布魯克納節奏

布魯克納節奏是安東·布魯克納的交響樂中的2+3（二連音+三連音）或 3+2節奏，它頻繁^[1]^[2]且以許多不同形式出現。^[3]

以第四交響曲第一樂章的主題為例，從第43小節開始：^[4]

${ \new PianoStaff << \new Staff \relative es' { \set Staff.midiInstrument = #"piano" \set Score.tempoHideNote = ##t \stemUp \tempo 2 = 55 \clef "tenor" \key es \major \time 2/2 es4 _\markup{ \italic {marc.} } \ff bes4 \times 2/3 { as4 g4 f4 } | % 2 es4 r4 r2 } >> }$

布魯克納還在他的第二交響曲中使用了重複單個音高的節奏（例如，第20和122小節）。^[5]在他的第六交響曲中，布魯克納節奏出現的程度比以前的作品要多得多，在幾個部分出現的時間略有不同。一開始，它作為小提琴音域中高音弦以固定音出現，與大提琴中不同節奏的旋律（第3小節）^[6]相對應，而在第 195-209小節，它用於表達六聲音階循環和弦。 ^[7]這種節奏在第八交響曲的次要主題組中以更「易於處理」的形式出現，通常在所有部分中以相同的方式出現。

${ \new PianoStaff << \new Staff { \set Staff.midiInstrument = #"piano" \key c \minor \clef treble \time 2/2 \set Score.tempoHideNote = ##t \stemUp \tempo 2 = 55 <> \p<> ^\markup \italic {"Breit und ausdrucksvoll" } d'4( e') \tuplet 3/2 { fis' g' a' } b'2 cis'4 d' ees'( f') \tuplet 3/2 { g' a' b' } b'( c'') c''2 } \new Staff << \new Voice \relative c' { \stemUp \clef bass \key c \minor \time 2/2 b1~ b2 b2 b2. d4 ees2. r4 } \new Voice \relative c { \stemDown <g d'>1~ <g d'>2 <g f'>2 <g ees'>2. <gis f'>4 <a ges'>2. r4 } >> >> }$

布魯克納節奏也出現在其他作曲家的作品中，例如在霍華德漢森的浪漫主義交響曲中，它主要出現在圓號和小號部分。

參考資料

^ Milton John Cross（英語：Milton Cross） & David Ewen, Encyclopedia of the Great Composers and Their Music. New York: Doubleday (1962): 158. "The second element is a rhythmic pattern so often employed by the composer that it is known as the "Bruckner rhythm."
^ Hans-Hubert Schönzeler（英語：Hans-Hubert Schönzeler）. Bruckner. London: Marion Boyars Publishers. 1978: 59.
^ John Williamson（英語：John Williamson (musicologist)）, "The Brucknerian symphony: an overview", The Cambridge Companion to Bruckner（英語：Cambridge Companions to Music）, ed. John Williamson. Cambridge, Cambridge University Press (2004): 79. "Yet even so instantly recognizable a rhythmic tic can be used with great variety."
^ Benjamin Korstvedt（法語）, "Aspects of Bruckner's approach to symphonic form" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 186.
^ Derek Watson（英語：Derek Watson (actor and musicologist)）, Bruckner. New York: Schuster & Macmillan (1997): 81
^ (Williamson, 2004): 79
^ Kevin Swinden, "Bruckner and harmony" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 222. "The orchestral texture through this passage is thick, articulating block chords in the 'Bruckner-rhythm' that characterizes the movement, supporting a reprise of the first theme of the symphony."

外部連結

Symphonie n^o 2 de Bruckner：國際樂譜典藏計劃上的樂譜
Time analysis Symphony No. 2 （頁面存檔備份，存於網際網路檔案館）, William Carragan
Symphonie n^o 4 de Bruckner：國際樂譜典藏計劃上的樂譜
Time analysis Symphony No. 4 （頁面存檔備份，存於網際網路檔案館）, William Carragan
Symphonie n^o 6 de Bruckner：國際樂譜典藏計劃上的樂譜
Time analysis Symphony No. 6 （頁面存檔備份，存於網際網路檔案館）, William Carragan
Time analysis Symphony No. 8 （頁面存檔備份，存於網際網路檔案館）, William Carragan

[1] Milton John Cross（英語：Milton Cross） & David Ewen, Encyclopedia of the Great Composers and Their Music. New York: Doubleday (1962): 158. "The second element is a rhythmic pattern so often employed by the composer that it is known as the "Bruckner rhythm."

[2] Hans-Hubert Schönzeler（英語：Hans-Hubert Schönzeler）. Bruckner. London: Marion Boyars Publishers. 1978: 59.

[3] John Williamson（英語：John Williamson (musicologist)）, "The Brucknerian symphony: an overview", The Cambridge Companion to Bruckner（英語：Cambridge Companions to Music）, ed. John Williamson. Cambridge, Cambridge University Press (2004): 79. "Yet even so instantly recognizable a rhythmic tic can be used with great variety."

[4] Benjamin Korstvedt（法語）, "Aspects of Bruckner's approach to symphonic form" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 186.

[5] Derek Watson（英語：Derek Watson (actor and musicologist)）, Bruckner. New York: Schuster & Macmillan (1997): 81

[6] (Williamson, 2004): 79

[7] Kevin Swinden, "Bruckner and harmony" The Cambridge Companion to Bruckner, ed. John Williamson. Cambridge, Cambridge University Press (2004): 222. "The orchestral texture through this passage is thick, articulating block chords in the 'Bruckner-rhythm' that characterizes the movement, supporting a reprise of the first theme of the symphony."

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