Reversible counterpoint |

Reversible counterpoint – polyphonic. a combination of melodies, which can be transformed into another, derivative, with the help of the inversion of one, several (incomplete O. to.) or all voices (actually O. to.), a type of complex counterpoint. The most common O. to. with the appeal of all voices, where the derivative connection is similar to the reflection of the original in the mirror, the so-called. mirror counterpoint. It is characterized by the equality of the intervals of the original and derived compounds (J. S. Bach, The Well-Tempered Clavier, vol. 1, fugue G-dur, bars 5-7 and 24-26; The Art of the Fugue, No 12). Incomplete O. to is more difficult: the intervals of the initial connection change in the derivative without a visible pattern. Often O. to. and incomplete O. to. are combined with vertically movable counterpoint (vertically reversible: D. D. Shostakovich, fugue E-dur, bars 4-6 and 24-26; W. A. ​​Mozart, Quintet c -moll, trio from the minuet), horizontal and doubly movable counterpoint (incomplete vertical-horizontal reversible: J. S. Bach, two-part invention in g-moll, bars 1-2 and 3-4), counterpoint that allows doubling (incomplete reversible with doublings: J. S. Bach, The Well-Tempered Clavier, vol. 2, fugue in b-moll, bars 27-31 and 96-100); return movement is also used in O. to. drawing, the interval ratio of voices often changes. The technique of O. to. is widely used by composers of the 20th century. (A. Schoenberg, Hindemith, R.K. Shchedrin, etc.), often in combination with previously little-used contrapuntal. forms (return movement).

References: Bogatyrev S. S., Reversible counterpoint, M., 1960; Yuzhak K., Some features of the structure of the fugue by J. S. Bach, M., 1965, §§ 20-21; Taneev S. I., Fragment from the version of the introduction to the book “Mobile counterpoint of strict writing …”, in the book: Taneev S., From scientific and pedagogical. heritage, M., 1967. See also lit. under the article Reversal of the topic.

V. P. Frayonov