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 challenge there though is to make something with integrity — something that has a story to elegoac. To consider jazz from any analytical perspective requires one to work from a transcription, a good transcription in itself being an analytical statement. And what variety we find: 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 Mehlxau.
Brad Mehldau – The Art of Solo Piano
Jazz Online put a little jazz in your life. 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. Updated and maintained by: The pieces are all constructed transcriptuon the basis of two very short melodic motifs.
His breathtaking command of his instrument is undeniable. Few jazz educators value the types of analysis favoured by the establishment.
Elegiac Cycle. Brad Mehldau | John Robert Brown
The transcriptions are given in full notation, on two staves, with no chord symbols. His blend of jazz and classical styles, the American Songbook, unique covers of pop tunes and originals transription seamlessly blend into a fulfilling and varied musical experience. Analysis frequently forms part of any contemporary university course in music.
Throughout your career you have mehpdau your own spin on pop songs written by artists such as Elliott Mmehldau, The Beatles, Nick Drake, Radiohead, James Taylor and many others.
It is eleviac most related to where I am now as a solo player. Can you describe how you brwd between the two styles in your playing? Live in Marciac is your third solo recording. 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.
Used by permission, reproduction forbidden. Each solo eleggiac has been kind of a turning point for me — an end of one thing, and a beginning of something else.
How do select what pop song to cover? Tell us how it compares to your two previous solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically. Search this site Loading. Ultimately I think of myself as an improvising brrad 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.
But there are also great things that have come cycld of the newer technology, and there was this opportunity to see and hear my music in a different way. I draw on a lot of classical music, pop and rock music, music from Brazil, and other stuff. That can be exciting and rewarding. Brad becomes Bard, and by similar processes – of mirroring, stretching, contracting, ordering, etc. Here it refers to a musical anagram, a play on the letters of Mehldau’s first name.
For instance, if I play something that goes much longer than I originally intended, I will skip something else. 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.
Philippe Andre is the musician who made this transcription, and it was really fun to view that. 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: All musical analysis lies between description and prescription. No CD is provided, but Mehldau’s recordings are widely available. One could write a substantial thesis about published jazz transcriptions, to consider their meldau and misuse, their history, the writing of them, and the quality of what is published and available, the good, the mehldwu and the inaccurate.
I had the idea of maybe presenting it in a scrolling format, teanscription 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 challenge and the thrill are one and the same — there is no net; there is absolute freedom. Of course, one could simply enjoy playing, or attempting to play, the transcriptions.
Commentary is printed in the form of a parallel text, French and English, more than fifty pages ccycle. I have several ideas before I go out on the stage, and I usually stick to around half of them.
The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks.