Code |

ital. coda, from lat. cauda – tail

The final section of any music. a play that does not belong to the main parts of its formal scheme and is not taken into account when determining it, that is, an addition within the framework of a whole, complete work. Although the warehouse and structure of a collateral depend on the form in which it is used, some of its general characteristics can be indicated. For K. typical structural and harmonious. sustainability. In order to ensure stability, the following can be used: in the harmonic area – an organ point on the tonic and deviations in the subdominant tonality; in the field of melody – a descending scale-like movement of the upper voices or an oncoming progressive movement of the extreme voices (K. 2nd part of the 6th symphony of P. I. Tchaikovsky); in the field of structure – the repetition of constructions of the final character, their successive fragmentation, as a result of which motives aspiring to the tonic sound more and more often; in the area of ​​the metrorhythm – active yambich. feet, emphasizing the aspiration to a strong (stable) share; in the field of thematism – the use of turns of a generalized nature, turns that synthesize thematic. work material. At the same time, the so-called farewell roll calls are sometimes involved – the exchange of brief replicas-imitations between the voices of the extreme registers. K. slow pieces usually takes place in an even slower, calmer movement; in fast plays, on the other hand, the movement is usually even more accelerated (see Strett). In cycles of variations, K., as a rule, introduces a contrast in comparison with the nature of the last variation or group of variations. In large forms with contrasting themes, the so-called. reception of reflection – episodic. an introduction to K. the theme of the middle section of the form. Sometimes a special technique is used – the introduction of an element that contrasts with the general character of K. But soon it is replaced by the main material of the coda, emphasizing its complete dominance. The maximum development of this technique is the beginning of the sonata K. from the 2nd development, after which the steady “actually K.” follows. (L. Beethoven, sonata for piano No. 23 (“Appassionata”), part 1).

References: see at Art. Musical form.

V. P. Bobrovsky