Tuesday September 27, A complete transcription of Brad Mehldau’s record, Elegiac Cycle, has been released in France. Philippe André has transcribed. : Elegiac Cycle Brad Mehldau Transcription et Analyse P. Andre ( ) by Mehldau Brad and a great selection of similar New, Used. 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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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. 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.
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. Commentary is printed in the form of a parallel text, French and English, more than fifty pages altogether.
Craig Anderson designed the music scroll and I’m very excited about it. 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.
I listen to it for pleasure and enjoyment, and then a lot of it filters out in my playing. 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. And what variety we find: 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.
Elegiac Cycle. Brad Mehldau | John Robert Brown
How do select what pop song to cover? In all that, as I’m going along, there is some sort of abstract narrative that presents itself in a concert – I don’t know how else to put it. The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks. All musical analysis lies between description and prescription. The challenge there though is to make something with integrity – something that has a story to tell. It is the cycke related to where I am now as a solo player.
There’s a good three centuries of stuff to check out – it’s endless. Live in Marciac is your third solo recording.
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. Tell us how it compares to your two previous solo recordings, Elegiac Transcriptio and Live in Tokyoboth personally and musically.
Few jazz educators value the types of analysis favoured by the establishment. This is rtanscription 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: I have several ideas before I go out on the stage, and I usually stick to around half of them.
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. Used by permission, reproduction forbidden. Mehldau is a dazzling and brilliant player who maintains one of the finest trios in all of jazz.
The core of your playing successfully balances jazz and classical influences.
Interview With Brad Mehldau on the Art of Solo Piano
One of the highlights featured on Live in Marciac is the performance of your original composition “Resignation. Can you describe how you negotiate between ccyle two styles in your playing? Though none of these types of analysis excludes it, few analysts have approached jazz.
The transcriptions are given in full notation, on two staves, with no chord symbols. To consider jazz from any analytical perspective requires mehlfau to work from a transcription, a good transcription in itself being an analytical statement. The pieces are all constructed on the basis of two very short melodic motifs. With classical music, there’s a written canon there – you can study those scores.
Sometimes you find that and sometimes you don’t; sometimes you find it with no preparation or context at all and those moments are always great for me. I only play songs I love – whether it’s those ones you mention or Cole Porter or whoever. So you might take that approach, but you might decide to chuck it out at a certain point and go off on a tangent that doesn’t formally adhere to what you’ve just been doing.