Brad Mehldau Transcription Pdf Download
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! 🙂 (full stave) (full stave) (full stave) (full stave) To view my other Mehldau transcriptions, please visit. To download my doctoral thesis containing a ten solo analysis of the work of Brad Mehldau, please visit.
This solo is a testament to his seemingly endless creativity and flare for holding a listener’s attention, so we’re talking about the whole deal right here. The entirety of this album is 200% listenable from start to finish so I recommend checking it out–it’s a collaboration between Scofield and “wide open” improvisers. 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. 1986 gt pro performer bike. (Clip starts at mm 36 of the transcription which is the start of the solo) Download the Transcription: *I can’t seem to find my original Finale file for this transcription.
Welcome to ‘Brad Mehldau, the transcriptions page, part 2′. Below is a collection of 20 files, containing leadsheets and transcriptions of seminal Mehldau performances. Below is a collection of 20 files, containing leadsheets and transcriptions of seminal Mehldau. Brad Mehldau - Blackbird Leadsheet Mark Baynes of New Zealand made this leadsheet possible. Mark is a gifted jazz musician who has extensively studied the works of Brad Mehldau and has performed various compositions by Mehldau. Scribd is the world's largest social reading and publishing site.
Enjoy this super killing solo (and band!) – the entire concert can be seen and heard here: https://www.youtube.com/watch?v=2AChGszRGwI. (“” by is licensed under ) 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. [Thanks to Spencer Ritchie for this post! Check out more of Spencer’s transcriptions on his blog ] Check out Lewis Nash’s chorus on his arrangement of “Monk’s Dream” off his 1989 Album “Rhythm Is My Business”.
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. 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!
From the album ‘,’ released 2012 by Hannibal/. 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.”.
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.
Definitely worth it to get some different ideas on the blues. 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:,,,,, written by and performed by: (Ara Anderson, Trumpet;, Clarinet;, Violin;, Dobro; Zeena Parkins, Harp).
Watch Italo’s Transcription Video! This solo is a masterpiece by Wes. There’s everything you’re used to hearing in his improvisations: Double stops, quartal structures, tritones, pentatonic ideas, dorian phrases, fast and wide arpeggios and his famous octaves all along his last choruses. That’s probably because it was recorded in 1965 (only three years before his death, in June 15th 1968 – 45 years ago) with the wonderful Wynton Kelly Trio. It’s really a solo to remember by all guitar students and improvisational musicians. Download the Transcription: Watch a video of the solo being performed by Derek!
Please subscribe to my site, then, I am happy for you to print these, if you ask nicely! 🙂 (full stave) (full stave) (full stave) (full stave) To view my other Mehldau transcriptions, please visit. To download my doctoral thesis containing a ten solo analysis of the work of Brad Mehldau, please visit.
Download the latest version. You also need to have JavaScript enabled in your browser. Download the PDF:,,,,, written by and performed by John Scofield with, Keys;, Guitar;, Drums; and, Bass.
Download the PDF:,,, Rhythm. What can be more definitive in music? Rhythm is what drives music forward, particularly in music that derived from African roots like jazz. Trombone Shorty knows all about rhythm. He’s one of those New Orleans guys who never really shook that New Orleans attitude in his playing (thankfully). Trombone Shorty’s playing on this track especially, is derived from New Orleans Brass Band trombone playing.
Herlin plays with triplet vs. Sixteenth and straight vs. Swing ideas, and moves in and out of downbeat and offbeat oriented phrasing. All of which reflect the similar off-kilter effect the tune’s melody has. Also, notice the two busiest portions of the solo, (m.49-56 and m.73-76). 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. Adam Spiers plays along with the solo, note for note, on the cello. As a cellist I find it difficult to describe just how insane this is, but to put it in perspective it’s kind of like climbing the stairs of the Empire State building in flip flops; it’s not impossiblebut yeah. I’m very humbled to be posting this incredibly thoughtful and meticulous transcription along with such an amazing video, but unfortunately for you horn players out there the transcription is in C and an 8ve down. But you should still follow along and check out this amazing video and transcription. Probably twice.
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 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).
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.
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.
Download the PDF: 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. Group: Brad Mehldau Trio – Brad Mehldau, piano; Larry Grenadier, bass; Jorge Rossy, drums Album: The Art of the Trio, Vol.
This whole solo is accompanied by Ron Carter’s steady walking bassline, so when trying this solo, lock in with the walking, but keep an ear open for Nash’s phrasing and attempt to mimic it. The Adobe Flash Player is required for video playback. (The solo starts ~1:23) Download the transcription: [Check out more from Ben DeVries at ] I still haven’t decided which is my favourite track on Roy Hargrove’s ‘Earfood’ – either “Strasbourg St. Denis” or “I’m Not So Sure”. Or was it “Starmaker”? I started writing out Roy’s solo in “I’m Not So Sure” some time ago already, and then shelved it.
Brad Mehldau Radiohead
Download the Transcription:,, This is a transcription of Kenny Garrett’s (the REAL Kenny G!!!) solo on “There will never be another you” from Woody Shaw’s album, Solid (2009). Garrett does a great rendition of this often heard standard. Listen to his style and the way he shapes notes and phrases. 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.
