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APPLICATION (daga Latin applico - Ina nema, na danna; Turanci yatsa; Faransanci doigte; Italiyanci digitazione, diteggiature; Jamusanci Fingersatz, Applikatur) - hanyar tsarawa da musanya yatsu lokacin kunna kiɗa. kayan aiki, da kuma nadi na wannan hanya a cikin bayanin kula. Ƙarfin samun ƙaƙƙarfan dabi'a da ma'ana yana ɗaya daga cikin mafi mahimmancin al'amuran fasaha na mai yin kayan aiki. Darajar A. saboda haɗin ciki da lokutan l. hanyoyin instr. wasanni. Zaɓaɓɓen da aka zaɓa A. yana ba da gudummawa ga bayyanawa, yana sauƙaƙe shawo kan fasaha. wahalhalu, yana taimaka wa mai yin waƙa don ƙware wa kiɗa. prod., da sauri rufe shi gabaɗaya kuma daki-daki, yana ƙarfafa muses. ƙwaƙwalwar ajiya, yana sauƙaƙe karantawa daga takarda, yana haɓaka 'yancin kai tsaye akan wuyansa, keyboard, bawuloli, ga masu yin wasan kwaikwayo akan kirtani. kayan aikin kuma suna ba da gudummawa ga tsabtar ƙima. ƙwararren zaɓi na A., wanda a lokaci guda yana ba da mahimmancin sonority da sauƙi na motsi, galibi yana ƙayyade ingancin aikin. A cikin A. na kowane mai yin, tare da wasu ƙa'idodi da suka saba da lokacinsa, halayen ɗaiɗaikun su ma sun bayyana. Zaɓin A. zuwa wani matsayi yana rinjayar tsarin tsarin hannayen mai yin (tsawon yatsu, sassaucin su, matakin ƙaddamarwa). A lokaci guda, A. an ƙaddara shi ta hanyar fahimtar mutum game da aikin, shirin aiwatarwa da aiwatar da shi. A cikin wannan ma'anar, zamu iya magana game da kyawawan kayan ado na A. Yiwuwar A. ya dogara da nau'i da zane na kayan aiki; suna da faɗi musamman don maɓalli da kirtani. kayan kida (violin, cello), sun fi iyakance ga kirtani. musamman ga ruhi. kayan aiki.

A. A cikin bayanin kula ana nuna su ta lambobi waɗanda ke nuna wanne yatsa aka ɗauki wannan ko waccan sautin. A cikin takardar kiɗa don kirtani. kayan kirtani, yatsun hannun hagu ana nuna su ta lambobi daga 1 zuwa 4 (farawa daga yatsan maɗaukaki zuwa ɗan yatsa), shigar da babban yatsan hannu ta hanyar selists ana nuna alamar. A cikin bayanin kula don kayan aikin madannai, ana karɓar ƙirar yatsu da lambobi 1-5 (daga babban yatsan hannu zuwa ɗan yatsan kowane hannu). A baya can, an kuma yi amfani da wasu zane-zane. Gabaɗaya ka'idodin A. sun canza akan lokaci, dangane da juyin halittar muses. art-va, da kuma daga inganta muses. kayan aiki da haɓaka fasahar yin aiki.

