Fingering |

APPLICATION (from Latin applico – I apply, I press; English fingering; French doigte; Italian digitazione, diteggiature; German Fingersatz, Applikatur) – a way of arranging and alternating fingers when playing music. instrument, as well as the designation of this method in the notes. The ability to find a natural and rational rhythm is one of the most important aspects of the instrumentalist’s performing skills. The value of A. is due to its internal connection with the times of l. methods of instr. games. Well-chosen A. contributes to its expressiveness, facilitates overcoming technical. difficulties, helps the performer to master the music. prod., quickly cover it in general and in detail, strengthens the muses. memory, facilitates reading from a sheet, develops freedom of orientation on the neck, keyboard, valves, for performers on the strings. instruments also contributes to the purity of intonation. The skillful choice of an A., which simultaneously provides the necessary sonority and ease of movement, largely determines the quality of performance. In A. of any performer, along with certain principles common to his time, individual characteristics also appear. The choice of A. to a certain extent is influenced by the structure of the hands of the performer (the length of the fingers, their flexibility, the degree of stretching). At the same time, A. is largely determined by the individual understanding of the work, the performing plan and its implementation. In this sense, we can talk about the aesthetics of A. The possibilities of A. depend on the type and design of the instrument; they are especially wide for keyboards and strings. bowed instruments (violin, cello), are more limited for strings. plucked and especially for the spirit. tools.

A. in notes is indicated by numbers indicating which finger this or that sound is taken. In sheet music for strings. string instruments, the fingers of the left hand are indicated by numbers from 1 to 4 (starting from the index finger to the little finger), the imposition of the thumb by cellists is indicated by the sign . In the notes for keyboard instruments, the designation of fingers is accepted by the numbers 1-5 (from the thumb to the little finger of each hand). Previously, other designations were also used. The general principles of A. changed over time, depending on the evolution of the muses. art-va, as well as from the improvement of the muses. tools and development of performing technique.

The earliest examples of A. presented: for bowed instruments – in the “Treatise on Music” (“Tractatus de musica”, between 1272 and 1304) Czech. ice the theorist Hieronymus Moravsky (it contains A. for 5-strings. fidel viola), for keyboard instruments – in the treatise “The Art of Performing Fantasies” (“Arte de tacer Fantasia …”, 1565) by the Spaniard Thomas from Santa Maria and in “Organ or Instrumental Tablature” (“Orgel-oder Instrumenttabulatur …”, 1571) German. organist E. Ammerbach. A characteristic feature of these A. – limited use number of fingers: when playing bowed instruments, only the first two fingers and an open string were mainly combined, sliding with the same finger on chromatic was also used. semitone; on the keyboards, an arithmetic was used, based on the shifting of only the middle fingers, while the extreme fingers, with rare exceptions, were inactive. A similar system and in the future remains typical for bowed viols and harpsichord. In the 15th century, viol playing, limited mainly to semi-position and first position, was polyphonic, chordal; the passage technique on the viola da gamba began to be used in the 16th century, and the change of positions began at the turn of the 17th and 18th centuries. Much more developed was A. on the harpsichord, which in the 16-17th centuries. became a solo instrument. She was distinguished by a variety of techniques. specificity a. was determined mainly by the very range of artistic images of harpsichord music. The genre of miniature, cultivated by harpsichordists, required fine finger technique, mainly positional (within the “position” of the hand). Hence the avoidance of inserting the thumb, the preference given to inserting and shifting other fingers (4th under 3rd, 3rd through 4th), silent change of fingers on one key (doigté substituer), slipping of a finger from a black key to a white one (doigté de glissé), etc. These methods A. systematized by F. Couperin in the treatise “The Art of Playing the Harpsichord” (“L’art de toucher le clavecin”, 1716). Further evolution a. was associated: among performers on bowed instruments, primarily violinists, with the development of positional playing, the technique of transitions from position to position, among performers on keyboard instruments, with the introduction of the technique of placing the thumb, which required mastering the keyboard decomp. “positions” of the hand (the introduction of this technique is usually associated with the name of I. C. Baha). The basis of the violin A. was the division of the neck of the instrument into positions and the use of decomp. types of finger placement on the fretboard. The division of the fretboard into seven positions, based on the natural arrangement of the fingers, with Krom on each string, sounds were covered in the volume of a quart, established by M. Corret in his “School of Orpheus” (“L’école d’Orphée”, 1738); A., based on the expansion and contraction of the scope of the position, was put forward by F. Geminiani at The Art of Playing on the Violin School, op. 9, 1751). In touch skr. A. with rhythmic. The structure of passages and strokes was indicated by L. Mozart in his “Experience of a fundamental violin school” (“Versuch einer gründlichen Violinschule”, 1756). Later III. Berio formulated the distinction between violin A. of A. cantilena and A. technician places by setting diff. the principles of their choice in his “Great violin school” (“Grande mеthode de violon”, 1858). Percussion mechanics, rehearsal mechanics and the pedal mechanism of the hammer-action piano, which is based on completely different principles compared to the harpsichord, opened up new techniques for pianists. and arts. capabilities. In the era of Y. Haydna, V. A. Mozart and L. Beethoven, a transition is made to the “five-fingered” FP. A. The principles of this so-called. classical or traditional fp. A. summarized in such methodology. works such as the “Complete Theoretical and Practical Piano School” (“Voll-ständige theoretisch-praktische Pianoforte-Schule”, op. 500, around 1830) K. Czerny and Piano School. Detailed theoretical and practical instruction on playing the piano” (“Klavierschule: ausführliche theoretisch-praktische Anweisung zum Pianofortespiel…”, 1828) by I. N.

