Here is a PDF of the article I wrote for Downbeat this month, obviously I am very happy to have been published in this magazine. I have included the full text as it was edited somewhat to fit on a couple of pages.
Thanks Mark
Mehldau Transcription Analysis
When listening to Sky Turning Grey (For Elliot Smith) from Highway Rider (Nonesuch, 2010), one could be forgiven for underestimating the complexity of this morosely themed track. It’s a quintessential example of how Brad Mehldau elegantly fuses seamless musical connectivity with absolute compositional sophistication. Like any true artist, his music is much greater than the sum of its individual parts, and Mehldau’s group sound so effortless. Matt Chamberlain’s relaxed grooves, combined with Larry Grenadier’s pulse-like bass line create a backdrop for the theme, a lament to songwriter Elliot Smith. Joshua Redman plays the head, a haunting, horizontal, motivic melody with occasional blues overtones. Some of the supporting harmony is played on pump organ overdubbed by Mehldau, during studio sessions recorded early 2009. Mehldau’s exquisite pianistic skills and improvisational mastery make study and explanation a real challenge. As is often the case with Mehldau’s groove based solos, instruments other than the piano play a harmonic role, negating the prominence of Mehldau’s otherwise very active left hand. Therefore, my analysis is from a transcription of the treble stave only.
The form of this composition is 64 bar AABC, where B and C share the same melody but are supported by different changes. The key fluctuates regularly between Bb minor and Db major, with some cyclical based deviation. What is most apparent is the almost constantly descending bass line that is spelt out by Mehldau’s changes; largely a mixture of diatonic chords derived from the key, some tritone substitution and elongated functional II-V-I cadences. An example of this harmony can be found at measures 14-17, where a II-V-I is played in Bb minor, however an Ebm/Bb extends the C half diminished sound for a measure, before the V chord at measure 16. Mehldau has employed this compositional device in other pieces such as Unrequited (Art of the Trio Vol. 3, 1998).
In terms of the piano solo, everything that you would come to expect in Mehldau’s studio recordings can be found here. This album is relatively new so consequently Mehldau’s improvisation evokes a sense of relaxed maturity and stylistic confidence that makes it so appealing to dissect. Chorus one includes strong references to the melody on a regular basis, such as measures 0, 6-7, 11, 16-18, 26-28, 32, 40-41, and last but not least 55-60. There is much antiphonal content too. The opening phrase, based on the fist two notes of the melody, is a 4 beat cell that is stated then answered during bar one and two. The next phrase starts at measure four, for two measures, and is answered during 6-7 before a blues figure at 8. Motivic repetition is heard in several places, for example 55-60; also chromatic references can be heard throughout the improvisation, either acting transitionally, or to approach chord tones.
Mehldau regularly utilises harmonic imposition, which often occurs in the latter part of a solo. In Sky Turning Grey, he introduces this device within the first quarter of chorus one, by playing a line derived from C# Locrian #2 mode over a Cm7b5, effectively side-slipping up a semitone. Mehldau plays ‘out’ during several prominent places, for example 49, and, when using 8th notes to do this, he straightens out the feel and uses mezzo staccato, supporting harmonic tension with a rhythmic device.
An increased sense of intensity and drive ensues from chorus two, which is achieved with rhythmical features such as 4-note chromatic or melodic triplets, for example 68. Mehldau employs tension by way of juxtaposing uncommon note choices, for example at measure 74, Mehldau plays an A and B, the #9 and perfect 4th of Gb major respectively. This precedes a D over a Db major chord in the next measure, spelling a b9 – all risky choices – but placed as they are, within a firm melodic context, they work well. At measure 77, the solo culminates with a long 16th note passage from 77 – 80, then again 87-89. Features such as side-slipping, chromaticism, blues, a fast Lydian arpeggio derived from the tritone (87) and Locrian mode over F7 (88) are heard before the solo is concluded as the head subtly re-enters contrapuntally, played by an inner voice at measure 89-90.
Mark Baynes is a jazz pianist in Auckland, New Zealand. He is studying the music of Brad Mehldau for a Doctor of Musical Arts degree at Auckland University. He teaches at both the New Zealand School of Music and Auckland University. A limited bibliography and discography can be found at www.jazzpiano.co.nz
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