Misalai na farko na A. an gabatar da shi: don kayan kida - a cikin "Treatise on Music" ("Tractatus de musica", tsakanin 1272 da 1304) Czech. Kankara masanin ka'idar Hieronymus Moravsky (ya ƙunshi A. don 5-strings. fidel viola), don kayan aikin maɓalli - a cikin rubutun "The Art of Performing Fantasies" ("Arte de tacer Fantasia…", 1565) na Sipaniya Thomas daga Santa Maria da kuma cikin "Gaba ko Instrumental Tablature" ("Orgel-oder Instrumenttabulatur" …”, 1571) Jamusanci. organist E. Ammerbach. Siffar siffa ta waɗannan A. – Iyakantaccen adadin yatsu: lokacin kunna kayan kida, yatsu biyu na farko kawai da zaren budewa an haɗa su ne, ana zamewa da yatsa iri ɗaya akan chromatic. semitone; akan maballin madannai, an yi amfani da lissafin lissafi, bisa la’akari da canjin yatsu na tsakiya kawai, yayin da matsananciyar yatsu, tare da keɓancewar da ba kasafai ba, ba su aiki. A irin wannan tsarin da kuma a nan gaba ya kasance na hali ga ruku'u viols da garaya. A cikin karni na 15, wasan violet, wanda aka iyakance musamman zuwa matsakaicin matsayi da matsayi na farko, ya kasance polyphonic, chordal; An fara amfani da fasahar wucewa akan viola da gamba tun a karni na 16, kuma an fara sauya matsayi a farkon karni na 17 da 18. Mafi cigaban shine A. a kan garaya, wanda a cikin ƙarni na 16-17. ya zama solo kayan aiki. An bambanta ta da dabaru iri-iri. musamman a. An ƙaddara ta musamman ta ɗimbin hotuna masu fasaha na kiɗan garaya. Nau'in nau'in ƙarami, wanda masu garaya suka haɓaka, suna buƙatar fasaha mai kyau na yatsa, galibi matsayi (a cikin "matsayin" na hannu). Don haka nisantar saka babban yatsan yatsa, fifikon da aka bayar don sakawa da canza wasu yatsu (4th ƙarƙashin 3rd, 3rd zuwa 4th), canjin yatsu shiru akan maɓalli ɗaya (doigté substituer), zamewar yatsa daga maɓallin baki zuwa fari. daya (doigté de glissé), da dai sauransu. Wadannan hanyoyin A. tsarin da F. Couperin a cikin rubutun "The Art of Playing the Harpsichord" ("L'art de toucher le clavecin", 1716). Ci gaba da juyin halitta a. An haɗa shi: tsakanin masu yin wasan kwaikwayo a kan kayan kida, da farko violin, tare da haɓaka wasan matsayi, dabarar canzawa daga matsayi zuwa matsayi, tsakanin masu yin wasan kwaikwayo a kan kayan aikin maɓalli, tare da gabatar da fasahar sanya babban yatsan yatsa, wanda ke buƙatar ƙwarewar maballin. decomp. "Matsayi" na hannun (gabatar da wannan fasaha yawanci yana hade da sunan I. C. Baha). Asalin violin A. shine rarraba wuyan kayan aiki zuwa matsayi da kuma amfani da decomp. nau'ikan sanya yatsa akan fretboard. Rarraba fretboard zuwa wurare bakwai, dangane da tsarin dabi'a na yatsu, tare da Krom akan kowane kirtani, an rufe sauti a cikin ƙarar kwata, wanda M. Corret a cikin "School of Orpheus" ("L'école d'Orphée", 1738); A., dangane da faɗaɗawa da ƙanƙantar iyakar matsayi, F. Geminiani a The Art of Playing akan Makarantar Violin, op. 9, 1751). A taba skr. A. tare da rhythmic. An nuna tsarin sassa da bugun jini ta L. Mozart a cikin "Kwarewar makarantar violin" ("Versuch einer gründlichen Violinschule", 1756). Daga baya III. Berio ya tsara bambanci tsakanin violin A. na A. cantilena, A. wuraren fasaha ta hanyar saita bambancin. ka'idodin zaɓin su a cikin "Makarantar violin mai girma" ("Grande mеthode de violon", 1858). Makanikan kaɗe-kaɗe, injiniyoyi na maimaitawa da tsarin ƙwallon guduma na piano, wanda ya dogara da ƙa'idodi mabambanta idan aka kwatanta da garaya, sun buɗe sabbin dabaru ga masu pian. da fasaha. damar. A zamanin Y. Haydna, V. A. Mozart da L. Beethoven, ana yin canji zuwa FP mai “yatsu biyar”. A. Ka'idodin wannan abin da ake kira. na gargajiya ko na gargajiya fp. A. taƙaice a cikin irin wannan hanya. yana aiki kamar "Makarantar Piano Complete Theoretical and Practical Piano" ("Voll-ständige theoretisch-praktische Pianoforte-Schule", op. 500, kusan 1830) K. Czerny da Makarantar Piano. Cikakkun bayanai na ka'idoji da koyarwa masu amfani akan kunna piano" ("Klavierschule: ausführliche theoretisch-praktische Anweisung zum Pianofortespiel...", 1828) na I.

A cikin karni na 18 a ƙarƙashin rinjayar wasan violin, an kafa A. na cello. Babban (idan aka kwatanta da violin) girman kayan aikin da sakamakon madaidaiciyar hanyar riƙe shi (a ƙafafu) ya ƙayyade ƙayyadaddun violin na cello: babban tsari na tazara akan fretboard yana buƙatar jerin yatsu daban-daban lokacin wasa ( yin a farkon matsayi na gaba ɗaya sautin ba na 1st da 2nd, da 1st da 3rd yatsunsu), yin amfani da babban yatsa a cikin wasan (abin da ake kira yarda da fare). A karon farko, an tsara ƙa'idodin A. cello a cikin cello “School…” (“Mthode … pour apprendre… le violencelle”, op. 24, 1741) na M. Correta (ch. “A kan yatsa cikin littafin matsayi na farko da na gaba", "A kan sanya babban yatsan yatsa - ƙimar"). Ci gaban liyafar fare yana hade da sunan L. Boccherini (amfani da yatsan 4th, amfani da manyan matsayi). A nan gaba, tsarin J.-L. Duport ya zayyana ka'idodin acoustics na cello a cikin aikinsa Essai sur le doigté du violencelle et sur la conduite de l'archet, 1770, akan yatsa cello da gudanar da baka. Babban mahimmancin wannan aikin yana da alaƙa da kafa ka'idodin piano na cello daidai, 'yantar da kansa daga gambo (kuma, zuwa wani matsayi, violin) yana tasiri da kuma samun halayen cello na musamman, wajen daidaita ma'aunin piano.

