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J.S.水果机游戏中的装饰巴赫
戴夫·贝尔彻(Dave Belcher)
装饰的目的:修辞及其影响
在巴洛克时期后期最重要的论文之一中,约翰·约阿希姆·昆茨(Johann Joachim Quantz)说,这是水果机游戏家(正如演说家的职责)“make themselves masters of the hearts of their listeners, to 引起还是静止 their passions, and to transport them now to this sentiment, now to that” (关于演奏长笛(第119页)。水果机游戏的能力“arouse or still”倾听者的热情或情感是整个巴洛克艺术尤其是水果机游戏的中心主题。从文艺复兴时期开始,讲演艺术中的人文主义修辞方法(演讲)极大地影响了水果机游戏家,他们开始识别,组织和利用某些 水果机游戏 会引起听众特定情感影响的修辞人物。到了巴洛克时代晚期,这已经发展成为一种几乎系统性和理论性的方法。
Decoration or 装饰ation was an essential component of this 水果机游戏 rhetoric. In the mid-seventeenth century, German musicologist and theologian Athanasius Kircher said in his 万能博物馆 (1650):“我们的水果机游戏人物像装饰品一样发挥作用[ 色彩 ],比喻和修辞学中的各种演讲方式。就像演说者使听众经过精心设计的比喻一样,现在是欢笑,现在是眼泪,然后是突然的怜悯,有时是愤慨和愤怒,有时是爱,虔诚和公义,或者其他类似的情感,水果机游戏短语和段落的巧妙组合也使水果机游戏也变得如此”(5.19)。因此,水果机游戏的修辞功能以及考虑某些修辞人物(尤其是装饰和点缀)可能对听众的影响产生影响的重要性已成为J.S.时代的巴洛克水果机游戏的重要组成部分。巴赫—这就是巴赫工作的背景以及他创作水果机游戏的精神。
同样重要的是要注意水果机游戏’传递听众情感的能力也是此时路德神学的重要组成部分。马丁·路德(Martin Luther)本人,对巴赫(Bach)产生了巨大影响’整个水果机游戏,写于1538年:“水果机游戏是情妇和女教师[多米纳和古贝纳特里克斯这些影响[ 情感 ]。 。 。统治人类或更经常使他们不知所措。 。 。因为您是否想要安慰悲伤的人,害怕快乐的人,鼓励绝望的人,谦虚的人感到骄傲,镇定热情的人或安抚那些充满仇恨的人。 。 。您能找到比水果机游戏更有效的方法吗?”因此,对于路德来说,“the Word of God”是他神学的核心组成部分,水果机游戏是“sermon in sound” and “Next to 神的话, music deserves the highest praise.”(《乔治·罗乌》序言, 交响乐团,反。乌尔里希·S·勒庞德, 轻量级 53:323)。因此,必须牢记的是,水果机游戏对J. S. Bach的聆听者应具有的理想效果不仅是修辞手法,而且本质上也是神学上的(特别是他的牧师作品)—虽然我们应该注意巴赫’s 装饰ation was no different between his “ecclesiastical” and so-called “secular”水果机游戏)。那简直就是“以神为中心的世界观” of Bach’s time (Otto Tolonen’s edition of 奏鸣曲和Partitas,85,反。 Jaakko Mantyjarvi)。所以我们可以考虑巴赫的目的’的装饰就像是一位伟大的传道人马丁·路德·金(Martin Luther King Jr.)的布道和演讲中的某种措辞或加演,他的名字当然是伟大的改革宗传教士,他具有特殊的能力“ornament”他的讲话以他的声音节奏或某些成语的口头表达深深地打动了听众。
在本文中,我们’ll take a look at the most important 装饰s in the music of J.S. Bach. It is not meant to be an exhaustive treatise 上 how to interpret or perform 所有 of Bach’s 装饰s —仅是入门的入门指南。我鼓励您对来源进行自己的调查(我’ll在文章末尾列出一些内容)。我们将注意到的最重要的考虑因素之一是,了解装饰品的水果机游戏背景始终是如何解释和执行装饰品的最佳线索。
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装饰桌
饰品(或“graces” — a more common term used at the time) refer most commonly to the various signs that are used in music for the small diminutions that decorate a melodic or harmonic line. While we have become accustomed to the signs that J.S. Bach used through his 装饰 table that he wrote for his son Wilhelm r iederich, there are other signs that he used that we do not find in that same 装饰 table.
