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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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. Here it refers to a musical anagram, a play on trandcription letters of Mehldau’s first name. Used by permission, reproduction forbidden. Search this site Loading.
Analysis frequently forms part of any contemporary university course in music. How do select what pop song to cover? Of course, one could simply enjoy playing, or attempting to transcriptlon, the transcriptions.
The challenge and the thrill are one and the same — there is no net; there is absolute freedom. Philippe Andre is the musician who made this transcription, and it was really fun to view that. 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. Meyldau instance, tdanscription I play something that goes much longer than I originally intended, I will skip something else.
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. Few jazz educators value the types of analysis favoured by the establishment. Mehldau is a dazzling and brilliant player who maintains one of the finest trios in all of jazz.
Particularly favoured during the last fifty years is the technique developed by the Austrian Heinrich Schenker 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.
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.
I have several ideas before I go out on the stage, and I usually stick to around half of them. 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. 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.
To consider jazz from any analytical perspective requires one to work from a transcription, a good transcription in itself being an analytical statement. Tell us about the concept behind the music scroll?
Brad Mehldau – The Art of Solo Piano
His breathtaking command of his instrument is undeniable. And what variety we find: Today, the predominance of the Schenkerian approach, and its use as a sort of senior common-room badge of withitry, is in decline.
The core of your playing successfully balances jazz transcripption classical influences. No CD is provided, but Mehldau’s recordings are widely available.
Transcripgion what he is able to say musically as a soloist within the context of each song combined with his improvisations is simply masterful. Brad becomes Bard, and by similar processes – of mirroring, stretching, contracting, ordering, etc. The pieces are all constructed on the basis of two very short eldgiac motifs. Each solo record has been kind of a turning point for me — an end of one thing, and a beginning of something else.
All musical analysis lies between description and prescription.
Elegiac Cycle. Brad Mehldau | John Robert Brown
Tell us how it compares to your two previous solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically. I had the idea of maybe presenting it in a scrolling format, as fycle that musicians, amateur or professional, might find interesting. Commentary is printed in the form of a parallel text, French and English, more than fifty pages altogether. 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 conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks.
Jazz Online put a little jazz in your life. The challenge there though is to make something with integrity — something that has a story to tell.
It is the most related to where I am now as a solo player.