• I’ve posted alot of and transcriptions, so check each of those tags for some really good stuff. • is a great site with not just transcriptions but some really top notch analysis of reharmonisations etc. • – this site is one I’ve visited many times over the years. Some splendid transcriptions of Jarrett’s solo and trio stuff, including many by Friedrich Grossnick, who is a bit of a legend when it comes to transcribing Jarrett. Includes several (immaculately done, may I add) transcriptions from the Carnegie Hall concert and The Melody At Night With You in PDF format. • Bert Ligon’s trasncriptions should also not go un-noticed. At his University of South Carolina base, his covers Keith Jarrett, Bill Evans but stuff for other instruments too • – not just piano, but includes transcriptions of Chick Corea and Ellis Marsalis, amongst others.
Nice site too. • – snazzy Flash-presented range, including Bills Evans, Keith Jarrett. Look to bottom left of main content area to ‘zoom in’ in order to print them off or save them to hard-disc. • – not really ‘just’ transcriptions, more a whole welter of information which will make for fascinating reading for Bill Evans fans. Incredible that these are available on the net for free – there’s over 200 published pages here about Bill’s playing, compositions and musicians who he had played with.
— The transcription features Herlin Riley’s playing on “Evidence” from Wynton Marsalis Septet’s 1999 multi-disc release Live at the Village Vanguard. Monk’s writing, exemplified in “Evidence” is rhythmically unique, often jagged and deceptive, a quality which gives drummers many possibilities. Herlin’s choices are tasteful, organic and exploit the rhythmic opportunities Monk provides.
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).
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.
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. I think the transcription is pretty accurate, but I might be off in some of those spots.
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. (Clip starts at mm 36 of the transcription which is the start of the solo) Download the Transcription: *I can’t seem to find my original Finale file for this transcription.
Brad Mehldau Discography
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.
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. I think the transcription is pretty accurate, but I might be off in some of those spots. Download the PDF:,,, Rhythm. What can be more definitive in music? Rhythm is what drives music forward, particularly in music that derived from African roots like jazz.
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.
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.
I really wish I could provide the full solo for you to listen to because it is insanely awesome. Please check out Bennie’s website and pick up this track on Amazon or iTunes. Definitely worth it to get some different ideas on the blues. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.
He approaches his solo very rhythmically, and doesn’t vary the notes he uses hardly at all. I think he steps outside the notes of the Eb minor pentatonic scale maybe once in this entire solo. The information is not in the note choice, but in the rhythmic development.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.
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. Bennie counterbalances the frantic nature of the duet section by holding out a nice long G for three beats in mm 205 which brings the tension back down and leads to the end of Bennie’s solo.
Her feel is ridiculous. I learned this solo by ear first and played along trying to match her feel throughout the solo. That’s recommendation #1 from me as you start to learn this solo.
Transcription:,,,, Recording: OKAY Soit’s been a while. I’ve transcribed and learned many solos since my last post, but I’ve also started teaching at McNally Smith College of Music in St Paul and have toured with several bands all over the world since then too, so it’s been a little crazy. Naturally, the solo that would make me want to post here again would be a.flute solo? A flute solo. SKM, meet Elena Pinderhughes. I’ve been checking out Elena’s stuff since I starting learning one of her solos on a Christian Scott album. The thing that stands out the most about her playing is her feel.
Brad Mehldau Transcription
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.
That’s not to say her note choice isn’t – how did Ferris Bueller say it? “choice” – because it is. Not unlike a trombone shorty solo I transcribed a while ago and posted here, Elena primarily uses the pentatonic scale throughout her solo, with a few major/natural minor scale uses and a couple spots where she’s playing borrowed pentatonic scales. For instance, she slips outside the key and plays in C major (over a tune that I hear as being in Eb major) for a measure, which actually corresponds with a passing chord Robert Glasper is playing that includes that E natural (Cadd9/E) — It should be said that I copied and pasted the progression over the solo (thanks to my dudes Reid Kennedy and Kevin Gastonguay for taking a listen and giving me their harmonic opinions), and it’s possible Glasper is playing something different in the Cadd9/E spot when it comes around each time. You often hear him slip in and out of keys a 1/2 step away, so it’s hard to put a definitive finger on the progression.
Later in the solo, Elena plays the Bb major pentatonic scale (second half of measure 10) temporarily before moving back to the Eb major pentatonic. I love the sound of two closely related pentatonics being used. When you’re messing with this idea on your own, try playing over a Ima7 chord using the major pentatonic scale starting on the second scale degree (which will give you the 9, 3rd, #11, 13 and ma7). Then try the same idea starting on the 3rd a scale degree for a more dissonant sound. Continue up the scale and see what sounds cool!
You also need to have JavaScript enabled in your browser. Download the PDF:,,,,, written by and performed by: (Ara Anderson, Trumpet;, Clarinet;, Violin;, Dobro; Zeena Parkins, Harp). From the album ‘,’ released 2012 by Hannibal/. 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.”.
Comments are closed.