic images. By means of polyphony, musical themes can be modified, compared and combined. 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 movement, that is, in sonata form, 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 constructions, by the invisibility of 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:
multi-dark (contrasting);
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 options in polyphony, sometimes voices merge in unison and move in parallel unisons, sometimes they diverge into other intervals. A good example is 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 of 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.
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.
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".
XVII 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 XVII century. are the leading genres.
First half of the 18th century Creativity J. 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).
Second half of the 18th–21st centuries Polyphony is basically an integral part of complex polyphony, to which it is subordinated along with homophony and heterophony, and within which its development continues.
Literature:
Bonfeld M.Sh. History of Musicology: A Guide to the Course "Fundamentals of Theoretical Musicology". M.: Vlados., 2011.
Dyadchenko S. A., Dyadchenko M. S. Analysis of musical works [Electronic resource]: electron. textbook allowance. Taganrog, 2010.
Nazaikinsky E.V. Style and genre in music: textbook. allowance for students of higher education. textbook establishments. M.: VLADOS, 2003.
Fundamentals of theoretical musicology: textbook. allowance for stud. higher music ped. textbook establishments / A. I. Volkov, L. R. Podyablonskaya, T. B. Rozina, M. I. Roytershtein; ed. M. I. Roytershtein. Moscow: Academy, 2003.
Kholopova V. Theory of music. SPB., 2002.