Manyan masu yin wasan kwaikwayo na romantic a cikin karni na 19 (N. Paganini, F. Liszt, F. Chopin) sun tabbatar da sababbin ka'idodin A., ba wai kawai a kan "dama" na wasan kwaikwayon ba, amma a kan takardun ciki na ciki zuwa ga musika. abun ciki, akan ikon da za a iya cimma tare da taimakon masu dacewa. A. mafi kyawun sauti ko launi. tasiri. Paganini ya gabatar da dabarun A., osn. a kan shimfiɗa yatsa da tsalle mai nisa, yana yin mafi yawan kewayon kowane mutum. igiyoyi; a yin haka, ya shawo kan matsayi a wasan violin. Liszt, wanda ƙwarewar wasan kwaikwayon Paganini ya rinjaye shi, ya tura iyakokin FP. A. Tare da sanya babban yatsan yatsan hannu, juyawa da haye yatsu na 2, 3 da 5, ya yi amfani da yatsan yatsa da yatsu na 5 a kan baƙar fata, yana wasa jerin sauti da yatsa iri ɗaya, da sauransu.

A zamanin bayan soyayya K. Yu. Davydov ya gabatar da shi a cikin al'adar wasan kwaikwayo na cellists A., osn. ba a kan m amfani da ƙungiyoyi na yatsunsu a kan yatsa tare da wani m matsayi na hannu a cikin wani matsayi (ka'idar abin da ake kira matsayi daidaici, horar da Jamus makaranta a cikin mutum na B. Romberg), amma. a kan motsi na hannu da kuma sau da yawa sauyin matsayi.

A ci gaba. a cikin karni na 20th yana bayyana yanayin halittarsa ​​sosai. dangane da express. ta hanyar yin fasaha (hanyoyin samar da sauti, zance, kuzari, ƙwararru, magana, ga pianists - pedalization), yana bayyana ma'anar A. yadda wani psychologist. factor da take kaiwa zuwa rationalization na yatsa dabaru, zuwa gabatar da dabaru, DOS. akan tattalin arzikin ƙungiyoyi, sarrafa kansu. Babban gudummawa ga ci gaban zamani. fp. A. kawo ta F. Busoni, wanda ya ɓullo da ka'idar nassi da ake kira "fasaha raka'a" ko "complexes" kunshi uniform kungiyoyin na bayanin kula buga da guda A. Wannan ka'ida, wanda ke buɗe dama mai yawa don sarrafa motsi na yatsunsu kuma, zuwa wani matsayi, yana hade da ka'idar abin da ake kira. "rhythmic" A., ya karɓi aikace-aikace iri-iri a cikin A. wasu kayan aiki. AP Casals ta ƙaddamar da sabon tsarin A. na cello, osn. a kan babban shimfiɗar yatsu, wanda ke ƙara ƙarar matsayi a kan kirtani ɗaya har zuwa tazara na quart, a kan motsin hannu na hagu, da kuma yin amfani da ƙananan tsari na yatsu akan fretboard. Dalibinsa D. ya haɓaka ra'ayoyin Casals. Aleksanyan a cikin ayyukansa "Koyar da Cello" ("L' enseignement de violencelle", 1914), "Theoretical and Practical Guide to Playing the Cello" ("Traité théorétique et pratique du violencelle", 1922) da kuma a cikin edition na suites. da I. C. Bach don cello solo. Masu violin E. Izai, ta yin amfani da shimfiɗar yatsu da faɗaɗa ƙarar matsayi zuwa tazara na shida har ma da na bakwai, ya gabatar da abin da ake kira. wasan violin "interpositional"; ya kuma yi amfani da fasaha na "shiru" canza matsayi tare da taimakon buɗaɗɗen kirtani da sautunan jituwa. Haɓaka dabarun yatsa Izaya, F. Kreisler ya ɓullo da dabaru don yin iyakar amfani da buɗaɗɗen zaren violin, wanda ya ba da gudummawar haske da ƙarfin sautin kayan aiki. Mahimmanci na musamman shine hanyoyin da Kreisler ya gabatar. a cikin rera waƙa, tushe akan bambance-bambancen amfani mai ban sha'awa, haɗaɗɗun sauti (portamento), maye gurbin yatsu akan sauti ɗaya, kashe yatsa na 4 a cikin cantilena da maye gurbinsa da na 3rd. Na zamani aikin wasan violin ya dogara ne akan ƙarin na roba da motsin hankali na matsayi, yin amfani da kunkuntar tsari na yatsu akan fretboard, matsakaicin matsayi, har ma da matsayi. Mn. hanyoyin zamani violin A. tsarin da K. Filanci a cikin "The Art of Violin Playing" ("Kunst des Violinspiels", Teile 1-2, 1923-28). A cikin nau'ikan ci gaba da aikace-aikacen A. gagarumin nasarori na owls. yin makaranta: piano – A. B. Goldenweiser, K. N. Igumnova, G. G. Neuhaus da kuma L. AT. Nikolaev; violin - L. M. Tsitlina A. DA. Yampolsky, D. F. Oistrakh (shawara mai ban sha'awa a kan yankunan wani matsayi da shi ya gabatar); cello - S. M. Kozolupova, A. Ya Shtrimer, later – M. L. Rostropovich, A. AP Stogorsky, wanda ya yi amfani da dabarun yatsa na Casals kuma ya haɓaka sabbin fasahohi da dama.

