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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Elegiac Cycle. Brad Mehldau.
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. Live in Marciac is your third solo recording.
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.
Today, the predominance of the Schenkerian approach, and its use as a sort of senior common-room badge of withitry, is in decline. The transcriptions are given in full notation, on two staves, with no chord symbols. The challenge and the thrill are one and the same — there is no net; there is absolute freedom.
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. I had the idea of maybe presenting it in a scrolling format, as something that musicians, amateur or professional, might find interesting.
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. The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks.
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. And what variety we find: 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: The pieces are all constructed on the basis of two very short melodic motifs.
Tell us about the concept behind the music scroll? Updated and maintained by: 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. Can you describe how you negotiate between the two styles in your playing? All musical analysis lies between description and prescription.
That can be exciting and rewarding. 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.
Elegiac Cycle. Brad Mehldau | John Robert Brown
For instance, if I play something that goes much longer than I originally intended, I will skip something else. I listen to it for pleasure and enjoyment, and then a lot of it filters out in my playing. His breathtaking command of his instrument is undeniable. How do select what pop song to cover?
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. But what he is able to say musically as a soloist within the context of each song combined with his improvisations is simply masterful. Commentary is printed in the form of a parallel text, French and English, more than fifty pages altogether.
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. Particularly favoured during the last fifty years is the technique developed by the Austrian Heinrich Schenker Each solo record has been kind of a turning point for me — an end of one thing, and a beginning of something else.
Used by permission, reproduction forbidden. The challenge there though is to make something with integrity — something that has a story to tell. I draw on a lot eelegiac classical music, pop and rock music, music from Brazil, and other stuff. It is the most related to where I am now as a solo player.
Few jazz educators value the types of analysis favoured by the establishment. 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. Analysis frequently forms part of any contemporary university course in music.