Brad Mehldau Transcription Pdf Download
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. 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.
The are several really fine piano transcription sites out there, and you should generally check my homepage for my latest transcriptions posts. However if you’re new, here’s a list to kick you off: • Firstly, check out all the posts tagged ‘. • 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.
Your Brad Mehldau collection is looking very impressive. Thank you again for the beautiful work and dedication. I'm half-way memorizing 'Secret Love.' I rave to all my friends and family about your work.
• – 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. • – anyone searching for piano transcription on the net would have almost certainly come across Luke’s impressive list. Includes word of Chick Corea, Herbie Hancock and Keith Jarrett. • Charles Schneider maintains it’s a veritable Gold-Mine of Transcriptions from a massive number of artists. • Armand Reynault have made some very fine transcriptions on: it is a fairly short, but good selection, including Michel Petrucciani and Brad Mehldau. • Bill Evans fans, which has links to some cracking resources on Scribd. • John Groves, with some good piano transcriptions.
Although not transcriptions there are some really good online learning sites out there now: • Probably the best is which although not free has professional level resources and truly renowed contributors. • Additionally Scott Raney runs his site, and also. Both of these resources are aimed at intermediate to advanced players, aimed to get your chops and sound right up there. You should be able to comfortably read music as well as be proficient in all keys and with a basic jazz approach already under your belt. There’s a really good play-along i’ve recently bought that beginners/intermediates will find absolutely brilliant.
It was unavailable in the UK, but I got it from. It contains whole transcribed piano parts from a professional pianist, and TWO CD’s (one with the pianist, one without). Even for advanced players, it’s great to play along with the ensamble.
Definately one-step up from the Aebersold playalongs, anyway. I am taking a stab in the dark here. Maybe someone can help! I am looking for a CD or tape copy of three (3) marian McPartland Piano Jazz programs: William F.
Brad Mehldau Radiohead
Buckley (yes, THAT guy), Richie Beirack and Henry Mancini. All three were guests on Piano Jazz and are the programs not available on commercial CDs.
The originals are located at the Richard Rodgers Library of Recorded Sound, NY Public Library but they will not let you copy them. Perhaps one of this esoteric group copied them off the air? I would very much like to get a copy of each! Sincerely, John Brooks •.
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.
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. 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! 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!
Shahrzad season 2 part 15 on pars tubes. 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”. 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. I’ve finally got around to finishing it and digitizing it in MuseScore.
What struck me immediately as I was writing out this solo was the sparsity of notes and delicacy of the phrases at the beginning, followed by sudden outbursts of expressive lines (like bars 21 and 31/34). What I’ve noticed from my own playing is that I often play far too much in trying to find my way through the changes, so this is definitely a lesson to take home. Writing out phrases such as bars 5, 21-22, 36 and 44 actually doesn’t do the solo justice, and they shouldn’t be taken too literally (as with most solos, I’d say). 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!”.