References: (fp.) Neuhaus G., A kan yatsa, a cikin littafinsa: A kan fasahar wasan piano. Bayanan malami, M., 1961, shafi. 167-183, Ƙara. zuwa babin IV; Kogan GM, A kan rubutun piano, M., 1961; Ponizovkin Yu. V., A kan ka'idodin yatsa na SV Rakhmaninov, a cikin: Ayyukan Jiha. kiɗa-koda. in-ta im. Gnesins, ba. 2, M., 1961; Messner W., Yatsa a cikin Piano Sonatas na Beethoven. Littafin Jagora don malaman piano, M., 1962; Barenboim L., Ka'idodin yatsa na Artur Schnabel, a cikin Sat: Tambayoyi na fasahar kiɗa da wasan kwaikwayo, (fitilar) 3, M., 1962; Vinogradova O., Ƙimar yin yatsa don haɓaka ƙwarewar wasan kwaikwayo na ɗaliban pianist, a cikin: Rubutun kan hanyar koyar da wasan piano, M., 1965; Adam L., Méthode ou principe géneral de doigté…, P., 1798; Neate Ch., Rubutun yatsa, L., 1855; Kchler L., Der Klavierfingersatz, Lpz., 1862; Clauwell OA, Der Fingersatz des Klavierspiels, Lpz., 1885; Michelsen GA, Der Fingersatz beim Klavierspiel, Lpz., 1896; Babitz S., Akan amfani da yatsun madannai na JS Bach, “ML”, v. XLIII, 1962, No 2; (skr.) - Plansin M., Ƙunƙarar yatsa a matsayin sabuwar fasaha a cikin fasahar violin, "SM", 1933, No 2; Yampolsky I., Muhimman abubuwan yatsa na violin, M., 1955 (a cikin Turanci - Ka'idodin yatsa violin, L., 1967); Jarosy A., Nouvelle théorie du doigté, Paganini et son sirri, P., 1924; Nama C., Violin yatsa: ka'idarsa da aiki, L., 1966; (cello) - Ginzburg SL, K. Yu. Davydov. Babi daga tarihin al'adun kiɗa na Rasha da tunani na hanya, (L.), 1936, p. 111 - 135; Ginzburg L., Tarihin fasahar cello. Littafi. na farko. Cello classics, M.-L., 1950, p. 402-404, 425-429, 442-444, 453-473; Gutor VP, Ku. Davydov a matsayin wanda ya kafa makarantar. Gabatarwa, ed. da bayanin kula. LS Ginzburg, M.-L., 1950, p. 10-13; Duport JL, Essai sur Ie doigté du violencelle et sur la conduite de l'archet, P., 1770 (na ƙarshe. 1902); (bass biyu) - Khomenko V., Sabon yatsa don ma'auni da arpeggios don bass biyu, M., 1953; Bezdeliev V., A kan yin amfani da sabon (yatsu biyar) yatsa lokacin kunna bass biyu, a cikin: Bayanan kimiyya da tsarin kula da Conservatory na Jihar Saratov, 1957, Saratov, (1957); (balalaika) - Ilyukhin AS, A kan yatsa na sikeli da arpeggios kuma a kan mafi ƙarancin fasaha na ɗan wasan balalaika, M., 1960; ( sarewa) - Mahillon V., Ütude sur le doigté de la flyte, Boechm, Brux., 1882.

IM Yampolsky