Brad Mehldau Transcription Pdf Download
Brad Mehldau Transcription Pdf Viewer. Brad Mehldau Album and Liner. Download as PDF, TXT or read online. Brad Mehldau:Various Transcripts. This transcription of the Brad Mehldau Trio’s reworking of the Monk classic, “Monk’s Dream”, features the highly idiosyncratic, interactive and linear time-keeping/soloing concept of Spanish.
Each bridge has an idea that he repeats throughout each chord change (mm. 17-23 and 49-56). Measures 33-40 act almost like an interlude between choruses even though the form doesn’t change. This is also a great example repetition. Each time he repeats the motiv he moves up higher in the register which, along with the diminished sound, creates a ton of tension and a very nice peak to the solo. This was a slightly challenging solo to transcribe because it is such an old recording and some parts of the solo are very hard to hear because they get covered up by the brass hits.
Bennie is clearly influenced by Monk in his use of harmony, interval jumps and even phrasing. In a few spots he is definitely basing his lines (or at least parts of his phrases) around certain intervals – typically starting low on the horn and jumping up by 6ths, 7ths, 8ths or 9ths. A lot of the solo is “out” with respect to the chord changes which has a great tension building effect.
Welcome to ‘Brad Mehldau, the transcriptions page, part 2′. Below is a collection of 20 files, containing leadsheets and transcriptions of seminal Mehldau performances. All pieces have been composed by Brad, some are very recent such as Dreamsketch, Ode and Kurt Vibe. Others are from albums recorded in the 90’s. All transcriptions have been thoroughly checked but please let me know if you find any errors, as, like my other transcription page, they are all currently first draft.
I have finally finished my collection of transcriptions since a post I made last month. Sorry it has taken so long but the job was bigger than I imagined. Below are transcriptions (2 handed where indicated) of Knives Out, River Man, Sky Turning Grey, How Long Has This Been Going On, Anything Goes, Someone To Watch Over Me, Tres Palabras, I’ll Be Seeing You, and Exit Music For a Film. The reason I have made 2 handed transcriptions of certain lead sheets is because Mehldau is so creative with his left hand, therefore making it necessary to document how he supports melody. PLEASE NOTE: – to print these documents, download the latest version of Acrobat Reader (free), then remove security. Please subscribe to my site, then, I am happy for you to print these, if you ask nicely!
And as musically aware Ben must have been to play these killer lines, in an email Ben told me: “I took a nap in the studio and then just walked out in a daze and played that — I didn’t want to be thinking about it too much.”. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. Download the Transcription:,,, Today’s post is a short and sweet Ben Webster solo over Duke Ellington’s rhythm changes tune “Cottontail.” Ben uses a fair amount of repetition to develop his ideas through the solo. 1-4 he repeats the rhythm while stepping down chromatically each repetition.
The first example phrases triplets, with the latter phrasing sixteenths, demonstrating smart soloistic flow and development. With its phrasing, and creative rhythmic ideas, this transcription stands out as a fun and excellent example of musical drumming. Dowlnoad PDF: This submission is of an iconic solo played by John Coltrane and if you’re any kind of jazz fanatic it’ll be very familiar, but seriously–watch the video.
I have finally finished my collection of transcriptions since a post I made last month. Sorry it has taken so long but the job was bigger than I imagined. Below are transcriptions (2 handed where indicated) of Knives Out, River Man, Sky Turning Grey, How Long Has This Been Going On, Anything Goes, Someone To Watch Over Me, Tres Palabras, I’ll Be Seeing You, and Exit Music For a Film.
🙂 To view my other Mehldau transcriptions, please visit.
PLEASE NOTE: – to print these documents, download the latest version of Acrobat Reader (free), then remove security. Please subscribe to my site, then, I am happy for you to print these, if you ask nicely! 🙂 To view my other Mehldau transcriptions, please visit.
Solo begins 0’38’’ With transcribing the jazz language I’ve always been fascinated with the process of figuring out what the great players of the 50’s and the 60’s played. With such ease and flow their language of be-bop, and blues just feeds the ears of our generation with so much substance that I feel we sometimes miss out on. I’m a young musician trying to study this music and hopefully begin to understand it a little bit more with everyday that goes. At school I try to transcribe as many solos as I can. This semester my trumpet teacher Adam Rossmiller came across this solo of Blue Mitchell’s and told me to check it out and transcribe it.
