调性架构 自由半音——谢德林赋格写作的音高组织

The Pitch Organization of Shchedrin’s Fugue Writing

谢德林的赋格创作集中体现在沿用巴赫《平均律钢琴曲集》形式创作的《24首序曲与赋格》套曲中,是以传统大小调体系为基础的。在此基础之上,他大大丰富了音高材料,自由运用12个半音,使传统调式调性的内涵和边界得到了极大的扩展。本文通过对其中赋格作品的分析,来观察作曲家如何在高度半音化的音高素材中确立或暗示调中心,以及在“调性架构”下应用“自由半音”进行创作的某些规律和方法。

Shchedrin’s fugue writing is mainly seen in his 24 Prelude and Fugue modeled after the Well Tempered Clavier by Bach,which is based on the traditional system of major and minor keys.On this basis,he greatly enriched the pitch material and freely used 12 semitones,which greatly expanded the connotation and boundary of the traditional modes and tonalities.Based on the analysis of the fugues,this essay observes how the composer establishes or implies the tonal center in the highly chromatic material and some patterns and methods of applying"free semitone"in the tonal structure.