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在巴洛克时期,装饰品桌很普遍。巴赫’s own 装饰 table is a shorthand version of a longer version that he copied by hand of the r ench composer 让·亨利·d’安格伯特(1629-1691)。
We have to take these 装饰 tables with a grain of salt, however, as they were meant to be more like schemas than precise instructions for how to interpret various 装饰al signs. So not 上 ly did these tables not include 所有 of the 装饰 signs 上 e might encounter in a composer’是当时的水果机游戏,但作曲家期望这些演奏的方式可能与表中的说明有所不同。
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当我们看J.S.巴赫’s 装饰 table, then —或者,按其原始标题, 复制underschiedlicher Zeichen,所以gewisse Manieren,artig zu spielen和Andeuten — we must remember that it was written for a nine-year old boy and specifically for the keyboard. We will thus have occasion to point out some discrepancies to keep in mind when considering specific 装饰s that appear in the table in what follows.
(What follows is not an exhaustive treatise 上 how to interpret the 装饰al signs that appear in J.S. Bach’s music —仅介绍性的入门知识,可帮助指导您开始自己的调查。)
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饰品概述
- 的 莫伦特 来自这个词“ 现代 ”在意大利语中,这意味着“biting.”声是从本金音符到其下一个邻居(通常是一个半音)再回到本音符的振荡。请注意以下几点:水果机游戏人Frederick Neumann所说的“调子”“喜欢半音交替”在巴赫(Bach)水果机游戏中,但是在许多情况下,要求全音阶交替,并且与和声不符的半音半音交替会发生冲突,因此应避免。 dent徒经常在节拍中演奏,但有时可以预期(或在节拍之前演奏),这取决于水果机游戏环境中的各种因素。它们并不总是很快执行的(从某种意义上讲“bite”),但可以根据水果机游戏的特性以有节奏的方式进行演奏—例如,尤其是在慢速运动中,具有更多的旋律。正如我们将在下面的许多装饰品中看到的那样,徒通常会与其他装饰品结合起来制成复合装饰品。两种最常见的是morrill-trill(或trill-mordent,将在下面进行介绍)和 voix et pinc港é,这是一个词义(从下至下)。
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- Appoggiatura 来自意大利“ 适可而止 ,” which means “leaning.”因此,食欲的真正本质是不和谐(或非和弦音调),其趋向于其和声分辨率(和弦音调)。在轻轻解决之前,不协调也很重。但是,术语“ ogoggiatura”及其符号(小音符)在历史上曾用于其他形式的宽限期,因此Neumann建议使用术语“one-note grace” to avoid confusion and 所有ow for more specificity with which grace is being used. While an appoggiatura is played 上 the beat, is accented, and is generally longer (thus taking duration away from the note it’s attached to), a 一音宽限期 might be played 之前 the beat with no accent and have a quick duration that takes much less time from the note it’附着,甚至— in the case of the 纳希施拉格 —从前一个注释中获取价值!有许多因素决定将小宽限音符解释为真正的谐音调和还是不同字符的单音符宽容是最佳选择。主要考虑和声和节奏感,同时还必须考虑语音领先。例如,如果一个单音宽限期在和弦上演奏时在和声中创造平行的五度或八度,那么一个较短的单音宽限期将比较长的重音调更合适。如果水果机游戏环境的节奏性和节奏性特征活泼而生动,那么较长的重音符号就不合适了,而较短的单音符(无论在节拍之前还是之前)将更适合。同样,如果和声中不和谐,则最好在拍子之前和节拍之前演奏会产生额外不和谐的单音符风度,以免混淆和声不和谐。在其他情况下,例如在长而手持的音符上或在节奏上,真正的谐音(并因此而来的重音)是适当的。
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- A 颤音 can be in 上 e sense almost a species of an appoggiatura (in its true harmonic sense). 的 se kinds of harmonic 颤音 s are very closely related to the appoggiatura in that the 颤音 is extending the tension the dissonance creates by alternating between the dissonant, non-chordal tone and its resolution. But in another sense the 颤音 can also be very much just a melodic decoration and so is not meant to be harmonic. Much like a 一音宽限期 these kinds of 颤音 s are equally as numerous as harmonic 颤音 s and, like the appoggiatura / 一音宽限期, both kinds of 颤音 s use the same symbol. (N.B. While Bach uses the squiggly line with chevrons for the 颤音 symbol in the 解释 ,他最常使用“tr”因此,从本质上讲,颤音只是将一个音符与其全音阶高音邻居交替出现。再次— as we might come to expect with 所有 of Bach’s 装饰s! —确定我们应该演奏哪种颤音取决于水果机游戏环境。功能更像谐音的谐音,像谐音一样,将在重音之前加重第一音符的重音。这些最经常发生在节奏上。 (节奏在颤音中经常出现,很多情况下作曲家不会在节奏上写下颤音符号,因为他们只是希望演奏者无论如何都要插入颤音符号。)旋律颤音可能在节拍之前开始(例如单音宽限期)。通常没有更长的第一音符—相反,交替在节奏上更加平等。一些琐事有一个休息点,轮流应结束 之前 下一个音符。虚线上的颤音总是有一个休止点:四分音符的颤音在第三个八分音符处有一个休止点,而十六分音符的颤音在第三个十六分音符处变为休止符。否则,颤音中的交替次数将取决于乐曲的水果机游戏特征—较快的乐曲几乎总是很少有交替的,而较慢的乐曲(同样具有叙述性的曲调)将需要更多的交替。
