Definition of polyphony. Methodical development "Principles of work on polyphonic works in the piano class of child

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Polyphony (from the Greek πολυ - "a lot", φωνή - "sound") - a type of multi-voice music, in which several independent equivalent melodies sound at the same time. In this, its difference from the gomophony (from the Greek "Homo" - "equal"), where only one voice is leading, and others are accompanied (such as in Russian romance, the Soviet mass song or dance music). The main feature of the polyphony is the continuity of the development of musical outlines, fluidity, avoiding periodically clear separation into parts, uniform stops in the melody, rhythmic reuses of similar motives. Polyphony and homophony, possessing their characteristic forms, genres and development techniques, are nevertheless interrelated in operations, symphones, sonata, concerts are organically intertwined.

In the centuries-old historical development of the polyphony there are two stages. Strict style - Renaissance polyphony. She was distinguished by a harsh flavor and epic leisureness, a sharedness and fraud. It is these qualities that are inherent in the compositions of the great Masters-Polyphonists O. Lasso, J. Palestrina. The next stage is the free-style polyphony (XVII-XX centuries). She made a huge variety and freedom to the abandonation structure of the melody, enriched the harmony and musical genres. The polyphonic art of free-style found its perfect embodiment in the work of I. S. Baha and G. F. Handel, in works by V. A. Mozart, L. Beethoven, M. I. Glinka, P. I. Tchaikovsky, D. D. Shostakovich.

In composer creativity, two main types of polyphony are distinguished - imitation and non-satuation (different, contrast). Imitation (from Latin - "Imitation") - holding the same topic alternately in different voices, more often at different heights. The imitation is called accurate if the topic is repeated completely, and inaccurate with some changes in it.

Receptions of imitation polyphony are diverse. Imitation is possible in a rhythmic increase or decrease, when the topic is transferred to another voice and the duration of each sound increases or shortening. There are imitation in circulation when the uplink intervals appeal to descending and vice versa. All these varieties are used by Bach in the "Art of Fugue".

A special type of imitation is canon (from the Greek "rule", "norm"). In canon imitation is not only the topic, but also its continuation. In the form of a canon, independent plays are written (Canons for Piano A. N. Scriabin, A. K. Lyadova), parts of large works (Sonatata Final for Violin and Piano S. Frank). Numerous canons in Symphony A. K. Glazunova. Classic samples of the vocal canon in the opera ensembles - the Quartet "What is a wonderful moment" from the Opera "Ruslan and Lyudmila" Glinka, the duet of "enemies" from the opera "Eugene Onegin" Tchaikovsky.

In the notion polyphony, different, contrasting melodies are simultaneously sound. Russian and oriental topics are connected in the symphonic picture "In Central Asia" by A. P. Borodin. The contrasting polyphony has been widely used in the opera ensembles (the quartet in the last picture of the opera "Rigoletto" J. Verdi), the choir and scenes (the meeting of Khovansky in Opera "Hovanshchina" M. P. Mussorgsky, the picture of the fair in the Opera "Decembrists" Yu. A. Shaporin).

The polyphonic combination of two melodies after its initial appearance can be given in a new combination: the votes are exchanged in places, that is, the melody, sounding above, turns out to be in the lower voice, and the bottom melody - in the top. This reception is called complex counterpoint. It is applied by Borodin in an overture to the opera "Prince Igor", in Kamarinskaya Glinka (see example 1).

In the contrasting polyphony, no more than two variekteric topics are connected to the whole, but the joint sound of three (in an overture to the Maestezinger opera, R. Wagner) and even five topics (in the final of the Symphony "Jupiter" Mozart).

The most important of polyphonic forms - a fugue (from Latin - "escape"). The voices of the fugue seek after each other. Brief, expressive and easily recognizable at each appearance the topic - the basis of the Fugue, her main idea.

Fugue is composed on three or four voices, sometimes two or five. Main reception - imitation. In the first part of the exposition, all the voices sing alternately alternately and the same melody (theme), as if imitating each other: first, one of the voices is unaccompanied, and then follow the second and the third with the same entry. Each time the tone is accompanied by a melody in another voice, called anticatch. In Fougal, there are sites - intermediates, where the topic is absent. They enliven the course of the Fugue, create continuity of the transition between its sections (Bach. Fugue Salt Minor. See Example 2).

The second part - the development is distinguished by the variety and freedom of structure, the course of music becomes unstable and tense, more often appear intermediates. There are canons, complex counterpoint and other techniques of polyphonic development. In the final part of the reprise, the initial sustainable nature of music, integral themes in the main and close tonalities renews again. However, the peculiar fluidity incentive, the continuity of the movement penetrates here. Reprise is shorter than other parts, it often accelerates the musical outlines. Such is Stretta - a peculiar imitation, in which every subsequent conduct of the topic comes earlier than it ends in another voice. In some cases, the invoice is sealing in reprise, chords occur, free voices are added. Directly to the reprise adjoins the code, summarizing the development of the Fugue.

There are fugues written in two and extremely rarely into three topics. In them, the topics are sometimes outlined and simultaneously simulated or each topic has its own independent exposure. The full bloom of the Fugue reached in the work of Baha and Handel. Russian and Soviet composers included a fugu in opera, symphonic, chamber music, in cantal-oratorical essays. Special polyphonic works - the cycle of prelude and fugue wrote Shostakovich, R. K. Shchedrin, G. A. Moshel, K. A. Karaev and others.

Of the other polyphonic forms, the following are distinguished: Fugette (decreasing from the Fugue) - small, modest in the content of the fugue; Fugato - the likeness of the Fugue, which is common in symphony; Invention; Polyphonic variations based on repeatedly carrying out the constant theme (in this case, the accompanying melodies are held in other voices: Passaveni Baha, Handel, 12th Prelude Shostakovich).

Polyphony - the form of the Russian, Ukrainian, Belarusian folk polyphonic song. With choral singing, there is a branch from the main penetration of the songs and the melody are formed - pegs. In each packet, all new beautiful combinations of votes are heard: they are rushing among themselves, they disagree, they again merge together with the voice of the voice. The expressive possibilities of the Polyphony were used by Mussorgsky in Boris Godunov (Prolog), Borodin in "Prince Igor" (Chorus of Patisha; see Example 3), S. S. Prokofiev in "War and the World" (Soldiers' Choir), M. in . Koval in the oratorio "Emelyan Pugachev" (Choir of the Peasants).

from Greek. Poly - Many, Much and Phone - Sound, Voice) - View of the musical polyphony, based on the simultaneous combination of independent melodic lines (votes). P. logically opposes homophone (from Greek. Homos-equal, common, melody with escort) and heterophonia (from Greek. Heteros - another) characteristic of folk music and arising from the simultaneous sound of the options of one pit. In the music of recent centuries, these types of polyphony often merge, forming a mixed way. Unlike the gomophony, blooming in a new time, involving the equivalence of P. votes dominated the music of the Middle Ages (from the IX century) and the Renaissance (Choral P. Strict Style), reached the vertices in the work of I. S. Baha and retains its importance in our time. Perceiving polyphonic music, the listener is immersed in contemplation of all musical fabric. In the plexus of many votes, it opens - the beauty of the universe, unity in the manifold, conflicting the completeness of the essential forces of a person, the harmony of the improvisational and free structure of lines and the well-thoughtful ordering of the whole. Compliance with P. The most deep properties of human thinking and peace resistance led to the use of this concept in a wide metaphorical and aesthetic sense (for example, the idea of \u200b\u200bbakhtin about the polyphonic structure of the novel).

