Forshlag |

German Vorschlag, ital. appoggiatura, French port de voix appoggiatur

Type of melismas (melodic decorations); decorating auxiliary sound or a group of sounds before the main, decorated sound. It is indicated by small notes and is not taken into account when rhythmic. grouping notes in a measure. Distinguish short and long F. Short is usually written in the form of an eighth with a crossed-out calm. In the music of the Viennese classics, a short F. was sometimes performed for a strong time of an embellished sound, but briefly. Later, short F. was performed b. h. at the expense of the previous share, i.e., before the strong time of the decorated sound. A long F. is actually a detention. It is written in a small note with an uncrossed calm and is performed at the expense of the time of the main. sound, taking half of its time for a two-part duration, and one-third, sometimes two-thirds, for a three-part duration. Long F. before a note, which is further repeated, in the classic. and early romantic music occupied its entire duration. F., consisting of several. sounds, is recorded in small 16 or 32 notes.

The prototype of F. is a sign of the Middle Ages. musical notation, denoting a special melodic. decoration and name “plika” (plica, from lat. plico – I add). This decoration came from the signs used in non-mandatory notation

, which formed the basis of “plica ascendens”

(“plika ascending”) and “plica descendens”

(“descending plique”). These signs denoted ascending and descending sequences of long and shorter sounds (usually in a second ratio). Later, through the The shapes of the plique sign began to designate the duration of its sounds. F. in modern sense appeared in the 1st floor. 17th century He was not always indicated in the notes; often, like other decorations, the performer introduced it according to his own. discretion. F. meant Ch. arr. performing melodic. function unstressed sound before the downbeat. F. from below was more common than F. from above; both of these genera differed significantly. F. below (French port de voix and accont plaintif in lute music, English beat, half-beat and fore-fall) was indicated by a busy, inverted comma, slash, and other signs. Initially, it was performed at the expense of the previous sound.

F. and the sound following it were connected with a stroke of portamento or legato; on the strings. instruments, they accounted for one movement of the bow, in singing – for one syllable. Subsequently, in lute music and in music for keyboard instruments, F. began to be played for a strong time following the note. F. from above (French coulé, chute, cheute, coulement, port de voix descendant, English back-fall) was considered as a passing sound when the melody moves in the volume of a third; it was performed only before the sound he introduced, and always without portamento.

In the 18th century the dominant position was occupied by F., performed at the expense of the time of the sound introduced by him and representing a kind of detention. At the same time, F. from above became more common; the use of F. from below was limited by strict rules (“preparation” by the previous sound, connection with additional embellishing sounds that ensure the “correct” resolution of dissonance, etc.). The length of the F. itself was varied and b. h. did not correspond to the duration of the note, which was designated. Only in Ser. 18th century rules were developed regarding the types of F. and their length. All F. were divided into accented and passing. The first, in turn, were divided into short and long. According to I. I. Kvanz, a long F. occupied 2/3 of its time in a three-part duration. If the embellished sound was followed by a pause or a note of shorter duration linked to it, the F. occupied its entire duration.

Short F., during the performance of which the rhythm indicated in the notes did not change, was indicated by small 16 or 32 notes ( и were then a common way of writing и ). F. was always taken as short if the decorated sound formed a dissonance with the bass, as well as in figures with sound repetitions and with a figure ; performed as or . Passing F. was used in 2 genera – fused with the next sound (coincides with the passing F. of the 17th century) and fused with the previous sound, called. also “nachschlag” (German: Nachschlag). There were 2 types of nakhshlag – ryukschlag (German: Rückschlag – returning blow; see note example, a) and uberschlag (German: überschlag), or uberwurf (German: überwurf – throwing blow; see note example, b):

Common in the 2nd floor. 18th century there was also a double F. (German Anschlag); it consisted of 2 sounds surrounding the embellished tone. Double F. was indicated by small notes and was performed for a strong time. There were 2 forms of such a ph. – a short one of 2 notes of equal duration and a long one with a dotted rhythm:

A special form of F. was the so-called. train (German Schleifer, French coulé, tierce coulée, coulement, port de voix double, English slide, as well as elevation, double back-fall, etc.) – P. from a stepwise sequence of 2 or more sounds. Initially, when performing on keyboard instruments, the main sound F. was maintained:

In the 19th century long F. began to be written out in notes and as such gradually disappeared.

K. V. Gluck. “Iphigenia in Aulis”, act II, scene 2, No 21. Recitative of Clytemnestra.

Short F. by this time had lost the meaning of melodic. element and began to be used to emphasize the next sound, as well as in the characteristic. purposes (see, for example, Liszt’s concert etude for the pianoforte “Round Dance of the Dwarves”). Almost until the middle of the century, he was performed Ch. arr. for the next sound. When performing recitative at 18 and early. 19th centuries it was customary to introduce long F. on repeated sounds of the same pitch, although they were not indicated by the composer (see column 915, bottom example).

See Ornamentation, Modus, Mensural notation.

V. A. Vakhromeev