TOUCH AND RHYTHM TECHNIQUES FOR THE JAZZ PIANIST
JOHN MEHEGAN


Introduction
Technique, or the muscular éxecution of a musical idea, is of major significance in the performing of jazz. The central problem
in relation to the piano lies in the fact that the traditional methods of pedagogy, so essential to a basic understanding of the
instrument, do break down when applied without modification to a jazz performance. In essence, the following principle maintains: A basic
study of traditional keyboard literature is absolutely essential in performing jazz; bowever, the techniques derived from tbis
study must be modified when applied to a jazz performance. This book deals with these modifications.

The following modification problems will be considered herein:

1.Rhythmic emphasis in jazz
2.Jazz accent
3.Transforming the "horn line” to the piano
4.Touch studies.

The major innovations in jazz have occurred on the trumpet, (Armstrong, Eldridge, Gillespie) or the saxophone (Hawkins, Carter, Young, Parker, Getz, Coltrane).
As a result, the problem of the jazz pianist is one of transforming these horn innovations
to the keyboard, (Armstrong to Hines,Beiderbecke to Wilson, Eldridge to Tatum, Parker to Powell). This transformation obviously involves capturing not only the tonal and rhythmic inflections of the horn lines, but also the sharp attack, the punctuations — based on finger control and breathing — of a horn performance. In order to re-create these various aspects of attack,
timbre, and phrasing, it is essential to “think” of the piano to some extent, as a horn.

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