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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Tell us how it compares to your two previous solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically. 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.

Live in Marciac is your third solo recording. No CD is provided, but Mehldau’s recordings are widely available. I have several ideas before I go out trancsription the stage, and I usually stick to around half of them. How do select what pop song to cover? This is the first scrolling score he made of elegia music, and since then, he has made one for the scores of two more recent efforts of mine: The core of your playing successfully balances jazz and classical influences.

Mehldau is a dazzling and brilliant player who maintains one of the finest trios in ctcle of jazz. Search this site Loading.

Analysis frequently forms part of any contemporary university course in cjcle. The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks.

That can be exciting and rewarding. Brad becomes Bard, and by similar processes – of mirroring, stretching, contracting, ordering, etc.

Elegiac Cycle. Brad Mehldau.

Philippe Andre is the musician who made this transcription, and it was really fun to view that. The challenge there though is to make something with integrity — something that has a story to tell.


Used by permission, reproduction forbidden. The challenge and the thrill are one and the same — there is no net; there is absolute freedom. Each solo record has been kind of a turning point for me — an end of one thing, and a beginning of something else.

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. 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 elegjac I do.

The pieces are all constructed on the basis of two very short melodic motifs.

Brad Mehldau – The Art of Solo Piano – Jazz Online

Can you describe how you negotiate between the two styles in your playing? The transcriptions are given in full notation, on two staves, with no chord symbols. 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 interviewed Brad many times over the years but this is the first time we focus exclusively on his approach to his solo work.

Mfhldau fact that many types of analysis exist trancription 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. All musical analysis lies between description and prescription. 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 bad vocalist Renee Fleming.

His breathtaking command of his instrument is undeniable. 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. 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.

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I draw on a lot of classical music, pop and rock music, music from Brazil, and other stuff.

Particularly favoured during the chcle fifty years is the technique developed by the Austrian Heinrich Schenker To consider jazz from any analytical perspective requires one to work from a transcription, a good transcription in itself being an analytical statement. But there are also great things that kehldau come out of the newer technology, and there was this opportunity to see and hear my music in a different way. Of course, transcriptioh could simply enjoy playing, or attempting to play, the transcriptions.

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 brax that story to it; it just kind of unfolded.

Mehodau jazz educators value the types of analysis favoured by the establishment. And what variety we find: I had the idea of maybe presenting it in a scrolling format, as something that musicians, amateur or professional, might find interesting. It is the most related to where I am now as a solo player. Jazz Online put a little jazz in your life.

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. 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.