This is a paper that I have written highlighting the harmonic exploration of some of Brad Mehldau’s solos. I have chosen solos found in Mehldau’s contemporary repertoire from pieces as Day is Done and Riverman (both Nick Drake Covers).
Excerpt included below….
In an interview with downbeat magazine Mehldau explains to Dan Ouellette, “it’s hard to talk about this without coming off as sounding pompous but I have my own voice. Without getting too technical, I have a certain way of approaching melody and harmony that some people might recognise as my own” (In Conversation with Brad Mehldau, 2008)
Brad Mehldau’s piano playing is intelligent, harmonically and rhythmically complex and unique on many levels. It is surprising therefore that there are only a handful of academic papers and other documented analysis focused on his music. This research topic is aimed at increasing the body of knowledge on the subject of Mehldau’s approach to improvisation and performance throughout his career to date. The researcher is particularly interested in these “technical” aspects of melody and harmony that Mehldau refers to. Can these be understood and applied by others? Or is it a case that Mehldau’s music is simply greater than the sum of its individual parts?Due to time constraints, the researcher hopes to analyse two elements of Mehldau’s playing during the period of one academic year. These two contrasting topics are listed below and have been purposely chosen to provide research based on both specifically focused, and also a more general analysis.
With particular reference to Radiohead, Nick Drake and the Beatles, what are the harmonic improvisational approaches to Mehldau’s adaptation of pop songs? Can these approaches be formalised and applied to other vehicles? This is quite a specific topic and hopes to draw conclusion from analysis of a very small section of music, namely Mehldau’s contemporary repertoire.
Categories