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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This is the first scrolling score he emhldau of my music, and since then, he has made one for the scores of two more recent efforts of mine: To consider jazz from any analytical perspective requires one to work from a transcription, a good transcription in itself being an analytical statement.
Brad becomes Bard, and by similar processes – of mirroring, stretching, contracting, ordering, etc. I listen to it for pleasure and enjoyment, and then a lot of it filters out in my playing.
Of course, one could simply enjoy playing, or attempting to play, the transcriptions. I have several ideas before I go out on the stage, and I usually stick to around half of them.
Live in Marciac is your third solo recording. Though none of these types of analysis excludes it, few analysts have approached jazz. Used by permission, reproduction forbidden.
Today, the predominance of the Schenkerian approach, and its use as a sort of senior common-room badge of withitry, is in decline. Few jazz educators value the types of analysis favoured by the establishment. How do select what pop song to cover? All musical analysis lies between description and prescription. The mehldqu are all constructed on the basis of two very short melodic motifs.
I had the idea of maybe presenting it in a scrolling format, as something that musicians, amateur or professional, might find interesting. Live In Marciac is the beginning of a freer approach, I would say, and maybe more ease and fluidity in a musical texture with several simultaneous voices.
The core of your playing successfully balances jazz and classical influences. It is the most related to where I am now as a solo player. 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 bead kind of unfolded.
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. Each solo record has been kind of a turning point for me — an end of one thing, and a beginning of something else.
Virtuosic pianist Brad Melhdau first made his mark in the jazz world in with his debut recording Yccle Brad Mehldau and then in the classical arena in with his release Love Sublime with vocalist Renee Fleming. The transcriptions are given in full notation, on two staves, with no chord symbols.
Can you describe how you negotiate between the two styles in your playing? No CD is provided, but Mehldau’s recordings are widely available.
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. Commentary is printed in chcle form of a parallel text, French and English, more than fifty pages altogether.
For instance, if I play something that goes much longer than I originally intended, I will skip something else. I transription on a lot of classical music, pop and rock music, music from Brazil, and other stuff. 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 transcripion methods taught by progressive North American music colleges and university music departments.
The challenge and the thrill are one and the same — there is no net; there is absolute freedom. One could write a substantial thesis about published jazz transcriptions, tanscription 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. Throughout your career you have put your own spin on pop songs written by artists such as Elliott Smith, The Beatles, Nick Meldau, Radiohead, James Taylor and many others.
The challenge there though is to make something with integrity — something that has a story to tell. Philippe Andre is the musician who made this transcription, and it was really fun to view that. Mehldau is a dazzling and brilliant player who maintains one of the finest trios in all of jazz.
Transcription Book for Mehldau’s Elegiac Cycle Released – IMN – International Music Network
Here it refers to a musical anagram, a play on the letters of Mehldau’s first name. Updated and maintained by: Tell us transcriptio the concept behind the music scroll? Jazz Online put a little jazz in your life. Tell us how it compares to your two previous solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically.
Brad Mehldau – The Art of Solo Piano
And what variety we find: But what he is able to say musically as a soloist within the context of each song combined with rbad improvisations is simply masterful.
Search this site Loading. 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. His breathtaking command of his instrument is undeniable.