Synergy of metrorythm components in the process of a solo performance of pop and jazz compositions on the accordion

Abstract

This article reveals the essence of the summing effect of the interaction of the nature of the live process of performing a pop-jazz arrangement of a music, improvisational design of the finished material with the standards of metro-rhythmic schemes for accompaniment of light genre music for the play accordion.

The article also proposes a method of adapting the metro rhythmic thinking of the performer in the process of preparing and playing a concert program of light genre music using computer technologies and the technique of the rehearsal process to bring the sound quality of the pop-jazz repertoire in playing the bayan and accordion to the level of popularity of traditional instruments of this genre. such as piano, saxophone, double bass, guitar, etc., and occasionally orchestral groups (big bands, jazz ensembles, jazz duets, jazz trios, etc.).

If You pay attention to the adaptations of orchestral works for accordion or the arrangement of compositions in pop-jazz styles for these instruments, where the left-hand part performs the adapted accompaniment material mainly on the keyboard of a stanard bass system accordion, and the right hand has to play, respectively, the melody, theme, improvisation and episodically demonstrate parts of the accompaniment part.

The content of the article focuses on the study of the natural causes of the existing problem of quality performance by accordionists of the accompanying or main part of the musical and rhythmic material during the preparation and concert performance of a pop-jazz arrangement. That is, the question arises as to why musicians who easy and virtuously play these instruments usually find it difficult to control their metrical thinking and play rhythmically evenly during solo performance, conveying the drive of the rhythm to the listener.