Elegiac Cycle. Brad Mehldau. Complete Transcriptions and Analyses, by Philippe André. Editions Outre Mesure, 36 Rue Pascal, F, Paris, France. Tuesday September 27, A complete transcription of Brad Mehldau’s record, Elegiac Cycle, has been released in France. Philippe André has transcribed. Results 1 – 6 of 6 Elegiac Cycle Brad Mehldau Transcription et Analyse P. Andre by Mehldau Brad and a great selection of related books, art and collectibles.
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For instance, if I play something that goes much longer than I originally intended, I will skip something else. Used by permission, reproduction forbidden. Of course, one could simply enjoy playing, or attempting to play, the transcriptions. I have interviewed Brad many times over the years but this is the first time we focus exclusively on his approach to his solo work. Mehldau is a dazzling and brilliant player who maintains one of the finest trios in all of jazz. The challenge there though is to make something with integrity — something that has a story to tell.
But what he is able to say musically as a soloist within the context of each song combined with his improvisations is simply masterful. And what variety we find: All musical analysis lies between transcriptkon and prescription.
One could write a substantial thesis about published jazz transcriptions, to consider their use and misuse, their history, the writing of them, and the quality of what is published and available, the good, the bad and the inaccurate. No CD is provided, but Mehldau’s recordings are widely available.
Brad Mehldau – Elegiac Cycle – Sheet Music –
Tell us about the concept behind the music scroll? The pieces are all constructed on the basis of two very short melodic motifs. Commentary is printed in the form of a parallel text, French and English, more than fifty pages altogether. It is the most related to where I am now as a solo player. Updated and maintained by: Philippe Andre is the musician who made this transcription, and it was really fun to view that.
Here it refers to a musical anagram, a play mehlldau the letters of Mehldau’s first name. Ultimately I think of myself as an improvising jazz musician at the end of the day, and one of my talents I guess is assimilating all of that written stuff and making it part of what I do. To consider jazz from any analytical perspective requires one to work from a transcription, a good transcription in itself being an analytical statement.
I have several cycpe before I go out on the stage, and I usually stick to around half of them. Throughout your career you have put your own spin on pop songs written by artists such as Elliott Smith, The Beatles, Nick Drake, Radiohead, James Taylor and many others. But there are also great things that have come out of the newer technology, and there was this opportunity to see and hear my music in a different way.
Brad becomes Bard, and by similar processes – of mirroring, stretching, contracting, ordering, etc. Each solo record has been kind of a turning point for me — an end of one thing, and a beginning of something else. Few jazz educators value the types of analysis favoured by the establishment. I had eegiac idea of maybe presenting it in a scrolling format, as something that musicians, amateur or professional, might find interesting. Tell us how it compares to your two previous solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically.
Jazz Online put a little jazz in your life. The core of your playing successfully balances jazz and classical influences.
I listen to it for pleasure and enjoyment, and then a lot of it filters out in my playing. I draw on a lot of classical music, pop and rock music, music from Brazil, and other stuff. The transcriptions are given in full notation, on two staves, with no chord symbols. Analysis frequently forms part of any contemporary university course in music. That can bfad exciting and rewarding. Live In Marciac is the beginning of a freer approach, I transription say, and maybe more ease and fluidity in a musical texture with several simultaneous voices.
Brad Mehldau – The Art of Solo Piano
Today, the predominance of the Schenkerian approach, and its use as a sort of senior common-room badge of withitry, is in decline. Virtuosic pianist Brad Melhdau first made his mark in the jazz world in with his debut recording Introducing Brad Mehldau and then in the classical arena in with his release Love Sublime with vocalist Renee Fleming. Can you describe how you negotiate between the two styles in your playing? But I was going out for an encore and thought of it at the last moment, and it turned out to be for me anyways, one of the more compelling performances in the set — it had that story to it; it just kind of unfolded.
How do select what pop song to cover? This is the first scrolling score he made of my music, and since then, he has made one for the scores of two more recent efforts of mine: His blend of jazz and classical styles, the American Songbook, unique covers of pop tunes and originals all seamlessly blend into a fulfilling and varied musical experience.
The challenge and the thrill are one and the same — there is no net; there is absolute freedom.
Live in Marciac is your third solo recording. Particularly favoured during the last fifty transcriptioh is the technique developed by the Austrian Heinrich Schenker Search this site Loading. His breathtaking command of his instrument is undeniable. Though none of these types of analysis excludes it, few analysts have approached jazz. The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks. The fact that many types of analysis exist gives us the hint that no single analytical process prevails, though by the s Schenkerian Analysis had become one of the main methods taught by progressive North American music colleges and university music departments.