In the 18th century under the influence of violin playing, the A. of the cello is formed. The large (compared with the violin) size of the instrument and the resulting vertical way of holding it (at the feet) determined the specificity of the cello violin: a wider arrangement of intervals on the fretboard required a different sequence of fingers when playing (performing in the first positions of a whole tone not 1st and 2nd, and 1st and 3rd fingers), the use of the thumb in the game (the so-called acceptance of the bet). For the first time, the principles of A. cello are set forth in the cello “School …” (“Mthode … pour apprendre … le violoncelle”, op. 24, 1741) by M. Correta (ch. “On fingering in the first and subsequent positions”, “On the imposition of the thumb – rate”). The development of the reception of the bet is associated with the name of L. Boccherini (the use of the 4th finger, the use of high positions). In the future, systematic J.-L. Duport outlined the principles of cello acoustics in his work Essai sur le doigté du violoncelle et sur la conduite de l’archet, 1770, on cello fingering and conducting the bow. The main significance of this work is associated with the establishment of the principles of the cello piano proper, freeing itself from gambo (and, to a certain extent, violin) influences and acquiring a specifically cello character, in streamlining the piano scales.

Major performers of the romantic trends in the 19th century (N. Paganini, F. Liszt, F. Chopin) asserted the new principles of A., based not so much on the “convenience” of performance, but on its internal correspondence to the muses. content, on the ability to achieve with the help of the corresponding. A. the brightest sound or color. effect. Paganini introduced the techniques of A., osn. on finger stretches and long distance jumps, making the most of the range of each individual. strings; in doing so, he overcame positionality in violin playing. Liszt, who was influenced by Paganini’s performance skills, pushed the boundaries of the FP. A. Along with placing the thumb, shifting and crossing the 2nd, 3rd and 5th fingers, he widely used the thumb and 5th fingers on the black keys, playing a sequence of sounds with the same finger, etc.

In the post-romantic era K. Yu. Davydov introduced into the practice of playing cellists A., osn. not on the exhaustive use of the movements of the fingers on the fingerboard with an unchanging position of the hand in one position (the principle of the so-called positional parallelism, cultivated by the German school in the person of B. Romberg), but on the mobility of the hand and the frequent change of positions.