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POLYPHONY

from Greek. Polys - Numerous, Phone - Sound, Voice) - The concept of musicology, meaning the type of polyphony in music, based on the harmonic equality of votes. M. M. Bakhtin ("Problems of Dostoevsky's Creativity", 1929), who attached to him a wider philosophical and aesthetic value, which characterizes not only the style of the literary novel, but also the method of knowledge, the concept of peace and man, a way of relationship between people, worldviews and cultures . P. is taken in close unity with dr. Close concepts - "dialogue", "counterpoint", "controversy", "discussion", "dispute", etc. The concept of polyphonic dialogism Bakhtin rests, primarily on his human philosophy, According to Kyoy, the life of a person, his consciousness and relationships with others have a dialogic nature. The basis of human, according to Bakhtin, there is an intercealthan, intersubjective and internal inferdity. Two human beings make up the minimum of life and being. Bakhtin considers a person as a unique personality and personality, the genuine life of the Foy is available only to the dialogic penetration into it. As for the polyphonic novel, its main feature is "the multiplicity of independent and unsalted voices and consciousness, the genuine polyphony of full votes" than it is fundamentally different from the traditional, monologic novel, in K-Rom, the unified world of the author's consciousness is unpolished. In a polyphonic novel, a completely new relationship is established between the author and the heroes created by him: what the author had previously did, now he is hero, covering itself from all possible parties. Here the author says not about the hero, but with a hero, giving him the opportunity to answer and argue, refusing the monopoly right to final understanding and completion. The author's consciousness is actively, but this activity is aimed at deepening someone else's thought, the disclosure of the whole meaning in it. Bakhtin remains a faithful dialogue approach when considering style, truth, etc. Problems. He does not suit the well-known definition of style, according to the roma style is a person. In accordance with the concept of dialogism for understanding the style you need at least two people. Since the world of the polyphonic novel is not a single, but represents many worlds of equal consciousness, so this novel is multiple or even infinite, for in it a people's chastushka can be combined with Shiller Diffirb. Following Dostoevsky Bakhtin opposes the truth in the theoretical sense, the truth-formula, the truth-position, taken out of living life. He has truth existential, it is endowed with personal and individual dimension. He does not reject the concept of a single truth, however, it believes that it does not imply the need for one and unified consciousness at all, it fully admits the plurality of consciousness and points of view. At the same time, Bakhtin does not become on the position of relativism, when every judge itself and all right, which is equivalent to the fact that no one is right. A single truth, or "truth in itself," exists, it represents the horizon, the participants of the dialogue are moving to K-Rom, and none of them can claim the finished, completed and the more absolute truth. The dispute does not give rise, but closer to a single truth. Even agreed, Bakhtin notes, retains its dialogic, never leads to a merger of votes and the truth in a single impersonal truth. In its concept of humanitarian knowledge, the whole Bakhtin also proceeds from the principle of P. He believes that the methods of knowledge of humanitarian science are not so much analysis and explanation as an interpretation and understanding that take the form of dialogue of individuals. When studying the text, the researcher or critic should always see his author, perceiving the latter as a subject and entering into a dialogical relationship. The principle of P. and Dialogue Bakhtin spreads to relations between cultures. Polemizing with supporters of cultural relativism, which in contacts of cultures see the threat to preserve their identity, he emphasizes that with a dialogical meeting of cultures "they do not merge and do not mix, each retains its unity and open integrity, but they are mutually enriched." The concept of P. Bakhtin has become a significant contribution to the development of the SOC. Humanitarian knowledge methodologies have had a great influence on the development of the entire complex of the humanitarian sciences.

Polyphony

(from Greek. Polus - many and ponn - sound, voice; letters. - Multiforous) - a type of polyphony based on simultaneous. The sound of two or more melodic. lines or melodic. votes. "Polyphonia, in her supreme sense," said A. N. Serov, - to need to understand the harmonious merger together several. Independent melodies going in several voices at the same time, together. In the reasonable speech, it is unthinkable to, for example, several persons spoke together, each Its, and so that the confusion did not come out of this, incomprehensible nonsense, but, on the contrary, an excellent overall impression. In music, such a miracle is possible; it is one of the aesthetic specialties of our art. " The concept of "P." Coincides with a wide value of the term counterpoint. N. Ya. Mäskovsky referred to the field of counterpoint. Mastery combination of melodically independent votes and the connection in the simultaneity of several. Themed. Elements.
P. - One of the most important means of the music. Compositions and art. expressiveness. Numerous Receptions P. serve the versatile disclosure of the maintenance of the music. Production, embodiment and development of art. images; Means P. can be modified, compared and unite music. Topics. P. Rely on the patterns of melodics, rhythm, Lada, harmony. The expressiveness of the receptions of P. also affects the tools, dynamics and other components of music. Depending on the definition. MUZ. Context can change art. The meaning of various means of polyphonic. presentation. There are spokes. MUZ. Forms and genres used to create a contract. Polyphonic. Warehouse: Fugue, Fugette, Invention, Canon, Polyphonic Variations, in 14-16 centuries. - Motet, Madrigal and others. Polyphonic. Episodes (eg, Fugato) are found within the framework of other forms.
Polyphonic. (Counterpoint) warehouse music. . He opposes homophone-harmonic (see Harmony, Gomophony), where the voices form chords and it is distinguished by ch. melodic The line is most often in the upper voice. Indigenous feature of polyphonic. The invoice that distinguishes it from homophone-harmonic - fluidity, K-paradium is achieved by erasing the cesur separating the construction, the inconsistency of transitions from one to another. Polyphonic voices. The constructions are rarely kalidated at the same time, usually their kazdasses do not coincide, which causes a sense of continuity of movement as special express. Quality inherent in P. while some votes begin to present a new or repetition (imitation) of the former melodies (themes), others have not yet graduated from the previous one:

