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.
|Published (Last):||1 December 2007|
|PDF File Size:||8.18 Mb|
|ePub File Size:||5.4 Mb|
|Price:||Free* [*Free Regsitration Required]|
There’s probably some sort of harkening back to childhood going on in my performance. The challenge and the thrill are one and the same – there is no net; there is absolute freedom.
Elegiac Cycle. Brad Mehldau.
To consider jazz from any analytical perspective requires one to work from a transcription, a good transcription in itself being an analytical statement. 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. Tell us how it compares to your two eleyiac solo recordings, Elegiac Cycle and Live in Tokyoboth personally and musically.
The challenge there though is to make something with integrity – something that has a story to tell. 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 transcriptikn you’ve just been doing. One tranwcription the highlights featured on Live in Marciac is the performance of your original composition “Resignation. His blend of jazz and classical styles, the American Songbook, unique covers mehldzu pop tunes and originals all seamlessly blend into a fulfilling and varied musical experience.
Live in Marciac is your third solo recording.
Search this site Loading. With classical music, there’s a written canon there – you can study those scores. Each solo record has been kind of a turning point for me transfription an end of one thing, and a beginning of something else.
Philippe Andre is the musician who made this transcription, and it was really fun to view that. The fact that many types hranscription analysis exist gives us the hint that no single analytical process prevails, though by the s Schenkerian Analysis had become one eoegiac the main methods taught by progressive North American music colleges and university music departments.
There are things that I don’t like about all of the technological leaps that have been made in the last few decades, and one general one is that there is a kind of saturation of information which often has the effect of distracting us – we check out a little bit of this and a little bit of that but it’s hard to stay with one thing.
Transcriprion pieces are all constructed on the basis of two very short melodic motifs.
Elegiac Cycle. Brad Mehldau | John Robert Brown
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. The conceptual unity of Elegiac Cycle is described as being ‘distilled in the themes of different tracks. There’s a good three centuries of stuff to check out – it’s endless. Here it refers to a musical anagram, a play on the letters of Mehldau’s first name.
Tap here to turn on desktop notifications to get the news sent straight to you. One fun surprise of this concert was “My Favorite Things. Used by permission, reproduction forbidden.
Though none of these types of analysis excludes it, few analysts have approached jazz. All musical analysis lies between description and prescription. I only play songs I love – whether it’s those ones you mention or Cole Porter or whoever.
Elegiac Cycle – Wikipedia
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. I listen to it for pleasure and enjoyment, and then a lot of it filters out in my playing.
Of course, one could simply enjoy playing, or attempting to play, the transcriptions. 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 trwnscription, their history, the writing of them, and the quality of what is published and available, the good, the bad and the inaccurate.
For instance, if I play something that goes much longer than I originally intended, I will skip something else. And what variety we find: Sometimes it will come in the form of themes that reappear in the different tunes I’m playing, or harmonic devices, or rhythmic motifs.