READING SCORES AND PRINCIPLES OF INSTRUMENTATION OF POP AND JAZZ WORKS IN ENSEMBLE ACCORDION AND BAYAN PERFORMANCE PRACTICE

The article provides a comprehensive analysis of the problem of score reading and the principles of instrumentation of pop and jazz works in the context of ensemble accordion/bayan performance practice. The study highlights the specifics of working with different types of scores: classical-orchestral and ensemble scores, as well as pop and jazz scores that include chord symbols, rhythm section parts, and percussion notation. It is demonstrated that score reading–particularly in pop and jazz repertoire–requires not only accurate reproduction of the notated material, but also in-depth analytical understanding of harmonic structure and tonal modulation, analysis of metrorhythmic organization, textural relationships and interaction of instrumental voices, as well as identification of interpretative aspects related to jazz articulation and stylistics, including possible improvisational elements. A methodological algorithm for developing score-reading skills is proposed. The specificity of ensemble performance involving the accordion/bayan is analyzed, and their polyfunctionality as instruments capable of fulfilling melodic, harmonic, bass, and metrorhythmic functions is defined. It is noted that in the context of instrumentation of pop and jazz works, the principles of timbre expediency, sound balance, functional distribution of voices, and stylistic correspondence of performance acquire particular importance. The main methodological aspects of instrumentating pop and jazz works for an ensemble with accordion/bayan are outlined (using a samba-style piece for accordion and alto saxophone duet as an example), and the role of improvisation as a factor of creative interaction among ensemble members is determined. It is concluded that the systematic development of score-reading skills and the instrumentation of works in pop and jazz styles contributes to enhancing the level of performance and improvisational culture, fostering creative artistic musical thinking, enriching and popularizing the concert repertoire for ensembles featuring the accordion/bayan, and improving the professional training of future performers. Promising directions for further scientific research to solve the identified problem have been identified.