JAZZ PRELUDES
JOHN MEHEGAN

In writing the Jazz Preludes, I have strived to capture in part, the idioms and resources known to every jazz musician, and to project them into a set of formal portraits.

Most jazz deals with some aspect of diatonic harmony presented within the framework of a relentless pulse. If performed in the concert hall, this raises a dual problem for the concert
pianist:

1.To sustain the interest of an audience acquainted with complex modem harmonic techniques.

2.To create the elusive feeling of “swing” which is not beat, not pulse, but a fusing of these rhythmic elements into a propulsive whole.

I have attempted in the Jazz Preludes, to minimize these two factors by utilizing harmonic techniques more advanced than those in conventional jazz, while at the same time,
presenting the rhythmic resources in such a way, as to avoid the need for ingrained familiarity with jazz rhythmic idioms.

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