Party |

from lat. pars, genus. case partis – part, partio – I divide; ital. parte, French party, germ. Stimme, English. part

1) In polyphonic vocal, vocal-instrumental, ensemble and orchestral music, one of the components of the texture of muses. works intended to be performed in a separate voice or on a separate musical instrument. tool. In the past, before the advent of the contemporary score. type (beginning of the 16th century), music of polyphonic works. recorded in batches. Separately recorded P. polygonal. wok. works in England were called part books, in the countries of it. language – Stimmbcher. So Ch. arr. secular woks. works; spiritual compositions were notated mainly in the form of “choral books” (Italian libro de coro, French livre de choeur, English choir-book, German Chorbuch), in which all the parts of this composition were recorded on the spread of the notebook, but coinciding in sounding, the beats of individual voices were not located one under the other, as in modern. score. According to one such “choir book”, performers of all or several P. sang. In opera music, the wok. the parts of the soloists are indicated not only by the type of voice they are intended for (soprano part, bass part, etc.), but also by the name of the hero of the opera (for example, the part of Herman in the opera The Queen of Spades, the part of Carmen in opera of the same name, etc.). The most significant modern ensemble, orchestral and large wok.-instr. compositions are published both in the form of a score and in the form of parts; in other cases, parts are written out from the score by the copyist. In the orchestra, 2 performers on the strings play one P. each. tools.

2) In polygoal. polyphonic music is the same as the voice (1).

3) Common in Germany in the 17th century. the name of the partita (German: Parthie, Partie).

4) Colla parte (kulla pbrte, Italian – together with the part) – a designation for a musician performing the accompaniment part. Indicates that during accompaniment, it should be consistent with the interpretation of this section, designed for free interpretation in terms of rhythm, by the soloist.

5) Section of exposition and reprise of sonata form. They usually include the main party, the connecting party, the side party, and often the final party.