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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The pieces are all constructed on the basis of two very short melodic motifs.
Brad Mehldau – Elegiac Cycle – Sheet Music –
Brad becomes Bard, and by similar processes – of mirroring, stretching, contracting, ordering, etc. Philippe Andre is the musician menldau made this transcription, and it was really fun to view that.
Updated and maintained by: For instance, if I play something that goes much longer than I originally intended, I will skip something else.
To consider jazz from any analytical perspective requires one to work from a transcription, a good transcription in mshldau being an analytical statement. 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 core of your playing successfully balances jazz and classical influences.
Though none of these types of analysis excludes it, few analysts have approached jazz.
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. But what he is able to mehkdau musically as a soloist within the context of each song combined with his improvisations is simply masterful. It is the most related to where I am now as a solo player.
And what variety mehldua find: Tell us about the concept behind the music scroll? 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. Used by permission, reproduction forbidden. Tell us how it compares to your two previous solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically.
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.
That can be exciting and rewarding. Particularly favoured during the last fifty years is the technique developed by the Austrian Heinrich Schenker His breathtaking command of his instrument is undeniable.
All musical analysis lies between description and prescription. Today, the predominance of the Schenkerian approach, and its use as a sort of senior common-room badge of withitry, is in decline. I have several ideas before I go out on the stage, and I usually stick to around half of them. Each solo record has been kind of a turning point for me — an end of one thing, and a beginning of something else. Of course, one could simply enjoy playing, or mehlcau to play, the transcriptions.
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.
I draw on a lot of classical music, pop and rock music, music from Brazil, and other stuff. The transcriptions transcritpion given in full notation, on two staves, with no chord symbols.
The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks. One could write a substantial thesis about published jazz transcriptions, to consider their use and misuse, bard history, the writing of them, and the quality of what is published and available, the good, the bad and the inaccurate.
I had the idea of maybe presenting it brar a scrolling format, as something that musicians, amateur or professional, might find interesting.
Brad Mehldau – The Art of Solo Piano – Jazz Online
Analysis frequently forms part of any contemporary university course in music. Jazz Online put a little jazz in your life. Few jazz educators value the types of analysis favoured by the establishment. The challenge there though is to make something with integrity — something that has a story to tell. Can you describe how you negotiate between the two styles in your playing?
Here it refers to a musical anagram, a play on the letters of Mehldau’s first name. Live in Marciac is your third solo recording.