The information is not in the note choice, but in the rhythmic development.
Brad Mehldau After Bach
So I love listening to and transcribing solos that break lots of rules–and although rule-breaking isn’t a new concept in music (or any other creative activity for that matter), I like to think that it’s largely responsible for the generation of new musical material and original ideas in general. Ben Goldberg breaks lots of rules in this solo, but for as far out as he goes there’s always a strong indication that he knows where the key center/next downbeat is. It’s uncanny, really. And as musically aware Ben must have been to play these killer lines, in an email Ben told me: “I took a nap in the studio and then just walked out in a daze and played that — I didn’t want to be thinking about it too much.”.
The extended improvisation after the head out is not included. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. Download the Transcription:, Blue Mitchell’s Solo on “Bluesville” from the album Step Lightly (1963). Players on album: Blue Mitchell (trumpet), Joe Henderson (tenor saxophone), Herbie Hancock (piano), Gene Taylor (bass), Roy Brooks (drum set). Transcribed by Lukas Skrove, Spring 2012.
Brad Mehldau Biography
There are a great deal of scoops, accents, and slurred passages that will be thrown at you, which is always fun. Also, listen to how Garrett uses rather simple, yet effective forms of chromaticism and “going out” to give this tune a nice remastering. Download the Transcription:,, This is actually an alternate take of the Jobim standard Corcovado done by Julian “Cannonball” Adderley from the album Cannonball’s Bossa Nova. It has got to be one of my favorite albums of all time, and Cannonball shows why. He has a very effortless way of playing, especially when attacking a difficult passage. Please do listen to the recording to hear this. While I may have notated all the notes, Cannonball does a great deal of “ghosting” notes throughout the section, gliding from phrase to phrase.
To download my doctoral thesis containing a ten solo analysis of the work of Brad Mehldau, please visit.
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And since we’re already getting the inside scoop on the music theory behind this tune–the skeleton of the music–I took the opportunity to ask Marc about the soft/squishy side of the music. Download the transcription: Listen! Watch Italo’s Transcription Video! This solo is a masterpiece by Wes.
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Bennie is clearly influenced by Monk in his use of harmony, interval jumps and even phrasing. In a few spots he is definitely basing his lines (or at least parts of his phrases) around certain intervals – typically starting low on the horn and jumping up by 6ths, 7ths, 8ths or 9ths. A lot of the solo is “out” with respect to the chord changes which has a great tension building effect. Bennie eases the tension a few times by hinting at a resolution to the 3rd of the I7 chord (see mm 83, 107-108, 217). Starting around mm 145 the bass drops out making it a drum/sax duet. This section builds to a frenzy with more frequent octave leaps (mm 151, 158, 163, 165, 173 etc) and more 16th note lines and flurries of notes up until the bass comes back in at mm 205.
These lines have their roots in soul and gospel – the kinds of phrases that make you want to jump out of your seat and shout “AMEN!”. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. Download the PDF: This post was very generously provided by Marc Adler, a fantastic flutist and pedagogue out of PA. The above track is off the album played by, flute;, piano; Darryl Hall, bass; Butch Reed, drums; and, trumpet. Marc sent along a “brief” analysis of the tune (below) which may not look brief on first glance, but compared to the subtlety of the recording it’s just the tip of the iceberg.
These early 1954 live recordings show too that Chet was well-versed in the bebop language and had been listening to and even playing with Charlie Parker. It’s this early playing that I think is Chet’s most potent as an improvisor. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser.
I have finally finished my collection of transcriptions since a post I made last month. Sorry it has taken so long but the job was bigger than I imagined. Below are transcriptions (2 handed where indicated) of Knives Out, River Man, Sky Turning Grey, How Long Has This Been Going On, Anything Goes, Someone To Watch Over Me, Tres Palabras, I’ll Be Seeing You, and Exit Music For a Film. The reason I have made 2 handed transcriptions of certain lead sheets is because Mehldau is so creative with his left hand, therefore making it necessary to document how he supports melody. PLEASE NOTE: – to print these documents, download the latest version of Acrobat Reader (free), then remove security.