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1. BRAD MEHLDAU TRANSCRIPTION PDF DOWNLOAD SERIES
2. BRAD MEHLDAU TRANSCRIPTION PDF DOWNLOAD DOWNLOAD
3. BRAD MEHLDAU TRANSCRIPTION PDF DOWNLOAD FREE

BRAD MEHLDAU TRANSCRIPTION PDF DOWNLOAD FREE

For more on this topic check out my free lesson ‘ Gilad Hekselman – Motivic Development‘.Ī further illustration of even 8th notes in the context of swing feel accompaniment, as introduced at Example 3.Įxample 9 combines 3 triplet phrases (grey) separated by supporting chords (blue), as per Example 7.

BRAD MEHLDAU TRANSCRIPTION PDF DOWNLOAD DOWNLOAD

Mehldau features such development throughout the main transcription so be sure to download and study in context. Maintaining a generally consistent melody to double stop structure (grey), Mehldau creates interest through variation and displacement, eventually reversing the motif’s emphasis (blue).Īgain such use of double stops is fairly unconventional in the context of guitar performance but absolutely realistic with appropriate arrangement and practice.Įxample 6 develops the previous extract’s double stop legato technique (grey) to include a further dyad (blue).Īlthough initial harmonies are viable as single guitar chord shapes, the section progresses to include a variety of unusual slide and hammer-on solutions (green and red).Ī short passage of motivic development featuring organic variation upon a well defined and thus memorable original phrase (grey).Ĭhords punctuate the melodic line (blue) and are eventually adapted to reflect aspects of the motif’s rhythmic content (green).

BRAD MEHLDAU TRANSCRIPTION PDF DOWNLOAD SERIES

Switching harmony to the lower voice, Mehldau interjects a series of propulsive voicings between a rising melodic motif (green). ‘Unguitaristic’ parallel double stops may require some extra technical attention.

This technique, previously discussed in relation to Adam Rogers, is referenced again at Example 8.Ī variation on the theme of ‘call and response’ established at Example 3, this passage removes counterpoint whilst maintaining the clear implication of separate lower and upper voices (grey and blue respectively). The extract closes with a series of double stops (blue), which we will see engaged as a halfway house between melody and harmony throughout examples to follow.Įxpanding upon the principles of Example 2, here we see further use of double stops (grey) followed by a more extensive ‘call and response’ double stop/melody counterpoint (blue).Įven 8th notes in the context of a swing rhythm section feel (green) create subtle rhythmic tension.

Note this chord’s arrangement across non-adjacent strings, necessitating a fingerstyle or hybrid picking right-hand technique. Mehldau frequently employs melodic variation/counterpoint within what could otherwise be considered ’block’ voicings (grey). This example highlights 9 useful shapes which accurately distil elements of Mehldau’s harmonic vocabulary.īe sure to examine each in the context of the main transcription, which contains a range of additional chord types. Chord symbols indicate to the standard song form throughout.Ĭomment/like/share and follow me on Instagram/ Facebook!Īdaptation of pianistic performance for the guitar generally involves reduced chord voicings.

Download the complete 15-page guitar transcription/arrangement here!Įxamples include both a video time and transcription bar reference.