- 复合颤音 关于颤音的另一个考虑因素是,它们经常在颤音音符之前和之后与水果机游戏资料结合以创建复合颤音。因此,trill可以(并且经常这样做!)具有前缀和/或后缀。巴赫最常见的四种化合物’s music are the 莫伦特·特里尔 , 滑片 , 颤抖 和 意大利双重颤音.
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- 的 滑动 通过从主音符下方的两个全音阶音符上移(或向上滑动)来接近主音符。幻灯片有三种主要的节奏变体:Anapest,Lombard和Dactyl。执行最先滑行,以便在节拍降落到节拍上的主音符之前演奏较低的辅助音符,并在第一个较低的辅助音符上稍加重音。节拍中会播放一个腰部幻灯片。且dactyl将三个音符分开,因此前一个音符较长,而后两个音符较短(例如八分音符后跟二十六分之一音)。幻灯片的符号在巴赫中不出现’s lute suites, cello suites, or violin sonatas and partitas and so you will need to, 上 ce again, recognize these rhythmic figures as they appear in the notation. Sometimes the two lower auxiliary notes are written as grace notes preceding the main note, while other times 所有 notes are written in standard notation.
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- 颤音 is indeed an 装饰 in baroque music and it appears in lute literature in particular (as well as in vocal music). On the lute vibrato was performed by rigorously shaking the string up and down (rather than side to side as we do today). It is another 装饰 that has a symbol in some of Bach’水果机游戏,但未出现在 解释 装饰 table. We encounter this symbol in vocal music, but also in 上 e significant place in the violin sonatas and partitas. In the penultimate movement of the Grave movement of BWV 100 3 Bach uses the vibrato symbol extending out from a note in the middle of the staff. While some have interpreted the sign as a 颤音 , very next note that follows it has a 颤音 symbol over it (and this is the same 颤音 symbol Bach uses not 上 ly throughout the rest of this movement but throughout the rest of the sonata) and so it is very unlikely that Bach intended this symbol to be a 颤音 . Because vibrato can function in a similar way to a 颤音 —作为音符的增强,尤其是较长的音符,在大键琴或琵琶等乐器上可能容易衰减—颤音是一种装饰品,可能已在其他未标明的地方使用(同样,例如颤音)。
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- 的 琶音 is simply a rhythmic division of a chord. In the baroque period block chords were often (especially 上 the keyboard) rolled into 装饰al arpeggiated figures, sometimes highly elaborate 上 es. While different composers had different kinds of arpeggiation figures, Neumann says that the most common way Bach expected chords to be arpeggiated was a simple roll starting from the bass 所有 the way up to the treble notes. While Bach does use a symbol for the 琶音 (it’与我们今天在吉他符号中使用的符号相同),他没有在我们经常在吉他上演奏的水果机游戏中使用此符号。但是,在许多情况下,巴赫已经清楚地写出了琶音符号或希望增加琶音。 Fermatas是此类装饰性琶音适用的主要示例(Bach在第一个大提琴组序序曲第23页BWV1007中以书面形式表示琶音的位置恰好在Fermat之前。)
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- 的 转 (which Bach in his 装饰 table calls “ 节奏 “)在主音上加上上下辅助音。在巴赫最常见’水果机游戏在主音符上方开始变调,然后下降到主音符,然后降到较低的辅助音符,最后返回到主音符。而所谓的“inverted” 转 —从主要音符的下方开始,然后上升到主要音符,在其上方并返回— does occur in Bach’水果机游戏的频率要低得多。在巴赫’我们通常在吉他上弹奏的水果机游戏—大提琴组,琵琶组,小提琴奏鸣曲和partitas—转弯几乎总是以记号形式写出来。虽然知道巴赫使用的符号很有用,但能够以符号识别其节奏和旋律形式更为重要,因为这通常是这样发生的。 (请注意,虽然所谓的“inverted 转 ”在巴赫少见’水果机游戏,有时确实会发生—巴赫在两种转弯中仅使用一个符号,即未完成的图形8,它可以在巴赫中水平或垂直出现’s manuscripts.)