Palestrina. Racherkar in i tone.
At such moments, nodes of complex structural plexuses are formed, which combine various functions of the music in the simultaneum. Forms. Following the more competed. The randration of tension, the movement simplifies up to the next node of complex plexuses, etc. In such dramagic. Conditions leaks the development of polyphonic. Production, especially if they allow big art. Tasks, the depth of content is distinguished.
The combination of votes vertically is regulated in P. The laws of harmony inherent in the definition. Epoch or style. "As a result, no counterpoint can be without harmony, because every connection of simultaneous melodies at the individual points forms a consonance or chords. In the genesis, no harmony is possible without counterpart, since the desire to connect several melodies at the same time exactly and caused the existence of harmony" ( . A. Laros). In P. Strict Style 15-16 centuries. The dissonances were located between the Connce and demanded a smooth movement, in P. free style of 17-19 centuries. The dissonances were not bound by smoothness and could move one to another, pushing the lade-melodic resolution at a later time. In Sovr. Music, with its "emancipation" of dissonance, dissonating combinations of polyphonic. Votes are allowed at any distance.
Types of P. are diverse and difficult to classify due to large yields inherent in this kind of music. Iska
In some nar. MUZ. Cultures are spread by a grain type of P., which is based on ch. melodic Voice, from which melodic is branched off. Turns of other votes, pegs, varying and replenishing land. Hanging, sometimes merging with him, in particular in the Kadansa (see heterophony).
In prof. The statement of P. developed other melodes. Relationships that promote expressiveness of votes and all polyphony. whole. Here, the view of P. depends on what the terms are horizontally: with the identity of the melody (themes), imitationally conducted in different voices, the simulation P. is formed, with the difference in combined melodies - P. contrast. This distinction is conditional, because When simulating in circulation, increasing, decreasing, and especially in a stubble movement, the difference in the horizontal melodies is enhanced and approximate by P. to contrast:

I. S. Bach. Organ Fusion C-DUR (BWV 547).
If the contrast of the melodet. Votes are not very strong and kinship is used in them. Turns, P. approaching simulation, like, for example, in the four-mete Racherkar, J. Frescobaldi, where the topics are intonational homogeneous:

In some cases, polyphonic. The combination, starting as imitation, in the definition. The moment goes into a contrast and vice versa - a transition to simulation is possible from the contrast. So the inseparable connection of two species of P. is found.
In the pure form of imitation. P. presented in a single-month canon, for example. In the 27th variation from the Cycle "Goldberg Variations" Bach (BWV 988):

In order to avoid monotony to the music. The kennel of the canon is constructed here so that there is a systematic alternation of melody rhythmich. figures. When conducting rpospost, they lag behind the projected figures, and Intonats occurs vertically. Contrast, although horizontally melodies are the same.
Method of increasing and recession intonats. Activity in the proposal of the canon, which ensures the intensity of the form as a whole, was known in P. strict style, as evidenced, for example, Trudogol. Canon "Benedictes" Mass "AD Fugam" Palestrina:

T about., Imitz. P. in the form of a canon is not alien to contrast, but this contrast arises vertically, whereas horizontally, its terms are deprived of contrast due to the identity of the melodies in all vice. It is fundamentally different from contrasting P., K-paradium combines horizontally unequal melodes. Elements.
The final one-day canon as a form of imitation. P. In the case of a free extension of his votes, it turns into a contrasting P., K-paradium in turn can go to the canon:

Dufai. Duo from Mass "Ave Regina Caelorum", Gloria.
The form described links the views of P. in time, horizontally: followed by another. However, the music of various eras and styles are rich and their simultaneous combinations vertically: the simulation is accompanied by contrast, and vice versa. Some voices are impeded simitationally, others create contrast to them either in free counterpunction;

The combination of the proposal and Risposta recreates the form of an old organ), or in turn forming the simtance. Building.
In the latter case there is a double (triple) imitation or canon, if the imitation extends to the length. time.

D. D. Shostakovich. 5th Symphony, Part I.
The relationship of simulation and contrasting P. in double canons sometimes leads to the fact that their initial sections are perceived as one-month-imitation, and only gradually the proposals begin to differ. This happens when all the work is characterized by the community of mood, and the difference of two reguses is not only not emphasized, but, on the contrary, masked.
In the Et Resurrexit of the Canonical Palestrina Mass double (dual volume), the canon is triggered by the similarity of the initial partitions regained, as a result of which the simple (one-time) four-voice canon is heard at the first moment and only subsequently becomes a noticeable difference in the reginition and aware of the two-volume canon form:

How diverse in music the concept and manifestation of contrast, is just as diverse and contrasting P. In the simplest cases of this type of P. votes are quite equal, which is especially related to counterpoint. Fabrics in the man. Strict style where the polyphonic has not yet been developed. Theme as a concentrated one-door. Expression of the Osn. Thoughts, Osn. Music content. With the formation of such a topic in the work of I. S. Baha, G. F. Handel and their large predecessors and followers Contrast P. admits the topics of the topic over the votes associated with it - anticatch (in Foug), counterpoints. At the same time in Cantahs and the Production. Other genres at the Bach is diverse a contrasting P. dr. genus, formed from a combination of a choral melody with a multi-head. Fabric of other votes. In such cases, the differentiation of components of the contrasting P., brought to the genre characteristic of the votes of polyphonic, becomes even clearer. whole. In the instr. Music of later time, the distinction of the functions of votes leads to a special kind of "P. Plastic", combining one-board. Melodies in octave doubling and, often, imitation with integer harmonic. Complexes: top layer - melodic. Vehicle of themed, medium - harmonic. Complex, lower - melodized mobile bass. "P. Plastic" is extremely effective in Dramaturgić. The relationship is not applied in a single stream at a long distance, but in the definition. The nodes are made., in particular in the culmination sections, being the result of increments. Such is the culmination in the first parts of the 9th Symphony of Beethoven and the 5th Symphony of Tchaikovsky:

