Lub ntsiab lus ncig |

Lub ntsiab lus thim rov qab - countermovement, inversion (Latin inversio, Italian moto contrario, rovescio, Riverso, rivoltato, Fabkis reversion, German tuag Umkehrung, tuag Gegenbewegung) - polyphonic. ib tug txheej txheem rau transforming ib lub ntsiab lus, uas muaj nyob rau hauv kev ua si nws intervals nyob rau hauv lub opposite kev taw qhia los ntawm ib tug tej yam unchanging suab: lub upward zog ntawm lub ntsiab nyob rau hauv nws lub ntsiab (forward) txav (lat. motus rectus) nyob rau hauv lub rov qab txav (lat. motus) contrarius) sib raug mus rau ib qho kev txav mus rau tib lub sijhawm (thiab vice versa). Lub suab tsis hloov pauv rau lub ntsiab lus nyob rau hauv lub ntsiab thiab inverted variants yog hu ua axis ntawm reversal; hauv txoj cai, txhua theem tuaj yeem ua haujlwm raws li nws. Nyob rau hauv qhov loj-me tonal system, txhawm rau khaws cov kev ua haujlwm zoo sib xws ntawm ob qho kev xaiv, qib peb feem ntau ua haujlwm raws li cov axis ntawm kev ncig; nyob rau hauv ib tug nruj style (14-16 centuries) nrog nws ib txwm diatonic. frets reversal feem ntau ua nyob ib ncig ntawm peb ntawm ib qho kev txo qis triad, uas ua kom zoo ib yam ntawm cov suab ntawm tritone:

JS Bach. Art of the Fugue, Counterpoint XIII.

Palestrina. Canonical pawg, Benedictus.

Hauv cov ntsiab lus nrog chroma. O. zog t. yog nqa tawm nyob rau hauv xws li ib tug txoj kev uas, yog hais tias ua tau, qhov zoo ntawm lub ncua sij hawm yog khaws cia - qhov no ua kom muaj ib tug zoo sib xws nyob rau hauv lub expressiveness ntawm reversed thiab ncaj qha txav:

JS Bach. Lub Well-Tempered Clavier, Volume 1, Fugue fis-moll.

Tshuab. simplicity thiab art. Qhov ua tau zoo ntawm kev hloov kho lub ntsiab lus los ntawm kev ncig tau txiav txim siab siv cov txheej txheem no ntau zaus thiab sib txawv, tshwj xeeb tshaj yog hauv kev ua haujlwm monothematic. Muaj ntau hom fugue nrog cov lus teb rov qab (German Gegen-Fuge - saib JS Bach, Art of the Fugue, Tsis muaj 5, 6, 7) thiab canon nrog ib qho inverted rispost (WA ​​Mozart, c-moll quintet, minuet); qhov kev thov rov hais dua yog siv nyob rau hauv lub interludes ntawm fugue (Bach, Lub Well-Tempered Clavier, vol. 1, fugue hauv c-moll); lub ntsiab lus hauv kev tuaj yeem muab cov stretta nrog lub ntsiab lus ncaj qha (Mozart, fugue hauv g-moll, K.-V. 401); qee zaum lawv tsuas haum ua ke (Mozart, fugue c-moll, K.-V., 426). Feem ntau cov feem loj ntawm cov ntawv sau ua raws li O. t. (Bach, The Well-Tempered Clavier; vol. 1, fugue G-dur, counter-exposition; 2nd part of the gigue) thiab txawm tias tag nrho cov ntawv (Bach, The Art of Fugue, No 12, 13; RK Shchedrin, Polyphonic Notebook , nr 7, 9). Kev sib xyaw ntawm O. t. nrog rau lwm txoj kev ntawm kev hloov pauv yog qhov tshwj xeeb tshaj plaws nyob rau hauv cov suab paj nruag ntawm lub xyoo pua 20th. (P. Hindemith, “Ludus tonalis”, cf. prelude thiab postlude), tshwj xeeb, sau siv cov txheej txheem serial (JF Stravinsky, “Agon”, Simple branle). Raws li kev hloov pauv thiab kev loj hlob, qhov kev thov rov hais dua yog siv tsis yog polyphonic. suab paj nruag (SS Prokofiev, "Juliet-ntxhais" los ntawm kev ntaus pob tesniv "Romeo thiab Juliet"), feem ntau ua ke nrog lub ntsiab lus hauv kev txav ncaj qha (PI Tchaikovsky, 6th symphony, part 2, vol. 17-24; SS Prokofiev, 4th sonata. , ntu 2, vol. 25–28).

References: Zolotarev VA, Fuga. Phau ntawv qhia txog kev kawm, M., 1932, 1965, ntu 13, Skrebkov SS, Polyphonic tsom xam, M. – L., 1940, ntu 1, § 4; nws tus kheej, Phau ntawv ntawm polyphony, ntu 1-2, M. – L., 1951, M., 1965, § 11; Taneev SI, Movable counterpoint of strict writing, M., 1959, p. 7–14; Bogatyrev SS, Reversible counterpoint, M., 1960; Grigoriev SS, Muller TF, Phau ntawv ntawm polyphony, M., 1961, 1969, § 44; Dmitriev AN, Polyphony as a factor of shaping, L., 1962, ch. 3; Yu. N. Tyulin, The Art of Counterpoint, M., 1964, ch. 3.

VP Frayonov