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巴洛克时期的装饰非常复杂,从早期,中期到后期的巴洛克,从意大利到德国再到法国,从作曲家到作曲家,风格各异。…彼此之间的差异如此之大,并且常常以一种方式将一种风格转变为全新的事物而混合在一起,以至于很难立足于如何解释各种符号(更不用说以符号书写的装饰品)了。 。 J.S.的水果机游戏巴赫也不例外,我们在巴赫遇到了各种装饰风格的巧妙结合’累积成完全独特风格的水果机游戏,我们可以称之为巴赫’自己的。使事情变得更加复杂的是,解释(并执行)巴赫装饰的最佳指南 ’s music is that it requires a vast and deep knowledge of the 水果机游戏 context, which means you really do have to take into consideration elements of voice leading, harmony, rhythm, meter, articulation, and melodic function to interpret them well. Another consideration to make, though, is that the primary purpose of 装饰ation, remember, is to move, to touch the affects of the listener. And so while 所有 of this historical and 水果机游戏 context is very important, as performers we should never lose sight of the audience. Aristotle says in his 修辞论 修辞有三要素:演说者,演讲和听众。如果我们忘记了我们’re performing for and we lose sight of the rhetorical effects our performance of 装饰s (and of their connection with everything else in the music around it) might have for our listener, then we also begin to forget Bach’他水果机游戏的真正目的。
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资源资源:
Click 上 the above link to download a more fleshed-out 装饰 table of the 装饰 signs and compound 装饰s we’上面已经讨论过了。请注意节奏— as with 所有 装饰 tables —是粗略的草图,并不意味着精确。正如我们’ve discussed there are many different rhythmic variations for most 所有 装饰s that will depend 上 水果机游戏 context.
所谓的柏林学派最重要的论文:
Johann Joachim Quantz, 关于演奏长笛 (1752)
C.P.E.巴赫 关于演奏键盘乐器的真实艺术的论文 (1753)
利奥波德·莫扎特, 小提琴学校 (1756)
Other contemporary treatises containing 装饰 tables and important considerations for 装饰ation and baroque music in general:
让·亨利·d’Anglebert, Piècesde clavecin (1689)
弗朗索瓦·库珀林, 演奏大键琴的艺术 (1716)
让·菲利普·拉莫(Jean-Philippe Rameau) 和谐论 (1722)
现代资料:
弗雷德里克·诺伊曼, 巴洛克和巴洛克后水果机游戏的装饰,特别强调J.S.巴赫 (1978)
斯坦利·耶茨(Stanley Yates)编辑, J.S.巴赫:六个无人陪伴的大提琴套房为吉他安排 (1998)
r édéric Zigante,编辑, 约翰·塞巴斯蒂安·巴赫(Johann Sebastian Bach):完整的琵琶水果机游戏 (2001)
弗兰克·昆斯(Frank Koonce)编辑, 约翰·塞巴斯蒂安·巴赫(Johann Sebastian Bach):独奏琵琶作品,第二版。 (2002年)
杰罗姆·卡林顿 大提琴套件中的演练:表演者手册 (2009)
蒂莫·科洪宁(Timo Korhonen), J.S.巴赫:独奏小提琴的奏鸣曲和重奏曲,反。贾科Mä 恩蒂 ä 里维(2011)
弗兰克·昆斯(Frank Koonce)和希瑟·德罗姆(Heather DeRome)编辑, 约翰·塞巴斯蒂安·巴赫(Johann Sebastian Bach):奏鸣曲&Partitas:六首小提琴奏鸣曲被安排为吉他 (2019)[/ fusion_text] [/ fusion_builder_column] [/ fusion_builder_row] [/ fusion_builder_container]
的 装饰ation article is Excellent! Great explanations and description(s).
非常感谢Dave撰写的这篇有趣的文章!我很喜欢!