A development. in the 20th century reveals its organic nature more deeply. connection with express. by means of performing skills (methods of sound production, phrasing, dynamics, agogics, articulation, for pianists – pedalization), reveals the meaning of A. how a psychologist. factor and leads to the rationalization of fingering techniques, to the introduction of techniques, DOS. on the economy of movements, their automation. A great contribution to the development of modern. fp. A. brought in by F. Busoni, who developed the principle of the articulated passage of the so-called “technical units” or “complexes” consisting of uniform groups of notes played by the same A. This principle, which opens up wide possibilities for automating the movement of fingers and, to a certain extent, is associated with the principle of the so-called. “rhythmic” A., received a variety of applications in A. др. tools. AP Casals initiated the new system of A. on cello, osn. on large stretching of the fingers, which increase the volume of the position on one string up to the interval of a quart, on the articulated movements of the left hand, as well as on the use of a compact arrangement of fingers on the fretboard. The ideas of Casals were developed by his student D. Aleksanyan in his works “Teaching the Cello” (“L’ enseignement de violoncelle”, 1914), “Theoretical and Practical Guide to Playing the Cello” (“Traité théorétique et pratique du violoncelle”, 1922) and in his edition of the suites by I. C. Bach for cello solo. The violinists E. Izai, using the stretching of the fingers and expanding the volume of the position to the interval of the sixth and even the seventh, introduced the so-called. “interpositional” violin playing; he also applied the technique of “silent” change of position with the help of open strings and harmonic sounds. Developing Izaya’s fingering techniques, F. Kreisler developed techniques for making maximum use of the open strings of the violin, which contributed to a greater brightness and intensity of the instrument’s sound. Of particular importance are the methods introduced by Kreisler. in chanting, base on the varied use of a melodious, expressive combination of sounds (portamento), substitution of fingers on the same sound, turning off the 4th finger in the cantilena and replacing it with the 3rd. Modern the performing practice of violinists is based on a more elastic and mobile sense of position, the use of narrowed and widened arrangement of fingers on the fretboard, half-position, even positions. Mn. methods of modern violin A. systematized by K. Flash in “The Art of Violin Playing” (“Kunst des Violinspiels”, Teile 1-2, 1923-28). In the diversified development and application of A. significant achievements of owls. performing school: piano – A. B. Goldenweiser, K. N. Igumnova, G. G. Neuhaus and L. AT. Nikolaev; violinist – L. М. Tseytlina A. AND. Yampolsky, D. F. Oistrakh (a very fruitful proposition on the zones of a position put forward by him); cello – S. М. Kozolupova, A. Ya Shtrimer, later – M. L. Rostropovich, and A. AP Stogorsky, who used the fingering techniques of Casals and developed a number of new techniques. Fingering principles of owls.

References: (fp.) Neuhaus G., On fingering, in his book: On the art of piano playing. Notes of a teacher, M., 1961, p. 167-183, Add. to the IV chapter; Kogan G. M., On the piano texture, M., 1961; Ponizovkin Yu. V., On the fingering principles of S. V. Rakhmaninov, in: Proceedings of the State. music-pedagogical. in-ta im. Gnesins, no. 2, M., 1961; Messner W., Fingering in Beethoven’s Piano Sonatas. Handbook for piano teachers, M., 1962; Barenboim L., Fingering principles of Artur Schnabel, in Sat: Questions of musical and performing arts, (issue) 3, M., 1962; Vinogradova O., The value of fingering for the development of the performing skills of pianist students, in: Essays on the methodology of teaching piano playing, M., 1965; Adam L., Méthode ou principe géneral de doigté…, P., 1798; Neate Ch., Essay of fingering, 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., On using JS Bach’s keyboard fingerings, “ML”, v. XLIII, 1962, No 2; (skr.) – Plansin M., Condensed fingering as a new technique in violin technique, “SM”, 1933, No 2; Yampolsky I., Fundamentals of violin fingering, M., 1955 (in English – The principles of violin fingering, L., 1967); Jarosy A., Nouvelle théorie du doigté, Paganini et son secret, P., 1924; Flesh C., Violin fingering: its theory and practice, L., 1966; (cello) — Ginzburg S. L., K. Yu. Davydov. Chapter from the history of Russian musical culture and methodological thought, (L.), 1936, p. 111 – 135; Ginzburg L., History of cello art. Book. first. Cello classics, M.-L., 1950, p. 402-404, 425-429, 442-444, 453-473; Gutor V.P., K.Yu. Davydov as the founder of the school. Foreword, ed. and note. L. S. Ginzburg, M.-L., 1950, p. 10-13; Duport JL, Essai sur Ie doigté du violoncelle et sur la conduite de l’archet, P., 1770 (last ed. 1902); (double bass) – Khomenko V., New fingering for scales and arpeggios for double bass, M., 1953; Bezdeliev V., On the use of a new (five-fingered) fingering when playing the double bass, in: Scientific and methodological notes of the Saratov State Conservatory, 1957, Saratov, (1957); (balalaika) – Ilyukhin A.S., On the fingering of scales and arpeggios and on the technical minimum of a balalaika player, M., 1960; (flute) – Mahillon V., Ütude sur le doigté de la flyte, Boechm, Brux., 1882.

I. M. Yampolsky