L. Beethoven. 9th Symphony, Part I.

P. I. Tchaikovsky. 5th Symphony, Part II.
Dramatically tense "P. Plastic" can be opposed to calm-epic. connection independent. Those, an example of which the reprise of the Symph is served. Pictures of A. P. Borodin "In Central Asia", combining two variekteric topics - Russian and oriental - and also being a vertex in the development of the work.
Very rich in manifestations of contrasting P. Opera music, where it is widely applied. The genus combined off. Votes and complexes characterizing images of heroes, their relationship, confrontation, conflicts, and in general the entire action situation.
The manifold of the forms of contrasting P. cannot serve as a basis for refusing this generalizing concept, as musicology from the term, for example, "Sonataya Form", although the interpretation and application of this form in I. Gaidna and D. D. Shostakovich, L. Beethoven and P. Hindemit are very different.
In Europe. P. Music was originated in the depths of early polyphony (organs, a platter, mott, etc.), gradually drawing up in his own. view. The earliest rendered information about the domestic polyphony in Europe belongs to the British Islands. On the continent, the polyphony developed not so much under the influence of English as in force. reasons. Previously, it takes shape, apparently, a primitive form of contrasting P., which is formed from counterpunctioning to this choral or other melody genre. John Cotton theorist (Kon. 11 - Nach. 12 centuries), expecting the theory of multi-beam (binding), wrote: "The diaphony there is a consistent discrepancy between the votes performed at least two singers so that one leads the main melody, and the other is skillfully wanders Other sounds; both in some points converge in unison or octave. This method of singing is usually called an organ, because the human voice, skillfully disperse (with the main one), sounds like a tool called the body. The word diaphony means a double voice or the discrepancy of the votes ". The form of imitation, apparently, of folk origin - "very early in the people were able to sing strictly canonically" (R. I. Gruber), which led to education altera. . using simulation. Such is a double hexagol. Endless "Summer Canon" (approx. 1240), written by J. Fornset, monk from the Ritch (England), indicating not so much about maturity, how much about the prevalence of simulation (in this case canonical) technique is already to ser. 13 V. Scheme of the "Summer Canon":

Etc.
The primitive form of contrasting P. (S. S. Screbkov refers it to the region of the heterophonia) is found in an early mott of 13-14 centuries., Where polyphonicity was expressed in unification of several. Melodies (usually three) with different texts, sometimes in different languages. An example is an anonymous Motet 13 W.:

MARIAC Assumptio - Huius Chori motet.
The choral melody "Kyrie" is placed in the lower voice, on average and upper - counterpoints to it with texts on the lat. And Franz. Languages \u200b\u200bmelodically close to chorals, but still possessing some independent self. Intonation Rhythmich. Pattern. The form of a whole - variations - folded on the basis of the repetition of the choral melody serving as Cantus Firmus with melodically variable upper voices. In the Masho Masho Mott, "Trop Plus Est Bele - Biaut Paree - Je Ne Suis Mie" (approx. 1350) Each voice has its own melody from his own. The text (all to Franz. Language), and the bottom, with its more even movement, also represents a repeating Cantus Firmus, and the form of polyphonic is also formed. variations. This is typical. Samples of an early motel - a genre that undoubtedly played an important role in the way to mature form P. The generally accepted separation of mature polyphonic. The claim for strict and free styles corresponds to both theoretical. and historical. Signs. P. Strict style is characteristic of the Netherlands, Italian and other schools of 15-16 centuries. It was replaced by P. free style, continuing to develop and so on. In the 17th century put forward along with other it. nat. School, in the work of the greatest polyphonists Baha and Handel reached in the 1st floor. 18 V. Polyphonic vertices. Iska Both styles under their eras were determined. Evolution, which is closely associated with the general development of the music. The lawsuit and the laws of harmony, Lada and others. Muz.-express. funds. The border between the styles is the border of the 16-17 centuries, when, in connection with the birth of the opera, the homoform-harmonic homoform was clearly formed. The warehouse and established two Lada - Major and Minor, all of Europe began to navigate. music, incl. and polyphonic.
The works of the era of a strict style "are striking the elevation of flight, harsh magnitude, some kind of azure, serene purity and transparency" (Laros). They were used to be used. wok. Genres, tools were attracted to duplicate Pevch. Votes and extremely rare - for self. execution. The system of vintage diatonic dominated. Ladov, in which the introductions of the future major and minor were gradually began to make their way. The melody was characterized by smoothness, the jumps were usually balanced by the subsequent move in the opposite direction, the rhythm, submitted by the laws of the Menzural theory (see Menzular Notation), was calm, leisurely. In combinations of votes, Connce prevailed, Dzonsennce rarely performed as an alteration. Consonance, usually formed in passing and asked. Sounds on weak stakes of the tact or cooked detention on a strong share. "... All parties in RES Facta (here - recorded counterpoint, unlike improvised) - three, four or more, - all depend on each other, i.e., the procedure and laws of Conncers in any voice should be applied in relation to To all other votes, "Johannes Tinktoris (1446-1511) wrote (1446-1511). OSN. Genres: Chanson (Song), Motet, Madrigal (small forms), Mass, Requiem (large forms). Takes themed. Development: repetition, most represented by strint imitation and canon, counterpunction, incl. Moving counterpoint, contrast of the compositions of pev. votes. Distinguishing the unity of mood, polyphonic. . Strict style was created by the variationality method, K-ry admits: 1) variational identity, 2) variation germination, 3) variational update. In the first case, the identity of some components of polyphonic remained. whole when varying others; In the second - melodic. The identity with the previous construction remained only in the initial section, the continuation was different; In the third - the update was updated. material while maintaining the general nature of intonation. The variation method spread to the horizontal and vertical, for small and large forms, assumed the possibility of a melod. Changes made by circulation, stabbed movement and its appeal, as well as variation of metrolastam - increase, decrease, passes Pause, etc. The most simple forms of the variation identity are the transfer of finished counterpoint. combinations on dr. Height (transposition) or attributing to such a combination of new votes - see, for example, in "Missa Prolationum" Y. de Okhemema, where a melody. The phrase on the words "Christe Eleison" will first be at first alt and bass, and then repeated by soprano and tenor second. In the same op. Sanctus consists of repetition on the seques above the parties of the soprano and the tenor of what was previously charged with the alto and bass (a), which are now counted now (c) to imitating voices, changes in duration and melodium. The figure of the initial combination does not occur:

