The art of accompaniment is a very specific form of musical expression. It is something completely different from instrumental ensemble playing or solo performance. I used to play jazz accordion for many years prior to my exploration of tango and now, since studying the bandoneon I find myself with the same set of problems – how to play well with others? This pointed me towards my research question: “How can I develop a personal way of accompanying singers and instrumental soloists on solo bandoneon by studying the styles of Dino Saluzzi, Rubén Juárez, Leopoldo Federico, Juan José Mosalini?”
Throughout this research, the way of working consisted of transcribing, playing, analyzing the results, writing down my favourite patterns or characteristics/key elements of accompaniments and composing new arrangements. A big part of the data collection consisted of making transcriptions of four well-known bandoneon players from Argentina, who all have a different and comprehensive way of accompanying singers.
This study will give a first look into important elements of tango music and how to use these elements in my own artistic work. Nowadays, it is no longer expected for bandoneon players to necessarily have accompaniment skills. I find it absolutely necessary in order to become a more versatile, fully-developed musician.