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 Eletiac and Live in Tokyoboth personally and musically. The transcriptions are given in full notation, on two staves, with no chord symbols.
The core of your playing successfully balances jazz and classical influences. 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.
Brad becomes Bard, and by similar processes – of mirroring, stretching, contracting, ordering, etc. Mehldau is a dazzling and brilliant player who maintains one of the finest trios in all of jazz.
That can be exciting and rewarding.
Search this site Loading. 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? His breathtaking command of his instrument is undeniable. The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks. Updated and maintained by: 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.
Of course, one could simply enjoy playing, or attempting to play, the transcriptions. How do select what pop song to cover? 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.
Philippe Andre is the musician who made this transcription, and it was really fun to view that. But I was going out for an encore and thought of it at the last moment, and trannscription 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. All musical analysis lies between description and prescription.
Few jazz educators value the types of analysis favoured by the establishment. For instance, if I play something that goes much longer than I originally intended, I will skip something else. The pieces are all constructed on the basis of mehlvau very short melodic motifs. His transcrition 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.
Elegiac Cycle. Brad Mehldau.
Live in Marciac is your third solo recording. Here it refers to a musical anagram, a play on the letters of Mehldau’s first name. 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 challenge there though is to make something with integrity — something that has a story to tell.
Particularly favoured during the cycls fifty years is the technique developed by the Austrian Heinrich Schenker Today, the predominance of the Schenkerian approach, and its use as a sort of senior common-room badge of withitry, is in decline.
The fact that many leegiac of analysis exist gives us the hint that no single analytical process prevails, though by the s Schenkerian Analysis had transcgiption one of the main methods taught by progressive North American music colleges and university music departments.
My Transcriptions | Michael Lucke on Patreon
I have several ideas before I go out on the stage, and I usually stick to around half of them. 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. Though none of these types of analysis excludes it, few analysts have approached jazz. I draw on a lot of classical music, pop and rock music, music from Brazil, and other stuff.