The variational update in large form was achieved in cases where Cantus Firmus changed, but came from the same source as the first (see below for the Mass "Fortuna desperata" and others).
The main representatives of P. strict style - Dufai, J. Okhem, Ya. Oberech, Zoskien Depe, O. Lasso, Palestrina. Staying within this style, their production. Demonstrate Split. Attitude to the forms of music.-Themed. Development, simulation, contrast, harmonic. The completeness of the sound is used differently and Cantus Firmus. So, the evolution of the simulation, the main one of the polyphonic, is visible. Music funds expressiveness. It was originally used simulating in unison and octave, then the other intervals were used, among which the quint and quarts were especially important as a comprehensive presentation. Imitation developed thematic. Material and could appear anywhere in the form, but gradually began to be established by their dramagic. Purpose: a) as the forms of the initial, exposition presentation; b) as a contrast to non-satuation constructions. Dufai and Okhem almost did not use the first of these techniques, while he became permanent in the contract. Obrecht and Zoshen Dew and almost mandatory for polyphonic. Lasso and Palestrina forms; The second originally (Dufai, Okhem, Obrecht) advanced when shelving the voice leading Cantus Firmus, and later began to cover whole sections of a large form. Such are Agnus Dei II in Messe Zoshen Dere "L" Homme Army Super Voces Musicales "(see a new example from this Mass in the Cranic Article) and in the Massah Palestrina, for example, in the six-breeding" Ave Maria ". Canon in its various forms (in A clean form or accompanied by free voices) is introduced here and the same. Samples at the final stage of a large composition as a factor of generalization. In such a role in the future, in the practice of free-style, Canon has not appeared almost. In four rounds. Messe "Oh, Rex Gloriae "Palestrina Two sections - ve-nedictus and agnus - written as accurate two-chairs. Canons with free voices, creating a contrast of sincere and smooth to more energetic sounding of the previous and subsequent buildings. In a number of canonic. Mass Palestrina is also the opposite reception: lyrical content Crucifixus And Benedictus is based on the unscrewing P. than and contrasted with other (canonical) parts of the work.
Large polyphonic. Shapes of a strict style in theme. The relationship can be divided into two categories: having Cantus Firmus and not having it. The first were more often created in the early stages of style development, on the next same Cantus Firmus gradually begins to disappear from the work. Practices, and large forms are created on the basis of the free development of theme. material. At the same time, Cantus Firmus becomes the basis of an ins. . 16 - 1st floor. 17 centuries. (A. and J. Gabriel, Frescobaldi et al.) - Racherkara, etc. and receives a new embodiment in the chorast handlers of Baha and its predecessors.
Forms, in which there are Cantus Firmus, are cycles of variations, since the same theme is carried out in them several. Once only. Counterpoint. Surrounding. Such a large form usually has an intermediate intermediate sections, where there is no Cantus Firmus, and the presentation is based either on its intonations or on neutral. In some cases, the relationship of sections containing Cantus Firmus, with intermediate intermediates are subject to a certain numerical formulas (Mass J. Okhemema, Ya. Obrecht), in others are free. The length of the intermediate intermediate and containing Cantus Firmus constructions can change, but may be constant for the whole work. The last one belongs, for example, the Palestrina Mass mentioned above, where both constructions have 21 times (in conclusions, the last sound is sometimes stretched by several. Clocks), and so develops the whole form: 23 times Cantus Firmus is conducted and so much same intermedia constructions. To such form P. strict style came as a result of a long time. The evolution of the principle of variationality. In a number of Cantus Firmus conducted a borrowed melody in parts, and only in conclude. The section she appeared in full form (Oberacht, Mass "Maria Zart", "Je Ne Demande"). The latter was the admission of theme. The synthesis, very important for the unity of the whole essay. Normal for P. Strict-style change made in Cantus Firmus (Rhythmic. Increase and decrease, circulation, stittle movement, etc.), hid, but did not destroy the variation. Therefore, the variation cycles appeared in a very dissimilar form. Such, for example, the cycle of the Mass "Fortuna desperate" Obrecht: Cantus Firmus, taken from the middle voice of the same name, is divided into three parts (ABC) and then the Cantus from the upper voice is introduced (DE). The overall structure of the cycle: Kyrie i - A; Kyrie II - A in C; Gloria - in the AC (in A - in stitching movement); CREDO - CAB (C - in stitching movement); Sanctus - A B with D; Osanna - ABC; Agnus I - and in C (and the same in reducing); AGNUS III - D E (and the same in reducing).
Variationity is represented here in the form of identity, in the form of germination and even in the form of an update, because In Sanctus and Agnus III, Cantus Firmus is changing. Similarly, in Messe "Fortuna desperate", three types of variationsight are used: Cantus Firmus is first taken from the middle voice of the same chanson (Kyrie, Gloria), then from the top (Credo) and from the lower voice (Sanctus), in the 5th Parts Massa used to appeal to the top voice of Chanson (Agnus i) and in conclusion (Agnus III) Cantus Firmus returns to the first melody. If you designate each Cantus Firmus symbol, it will turn out to be a scheme: and in with B1 A. The form of the whole is based, therefore, on different types of variations and involves more reprisality. The same method was applied in Messe Zoshen Dew "Malheur Me Bat".
Opinion about neutralization themes. Material in polyphonic. . Strict style due to the stretching of durations in a voice leading Cantus Firmus, justly partly. In MN. Cases composers resorted to this reception only in order to gradually approach the genuine rhythm of the household melody, alive and immediate, make her sound as if the culmination of the themch. development.
So, for example, Cantus Firmus in Mass Dufai "La Mort De Saint Gothard" sequentially passes from long sounds to short:

As a result, the melody sounded, apparently, in that rhythm, in what was known in everyday life.
The same principle was used in Malheur Me Bat Messe. We bring it to Cantus Firmus along with the published primary source - Trudogol. Shanson Okhemema:

