-fugal - translation to αραβικά
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-fugal - translation to αραβικά

CONTRAPUNTAL MUSICAL FORM BASED ON A SUBJECT THAT RECURS IN IMITATION
Fugue (music); Fughetta; Fugal; Fugato; Quadruple fugue; Fuga contraria; Fuge; Double fugue; Fugues; Answer (fugue); Modulating subject; Tonal answer; Real answer; Modified answer; Gegenfuge; Fugeu
  • sharp}} minor, Op. 131, opening fugal exposition. [https://www.youtube.com/watch?v=WlFYC1U5viw Listen]
  • ''Well-Tempered Clavier'', Book 1]]. This passage is bars 6/7, at the end of the codetta before the first entry of the third voice, the bass, in the exposition. The false entry occurs in the alto, and consists of the head of the subject only, marked in red. It anticipates the true entry of the subject, marked in blue, by one [[quarter note]].
  • Example of ''stretto'' fugue in a quotation from Fugue in C major by [[Johann Caspar Ferdinand Fischer]] who died in 1746. The subject, including an eighth note rest, is seen in the alto voice, starting on beat 1 bar 1 and ending on beat 1 bar 3, which is where the answer would usually be expected to begin. As this is a ''stretto'', the answer already takes place in the tenor voice, on the third quarter note of the first bar, therefore coming in "early"[[File:Fugue in C major by Johann Caspar Ferdinand Fischer.mid]]
  • fourth]] (dissonant) and therefore cannot be employed in [[invertible counterpoint]], without preparation and resolution.
  • Fugal passage from the finale of Mozart's Symphony No. 41 (''Jupiter'')[[File:Mozart Symphony 41, finale, fugal passage.wav]]
  • Liszt Piano Sonata fugue subject [https://www.youtube.com/watch?v=VwXtuavTed0 Link to passage]
  • Fugue No. 16 in G minor, BWV 861]], from the ''[[Well-Tempered Clavier]]'', Book 1. The first note of the subject, D (in red), is a prominent dominant note, demanding that the first note of the answer (in blue) sound as the tonic, G.[[File:Comienzo Fuga en Sol menor.mid]]
  • The six-part fugue in the "[[Ricercar]] a 6" from ''[[The Musical Offering]]'', in the hand of [[Johann Sebastian Bach]]
  • ''Well-Tempered Clavier'', Book 1]] (bars 7–12)[[File:Wiki fugue analysis audio.mid]]

-fugal      
لاحقة بمعنى نَابِذٌ
fugal         
تسللى
fugal         
‎لاحقة بمعنى نَابِذٌ‎

Ορισμός

fugue
(fugues)
A fugue is a piece of music that begins with a simple tune which is then repeated by other voices or instrumental parts with small variations. (TECHNICAL)
N-COUNT

Βικιπαίδεια

Fugue

In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a fuguing tune, which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation.

In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.

Most fugues open with a short main theme, the subject, which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has completed the subject, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the "final entry" of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda. In this sense, a fugue is a style of composition, rather than a fixed structure.

The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Jan Pieterszoon Sweelinck (1562-1621), Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position. Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers such as Dmitri Shostakovich (1906–1975).