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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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There’s probably some sort of harkening back to childhood going on in my performance. Though none of these types of analysis excludes it, few analysts have approached jazz.

Interview With Brad Mehldau on the Art of Solo Piano

How do you approach selecting material to perform in a solo context? Updated and maintained by: 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.

Analysis frequently forms part of any contemporary university course in music. 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. When jazz musicians improvise in a group setting, they are often following some sort of schema – often it’s variations on the initial theme of whatever they are playing.

Tell us about the challenge and thrill of playing solo? I only play songs I love – whether it’s those ones you mention or Cole Porter eelgiac whoever. 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.


Sheet music | MuseScore

That can be exciting and rewarding. Sometimes it will come in the form of themes that reappear in the different tunes I’m playing, or harmonic devices, mehlfau rhythmic motifs.

transcriptioh When you are playing solo, you don’t have to correspond to what someone else is doing. The core of your playing successfully balances jazz and classical influences.

The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks.

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: It’s not because they’re pop tunes, though – they’re just what I think are good strong songs. Particularly favoured during the last fifty years is the technique developed by the Austrian Heinrich Schenker Craig Anderson designed the music scroll and I’m very excited about it. The challenge and the thrill are one and the same – there is no net; there is absolute freedom.

With classical music, there’s a written canon there – you can study those scores. The pieces are all constructed on the basis of two very short melodic motifs.

Elegiac Cycle. Brad Mehldau.

The challenge there though is to make something with integrity – something that has a story to tell. Tell us how it compares to your two previous solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically.

That presents itself in the act of playing; it’s not something that is planned out. The transcriptions are given in full notation, on two staves, with no chord symbols. Live in Marciac is your third solo recording. One fun surprise of this concert was “My Favorite Things. One could write a substantial thesis about published jazz transcriptions, to consider their use and misuse, their history, transxription writing of them, and the quality of what is published and available, the good, the bad and the inaccurate.


Can you describe how you negotiate between the two styles in your playing? 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.

Philippe Andre is the bgad who made this transcription, and it was really mehldauu to view that. And what variety we find: No CD is provided, but Mehldau’s recordings are widely available. So you might take that approach, but you elegac decide to chuck it out at a certain point and go off on a tangent that cjcle formally adhere to what you’ve just been doing. When you get some creative guys like Craig, you can put that technology to use, it can be in the service of what you’re expressing.

The group’s ongoing series of recordings which started in transcrption aptly titled The Art of the Trio is an impressive body of work that is still evolving and has become the benchmark of excellence for any working jazz group. Used by permission, reproduction forbidden. 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.