J. Oberecht. Mass "Malheur Me Bat".

J. Okhem. Chanson "Malheur Me Bat".
The effect of gradual detection of the true basis of the production. It was extremely important in the conditions of that time: the listener suddenly recognized the familiar song. Secular lawsuit confluence with the requirements for church. Music with clergy, which caused the persecution of clergy on P. Strict Style. From the historical point of view, the most important process of releaseing music from the power of the Relig took place. ideas.
The variational method of the development of thematism was distributed not only to a large composition, but also on its part: Cantus Firmus in the form of depth. Small revolutions were completely repeated, and subvariation cycles were seized inside a large form, especially frequent in the contract. Obrecht For example, Kyrie II Mass "Malheur Me Bat" is a variation on a brief theme of UT-UT-RE-MI-MI-LA, A AGNUS III in Messe "Salve Dia Parens" - on the brief formula LA-SI-DO-SI , gradually shrinking from 24 to 3 clocks.
One-time repetitions, following their "subject," form a period of two sentences, which is very important with historical. point of view, because Prepares homophone form. Such periods, however, are very fluid. They are rich in the contract. Palestrina (see an example on column 345), they are found at Ombrecht, Zososen Dew, Lasso. Kyrie from Op. The last "Missa AD Imitationem moduli" Puisque J "Ai Perdu" "is a period of classic. Type from two suggestions of 9 closures.
So inside the music. The forms of strict style were granted the principles, which in the later classic. Music, not so much in polyphonic, as in homophone-harmonic, was the main. Polyphonic. . Sometimes they included chord episodes, also gradually prepared the transition to homophone. In the same direction, ladhotonal relations were evolved: the exposure sections of the forms of Palestrina as a strict style ender clearly to tonic dominant relationships, then care for the subdominant and return to the main order. In the same spirit, the scope of the Kandasov large form is deployed: the median kazdasses are usually completed authentic in the tonality of V Art., Final Kadans on Tonic are often plans.
Small forms in P. Strict Style were depending on the text: Inside the structure of the text, the development occurred at the repetition (imitation) of the topic, the change of the text attributed to the update of theme. Material, to-ry, in turn, could be imitated simulating. Music promotion. Forms happened as text promotion. This form is especially characteristic of Motten 15-16 centuries. And got the name of the photon form. So built and Madrigals of the 16th century, where the occasion of the reprisal type occurs occasionally, for example. In Madrigal Palestrina "I Vaghi Fiori".
Large forms of P. Strict Style, where there is no Cantus Firmus, develop on the same narrowing type: each new text phrase leads to the formation of a new music. Themes developed simulating. With brief text, he repeats with new music. Themes introduce a variety of shades will express. character. The theory does not yet have other generalizations on the structure of this kind of polyphonic. forms.
The binder between P. strict and free styles can be considered the work of composers con. 16-17 centuries. Ya. P. Swelinka, J. Frescobaldi, Shyuz, K. Monteverdi. Swalink often used the variational admission of strict style (the topic in magnification, etc.), but at the same time he has flavored chromatisms, possible only in free-style; "Fiori Musicali" (1635) and others. Organ Frescobaldi contains variations on Cantus Firmus in a variety of modifications, but they have rigs and fugated forms; Diathonism of the vintage lands was cleaned with chromatims in the topics and their development. At Monteverdi Depth. Production, ch. arr. Church, wear a strict style (Mass "in Illo Tempore", etc.), Madrigals are almost rummaged with him and should be attributed to the free style. Contrast P. is related to characteristics. intonations that transmit the meaning of the word (joy, sadness, sigh, flight, etc.). Such Madrigal "Piagn" E Sospira "(1603), where the initial phrase" crying and sigh "is especially underlined, contrasting the rest of the narrative:

In the instr. . 17th century - Suits, ancient Sonatas Da Chiesa and others - usually polyphony. Parts or at least polyphonic. Takes, incl. Fugged order, which prepared the formation of an ins. Foughes like self. genre or in conjunction with the prelude (Toccata, Fantasy). Creativity I. Ya. Frombersger, Moffhat, Peressella, D. Buxthehude, I. Pakhelbel, and others. Composers were an approach to the high development of P. free style in the contract. I. S. Baha and G. F. Handel. P. Free Style is stored in the wok. genres, but the main thing is its conquest - ins. Music, to 17 century. Separated from vocal and rapidly developed. Melody - OSN. Factor P. - in Instrase The genres was released from the limiting environmental conditions. Music (Range of Pevch. Votes, ease of intonation, etc.) and in its new form contributed a variety of polyphonic. combinations, latitude polyphonic. compositions, in turn, affecting the wok. P. Vintage Diatonic. The fretsmen gave way to the two dominant - Major and Minor. Greater freedom was received by the dissonance, which became the strongest means of the lade tension. The moving counterpoint, imitation was fully used. Forms, among the proof (Inversio, Moto Contraria) and an increase (Augmentation, but almost disappeared, the stabbed movement and its appeal, dramatically changed the entire appearance and express the meaning of a new, individualized free style theme. The system of variational forms based on santus Firmus, gradually sued no, replaced by a fugue that anticipated in the bowels of the old style. "Of all the birth of the musical composition of the Fugue, there is a single genus, who can always withstand all kinds of fashion. Whole centuries could no longer make it change their shape in any way, and fugues , one hundred years ago, the works are still so new, as if they were composed in our days, "said F. V. Marpurg.
The type of melody in P. free style is completely different than in a strict style. The unprecedented carnation of melody-linear votes is caused by the introduction of an ins. genres. "... In a vocal letter, melodic formation is limited to a narrow framework of the volume of votes and their smaller mobility compared to the tools, indicated E. Kurt. - And historical development came to the genuine linear polyphony only with the development of instrumental style, starting from 17 centuries. Togo, vocal works, not only as a result of a smaller volume and movement of votes, are generally inclined to chord roundabouts. The vocal letter cannot have the same independence from the chord phenomenon, as the instrumental polyphony in which we find samples of the free connection of lines. " However, the same can be attributed to wok. . Baha (Cantata, Massa), Beethoven ("Missa Solemnis"), as well as to polyphonic. . 20 V.
Intonational themes of P. free style to a certain extent prepared strict style. These are the declamance. melodic Rapidity with sound repetition, starting with a weak share and going to a strong for a second, the Terration, Queint, etc. Intervals up, moves to Kwint from tonic, outlining the lade foundations (see examples), - these and these intonations were subsequently formed in The free style of the "core" of the themes, for K-Ry there was a "deployment", based on the general forms of melodic. Movement (gammothitude, etc.). The fundamental difference between the free style from the topics of strict style is to design them into independent, one-heading and completed constructions, compressed the main content of the production, while themes are strictly styled with tech, strokes strictly in aggregate with other imitating voices and only in The complex with them revealed its content. The contours of the strict style theme lost in continuous movement and votes entry. In the following example, the example of the intonational similar patterns of strict and free-style thematis are compared - from the Mass "Pange Lingua" Zosken Dew and from the Fugue Bach on the topic of J. Legnitzi.
In the first case, the two-age is deployed. Canon, the capital turns are flowing into common melodes. The forms of the wildenuance movement, in the second - is shown a clearly defined topic that is modulating in the tonality of dominants with the kandex conclusion.

T. about., Despite the intonac. Similarity, the thematism of both samples is very different.
Special quality of Bahhovsky polyphonic. Thematicism (referred primarily to the topics of fugues) as the peaks of P. free style consists in the collaboration, wealth of potential harmony, in the latitude, rhythmic and sometimes genre definition. In polyphonic. topics in their one-door. Bach projections summarized the lade harmonic. Forms created by his time. Such: TSDT formula, emphasized in the topics, latitude of sequences and tonal deviations, introduction of II low ("Neapolitan") stage, the use of reduced septim, reduced quarts, reduced flares and quints, resulting from mating input tone in Minor with others. Lada steps. Bakhovsky rates inherent in the title originating from the Nar. intonations and choral melodies; At the same time, the culture of Instrases is strong in it. melodics. Entry starts may be characteristic of an ins. Topics, instrumental - vocal. An important link between these factors creates a hidden melody. The line in themes - it proceeds more measuringly, giving the topic of empowerment properties. Both intonats. The source is particularly obvious in cases where the inlet "core" finds development in the rapid movement of the continuing part of the topic, in "deploying":

I. S. Bach. Fugue C-DUR.

I. S. Bach. Duet A-Moll.
In difficult fugas, the function of the "kernel" often takes over the first topic, the deployment function is the second ("well-tempered key", t. 1, a CIS-MOLL fugue).
Fugu is usually referred to by the kind of imitation. P., which is generally true, because A bright topic and its imitation dominate. But in the general revelation. Fugue Plan is a synthesis of imitation and contrasting P., because Already the first imitation (answer) is accompanied by an anticatch, not identical topic, and when joining other votes, the contrast is even more enhanced.

