Mat Plus

SYNTHETIC  METHOD  OF  COMPOSING

by Mark Adabashev

(Reprint From the Book Sovetskaya Shakhmatnaya Kompozicya, Moscow 1937)

(From Mat Plus No.15, Autumn 1997, p.119) 


Three or four years ago some our composers set themselves the task to compile the file of compositions based on the method the well known collection of A. White is organized. Idea of making such collection - the library of classified compositions - deserves the most serious attantion. Such file is suitable for detecting the anticipations, reveal of numerous twin-compositions, avoidance of Siziphus jub in exploring already shown shemes and, possibly, in certain degree systemize the process of composing chess problems itself.

Intertesting method of work over the chess problem shows the analyze of twomover by M. M. Barulin (No.1) which is one of best New-American school achievements.

1. M. M. Barulin
El Ajedrez Espanol 1935







#2 12+11
The sum of variations below the positions 1-a and 1-b
1-a. Sheme








#2 12+8
1.Ba2! ~ 2.Sb3#
1... Bb6 2.Rc4#!
1... Bd8: 2.Rd3#
1-b. Sheme








#2 10+10
1.Ba2? ~ 2.Sb3#
1... Re2:+ 2.Se2:#
1... Rd7: 2.Qd3#
1... Qa7: 2.Rd5:#
(1... Re3!)
This twomover has so rich contents, that it is possible to split it in two separate problems shown on diagrams 1-a and 1-b.

We are interested, however, in the opposite process. Suppose, for example, that positions 1-a and 1-b had been published earlier and stored one beside another in the same group of file. Combining these positions we should reach No.1. This is the essence of the method which can be called synthetic: merging the contents of two different problems in single new one.

Let us move to the second example. Positions 2-a and 2-b - two scetches from my working nootebook. Both were discarded: 2-a being unsound after 1... Sg5-f7!, and 2-b being anticipated. Nevertheless, with the application of Black Correction mechanism I was able not only to combine the contest of these position, but also to preserve both threats: cd3 and Rc4. Unlike in the first example, the number of variations in No.2 is not increased, but they are complemented by additional strategic moments. The condition necessary for merging these problems, however, is not the similarity of their themes, but the similarity between the sceleton of their mechanisms.

2-a. Sheme








#2 11+11
1.Rb6 ~ 2.cd3#
1... Se4 2.Qd4#
1... Se6 2.Qc3#
2-b. Sheme








#2 8+10
1.Rc6! ~ 2.Rc4#
1... Sf6 2.Qd3#
1... Sf4 2.Qe4#
(cook 1.Sf7:! ~ 2.Qe4/Qd3#)
2. M. I. Adabashev
6.pr e.a. Shakhmatny listok 1930







#2 10+10
1.Rc6! ~ 2.Rc4#
1... Sd~ 2.de3#
1... Sdf6 2.Qd3#
1... Sf4 2.Qe4#
This fact is demonstrated in No.3, which is the example of blending two thematically completely different twomovers (3-a and 3-b).

3-a. Sheme








#2 8+8
1.Bc2! ~ 2.Sd5#
1... Bd4 2.Qc4#
1... Sd4 2.Rc4#
3-b. Sheme








#2 9+9
1.Bc2! ~ 2.Sd5#
1... Se3 2.d4#
1... Sf6 2.d3#
3. M. I. Adabashev
Trud 1935







#2 10+9
The sum of variations below the positions 3-a and 3-b
Obviously, the most efficient results in this method of composing can be obtained only after the huge work on selection and classification of the problems for a file is done. It would offer us the possibility not only to compose the first class complex achievements, but also to systematically and universally study the creativity of the contemporary composers and the composers from the past.


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