This article needs additional citations for. Unsourced material may be challenged and removed. (December 2009) John Mehegan Born ( 1916-06-06)June 6, 1916, U.S. Died April 3, 1984 ( 1984-04-03) (aged 67), U.S. Genres Occupation(s) Musician, lecturer, critic Instruments Piano John Mehegan (June 6, 1916 – April 3, 1984) was an American pianist, lecturer and critic. Mehegan was born in, and began playing the piano at the age of five.
He taught himself to play by matching his fingers to the notes played on a neighborhood. His mother gave him violin lessons, but he preferred piano. In 1941 he arrived in Manhattan where he lived with his first wife, Doris, and their two children, Carey and Gretchen. He had the opportunity to play at the legendary Marie's Crisis bohemian club in.
In 1945, he became teaching assistant to pianist in the jazz department at the in. He wrote the incidental music for which he performed on Broadway for two years. In the early 1950s he played a honky-tonk saloon piano player on television series. Mehegan was questioned by the, where he was an uncooperative witness, and this had a negative effect on his career, limiting some career possibilities for about a decade. Also during the 1950s Mehegan was a regular attendee at the in Massachusetts.
He later held posts at the and. He was the jazz critic for the from 1957 to 1960.
Mehegan played solo piano for many years at the Composer's Lounge, Ambassador Grill and Lounge and the Drake Room in New York City, as well as the River Cafe in Brooklyn. He also played at numerous clubs in southwest, where he lived with his third wife and three children. He wote numerous books on jazz, including the Jazz Improvisation series, which sets out the basic principles of jazz. These are published in seventeen languages and sold around the world. The American composer dedicated a piano composition to Mehegan in his 1948 collection, Four Anniversaries; marked:, the piece, For Johnny Mehegan, commemorates Mehegan's birthday, June 6, but gives the wrong year – 1920. Contents.
Partial discography. 1952 From Barrelhouse to Bop (Perspective) - with.
1954 The First Mehegan. 1955 The John Mehegan Trio/Quartet (Savoy) - with Charles Mingus &. 1955 A Pair of Pianos (Savoy)- with &.
1956 How I Play Jazz Piano (Savoy). 1959 Casual Affair Request - with Techniques, studies & etudes for piano. Contemporary Styles for the Jazz Pianist, in 3 books (1964–70). Famous Jazz Style Piano Folio - with instruction on how to play jazz piano (1958). Jazz Improvisation (1959-65). Vol.
1: Tonal and rhythmic principles (1959). Vol. 2: Jazz rhythm and the improvised line (1962). Vol. 3: Swing and early progressive piano styles (1964). Vol. 4: Contemporary piano styles (1965).
The Jazz Pianist, in 3 books: Studies in the art and practice of jazz improvisation (1960–61). Styles for the Jazz Pianist, in 3 books (1962–63). Studies in Jazz Harmony (1962) Original compositions for piano. Jazz Bourree (1960). Jazz Preludes (1962). Vienna Woodshed, a jazz waltz for piano 4-hands (1965). Jazz Caper, jazz originals for piano 4-hands (1965) References.
Little critical attention has traditionally been paid to jazz analysis, a relatively recent addition to the larger discipline of jazz musicology. In a similar evolutionary development to its Western Art music counterpart, jazz analysis has so far succeeded in establishing a unique identity apart from other related musicological fields such as jazz history, criticism and, most significantly, jazz pedagogy. While many of its methodologies have greatly assisted in clarifying the fundamental and often hidden structures underpinning improvisation, they have, however, often demonstrated scant regard for the performance or perceptual experience of jazz. That these same monolithic models have provided the basis for popular jazz pedagogic methods poses a further problem for a tradition which has evolved with little recourse to such theoretical models. It is the purpose of this article to provide a critical overview of jazz analysis, its major methodologies, its often uneasy relationship with performance pedagogy and theoretical issues concerned with representing and analysing jazz. Aebersold, J. A New Approach to Jazz Improvisation, Volume 3: The II-V7-I Progression (Supplement).
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