Music encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .

It should be clarified that the polyphony is such a type of polyphony, which is based on combination, as well as the development of several melodic lines that are completely independent. Another name of the polyphony is the ensemble of melodies. In any case, this is a term musical, but the polyphony in mobile phones is quite popular and constantly conquers new frontiers.

The basic concept of polyphony

Polyphony implies a certain polyphony, and the number of similar votes can be completely different and fluctuated in the range from two to infinity. But in fact, several tens of votes are a standard amount, and this option is most common.

Now we can no longer imagine a phone that would be needed only for calls. At the moment, the mobile can completely personify its owner. Among other things, from the same phone the owner will demand a lot - the more functions, the better. That is why the polyphony is now in demand. Surprisingly, mobile phones are now much "stronger" now than even the first computers.

Difference of Polyphony and Monophony

Now the possibilities of our mobile phones are almost unlimited, and earlier the question is simply about the need for the existence of the polyphony forced people to think. This was due to the fact that they did not fully give themselves the report that it was exactly.

A monophonic phone can at some point to reproduce only one note or voice, but polyphonic during the same time can simultaneously combine up to several dozen different notes and votes.

That is why the most successful explanation will be comparing polyphony and monophony. Imagine the sound of the orchestra sound and the game of the soloist. Is the difference? So, polyphony is an orchestra with its fancy weave melodies from various musical instruments. It is the polyphony that can create a full-fledged high-quality sound and satisfy the desires of even the most demanding music love.

Polyphonic melodies - requirements and formats

The main requirement is at least one powerful speaker. Well, of course, this concerns that there is enough free memory in the mobile phone. Now the presence of this is considered for us as something of granted. Moreover, for the best sound of the melody, you can also use headphones, such as vacuum.

Now there are many sites that can offer you to download a couple of similar musical works from the section "Polyphony Melodies". In conventional file types, in this case are MIDI, MMF, WAV, as well as AMR.

Historical start of the development of polyphony

It is surprising that the polyphony for the phone did not "come" if it were not for the brilliant creations of Johann Sebastian Baha.

It is thanks to him in the 16th-17 centuries, such a polyphony could achieve a peak of its popularity. It was this composer that created the classical definition of polyphony as a melody in which all voices are equally expressive, as well as important.

Types of polyphony

Later in the polyphony there were certain special genres. This applies to some polyphonic variations - chakon, as well as passcasts, inventions and plays that used imitation techniques. The vertex of polyphonic art is considered a fugue.

The fugue is a multi-voiced polyphonic melody, which was composed, following a special and fairly strict laws. One of these laws is that the basis of this musical work should be a bright and very well memorable topic. Most often you can find a three-voice or four-voice feug.

Music polyphony is not just the sound of the orchestra, it is important that he played one melodic line. At the same time, it does not have any difference how many people will participate in a similar orchestra.

Very often, it happens that when several people sing one melody, then everyone wants to make something from herself to it and give her some shade of individuality. That is why the melody may seem to be "smeared" and turn into a monolayer in a polyphony. This form appeared for a long time and is called heterophony.

Another and also an ancient form of polyphony is considered to be tape. It is represented by such a musical product in which several votes are parallel to the same melody, but at different frequencies - that is, one sings somewhat higher, and the other below.

First phones with polyphony

The first phone with the polyphony appeared in 2000, they became the famous Panasonic GD95. Then it was a grandiose breakthrough in the field of technology, and now it is normal for us if the phone has at least several polyphonic melodies in the arsenal.

It was East Asia that became a pioneer in this area and did not lose completely. Polyphony is something that is no longer surprising now, because she won the whole world. After the GD75 already appeared, which was just able to show all people that the polyphony is a fairly useful tool. It was this model for a very long time in the top of all sales.

Polyphony is an improvement to which most manufacturers have sought. That is why in the future, a novelty has appeared and from Mitsubishi, which was able to demonstrate the entire public model of the TRIUM Eclipse mobile phone. It was he who was able to qualitatively and, most importantly, the three-tonal melodies are quite loud.

Only after that, Europe and France turned into such a racing of innovation to tell the world about a mobile phone that could support the reproduction of the eightitoneal polyphony. The only thing that did not like the cracked music lovers is that it sounds not loud enough.

Polyphony is also what Motorola's company was striving for, but it came to this late enough. She was able to present the T720 model, which supported a similar musical format. But the famous Nokia company, which is popular and in our time, chose the way to improve the characteristics of their phones, in particular, this concerns music, using MIDI files.

As you can see, the polyphony passed quite a long and branchy path of improvement and, no matter how strange it sounded, for the first time appeared in classical musical works. But the new step in its development was 2000 - it was then that she first appeared on a mobile phone and won the hearts of many admirers of music.

Explanatory note

The "General Piano" discipline is an important link of the musical and pedagogical process of educating students' instrumentalists. Classes in the framework of this subject instill the skills of the game on the instrument, reading from the sheet, games in the ensemble, accompaniment, expand the possibilities of household amateur music, creating conditions for broader involvement in the musical culture.

The main form of educational and educational work in the class is a lesson as an individual training of a teacher with a student.

Development of technology Reading notes from a sheet

Work on the arrogance of fingers on the material of a variety of exercises and etudes

Work on polyphony, large form, play

Game in ensemble

It is necessary to bring up students with a conscious attitude towards the artistic plan of the executable work, when studying, familiarizing and reading with a sheet systematically work on the system of musical and performing techniques on educational and auxiliary (gamma, arpeggio, chords and etudes).

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

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

First half of the year (except for 1 year of study) - 2-3 different characteristic plays (one ensemble is possible)

II half - 3 different characteristics (one ensemble is possible)

Annual classes

During the school year, students should explore:

Grade 1 - 15-20 works, songs of a song and dance nature, with elements of polyphony, etudes, ensembles.

Grade 2 - 10-12 different characteristics

Grade 3 - 4 Etudes, 4 dirty plays, one product of large form, 1-2 products of polyphonic style, 2 ensemble.

4th grade - 4 etudes, 4 dirty plays, 1-2 works of polyphonic style, one product of large form, 2 ensemble.

Grade 5 - 4 Etudes, 4 dirty plays, 1-2 products of polyphonic style, one product of large form, 2 ensemble

Grade 6 - 4 etudes, 4 different characteristic plays, 1-2 works of polyphonic style, one product of large form, 3-4 ensemble

Grade 7 - 2 etudes, one product of polyphonic style, one product of large form, 2 plays, accompaniment to two song melodies, 2 ensemble.

Annual technical requirements

Acquaintance with the construction of Ham, Arpeggio and Chords.

The first half of the year - to and salt Major and La and Minora, gamut with two hands per octave, arpeggio and chords separately with each hand

The first half of the year - Fa and Si-Bimol Major, Minors of Re and Salt with two hands per octave, arpeggio and chords with each hand separately.

The first half of the year - dieza major and minor gamas up to two signs with the key with two hands into two octaves, arpeggio and chords with two hands into two octaves.

The first half of the year is similar to the bramole gamma.

The first half of the year - dizard major and minor gamas up to three signs in direct movement, chords, short arpeggio, chromatic range with two hands.

The first half of the year is the dieza major gamma and minor to four characters in direct form, chords, short arpeggio, dominantxpekkord, chromatic range with two hands.

II half of the year - similar to the bramole gamma.

First half of the year - the dieza major gammas and minor to five signs in direct form, chords, short arpeggio, dominantxpekkord, chromatic range with two hands. 11 species of arpeggio from notes before.

II half of the year - similar to the bramole gamma. 11 species of arpeggio from notes salt.

Repertoire list

Class

Etude

A. Balage "Playing Soldiers"

Bartok F-DUR, C-DUR

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

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

A. Agedica Op.32 № 2, 3, 24

Op.36, № 13,14, 22

Op.46 № 11, 18, 20

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

A. Zilinsky № 9-12, 15-17, 22-24

S. Maikar A-Moll

A.Nikolaev C-DUR

Kyune "Reflection in Water", "Little Leagues", "Legato and Stakkato",

"Etude in two versions", "cheerful hammer"

A.Pirumov "Etude"

K.Chni Op.139 for choosing

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

Op.160 № 1-19, 21, 22

Pieces and ensembles

« Piano game "/ Editorial office of Nikolaev / M.1987

Section I No. 1-62, 72-78

« Music pictures » / Cl.Heresko/

V.M. Motsart "Spring"

"The first steps of a small pianist" /cost.t.Vzorova, Baranova,

A.Chverukhina 1-83 /

Ensembles

I.Bernovich "Little story", "Melody", "Game"

Z.levina "Tik-so"

M.Krasiev "Lullaby"

"Will I come to a river"

A.Alexandrov "Game in distillation"

V.Vitlin "Santa Claus"

S.Prokofiev "Boltunya"

"Hello, Guest Winter"

Tatar folk song

"Comic"

"Baby behind Royal" / Sost.I. Leschinskaya, V.Poprotsky /

M.Sov.compositor 1989

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

Ensembles № 25, 43, 45, 57, 59

Kalina Sost. / A. Bakulov, K.Sorokin / M.Sov.compositor 1988

Issue 1, part I Section I

Ensemble Sarauer "Czech Folk Song"

"Collection of piano plates, etudes and ensembles

Part I No. 1-63

Ensembles number 1-11

"Music for children" / Sost.K.Sorokin/ M.Sov.compositor 1983

Issue 1 Part I "Quail"

D.Turk "Cheerful Vanya"

D.Kabalevsky "Song"

I.Stepova "Bee"

B. Kravchenko "Stubborn Kozlik", "March"

Z.Kehene "Piez"

H.Namezidler "Dutch dance"

A. Baltin 3 Pieces

Y.Slonov "Waltz"

A.Holminov "Rain"

V. Volkov "Sunny Bunny"

A. Parusinov "March"

D.Kobalevsky "Light and Shadows", "Hedgehog", "Round-up", "Little Polka"

Ensembles

K.Sorokin "Skzorets", "Many Summer"

"To music with joy" / Sost.O.Getalova and a visa / composer

St. Petersburg 2004

"The first meeting with music" / Artobolevskaya/ M.Sov.compositor 1985

"Teases"

Philipp "Lullaby"

A.ovbbach "Sparrow"

Ensemble "Waltz Dogs"

"We live on the mountains"

Class

"To music with joy" / Sost.O.Getalova, I.Viznaya / Composer

St. Petersburg 2004

Sections 2-3.

"Piano game" / Credited.Nikolaeva / M.1978

Section I No. 63-71, 79

Section II No. 101-104

"Musical pictures" / cl.Heresko/

"Little drummer"

D.Shostakovich "Song of the Counter"

Slovak folk song

V. Zolotarev "Drive Cossack for the Danube"

"Slot to us a quiet evening"

S.Prokofiev "Petya", "Cat"

Collection of piano plays, etudes and ensembles

/cost.c. L.Lakhovitskaya, L.Barenboim / M.1970

Part I No. 64-79

Ensembles № 12-20, 22-24

Music for children /cost.k.Sorokin/ M.1983

E.Sigmeister "Cuckoo Dances"

E.Arro "Cossack"

A.Pirumov "Humorreska"

K.vilton "Sonatina"

H. Luzhverger "Sad song", "Merry Song"

T.Khrennikov Two plays

K. Orf "Piez"

E.Golubev "Lullaby"

D.Skarlatti "Menuet"

S. Maikar "in kindergarten"

A.Gedica "Zainka"

A.Aleksandrov "New Year's Polka"

Selman "Grev"

R.Rautio "Dance"

U.Slonov Two Pieces

X.Rukhverger "Finnish Song"

Ensembles

K.Sorokin "Ukrainian Lullaby"

L.Betshen "German Dance"

M.Fravel "Pavana Sleeping Beauty"

"Baby for Royal" / Sost.I. Leschinskaya, V.Poprotsky / M.1989

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

Ensemble number 69.

Kalinka / Sost.A. Bakulov, K.Sorokin / M.1988

Issue 1, Part I, section II

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

Ensembles

Hagogortyan "Dance"

"At the gate, gate"

"Steppe Cavalry"

M. Glinka "Nice"

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

Streborg "Waltz Petushkov"

V. Mozart "Menuet", "Waltz"

L.Betshen "German Dance"

D. Pesteibel "Adagio"

A.Grechaninov "Mazurka"

Kalinnikov "Pussy" ensemble

Class

Polyphonic works

I.S.Bach "Volyanka", "Menuet" D-Moll

D.Skarlatti "Aria" D-Moll

V.Motzart "Paspie", "March"

A. Korelli "Sarabanda" E-Moll

L. Motsart "Menuet" D-Moll

K. Percell "Aria", "Menuet" G-DUR

A.Gedica "Invention" D-Moll, "Fugato" G-DUR

S. Maikar "Canon" G-Moll

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