Jazz a Vienne, France - 9th July 2004 Kurt Rosenwinkel - Guitar Brad Mehldau - Piano Joshua Redman - Tenor Saxophone Larry Grenadier - Doublle-bass Ali Jackson - Drums
Some motivic and harmonic analysis of Brad Mehldau's cadenza on "Use of Light": The cadenza is woven from an arpeggiated shape that implies mostly maj7b9#11 chords. The first chord he arpeggiates is an implied Bbmaj6/7b9#11 (the notes in order they're played: Bb G A D E A B), the next arpeggiation is an implied Dmaj6/7b9#11 (the notes in order they're played: D A B F# G# C# Eb) and then an implied Emaj6/7b9#11 (the notes in order they're played: E G# B C# G# A# D# F). Notice how the last four notes are always the same shape (two major seconds separated by a perfect fourth)? Well, at first, he uses this shape on top of the first to outline the maj7b9 sound while emphasising the b9 at the end of each arpeggiation but then he abstracts further by transposing the shape in more unusual ways. Example: using the aforementioned shape like so- shape descending from Eb in right hand and then shape descending from D in left hand with the sustain pedal held down all the while. But still, this could be interpreted harmonically as Gb6sus2 on F6sus2. That's the beauty of this cadenza really, its motivic cohesiveness remains no matter how far he abstracts the central harmonic concept (maj7b9#11s). The cadenza also demonstrates to improvising musicians that improvisation can be grounded in essentially simple things, the task is to transfer knowledge of these into more complex contexts as Mehldau has done here.
Tom Parker Wow! This is such a comprehensible explanation on the sound Brad is creating in the intro, but I have two questions roaming in my head. Is there any specific reason for notating this note pattern as 'maj6/7b9#11', opposed to 'maj7b9#11/13'? And, could you please elaborate a bit more on why this could also be interpreted as Gb6sus2 on F6sus2? Don't you mean Gb6sus2 on Esus(b2)?
Your notation for the pattern is probably better; I just like to think of the 13th as a 6th in this case. In answer to your second question, I didn't notate that instance of chromatic reiteration and so I think you've read one of the patterns that I did notate and assumed that that was what I meant when I said, "Gb6sus2 on F6sus2". I'm gratified that you understood my analysis, I get depressed when I can't talk to anyone about this kind of stuff.
Tom Parker Tom Parker You should be proud mate, I'm by no means an expert in harmonic analysis but yours was very easy to comprehend. Please keep sharing your knowledge, I'm almosts sure there are other people out there who can relate to it! Is there any music scene in your locality?
Tom Parker Too bad, but I'm sure my city is no better in that regard. There are maybe 7 jazz acts where I live and there aren't more than 20 people in the audience at every show. Sure Sydney is better than that, don't you think? (:
The Lick 11:39 LOL Btw, thanks for posting. Brad Mehldau and Kurt Rosenwinkel are my favorite musicians. Actually, I love all the people is this group.
If anyone knows why Kurt seems to me like an extinct star since Star of jupiter, I would be interested in understanding. Pat metheny and scofield, seem much less ephemeral... they are old suns...
Kurts high notes//chords and voicings make me feel like I'm in the future at a drive in movie with in n out hamburgers with spirit family partying
That's the most beautiful shit i read today
Some motivic and harmonic analysis of Brad Mehldau's cadenza on "Use of Light":
The cadenza is woven from an arpeggiated shape that implies mostly maj7b9#11 chords. The first chord he arpeggiates is an implied Bbmaj6/7b9#11 (the notes in order they're played: Bb G A D E A B), the next arpeggiation is an implied Dmaj6/7b9#11 (the notes in order they're played: D A B F# G# C# Eb) and then an implied Emaj6/7b9#11 (the notes in order they're played: E G# B C# G# A# D# F). Notice how the last four notes are always the same shape (two major seconds separated by a perfect fourth)? Well, at first, he uses this shape on top of the first to outline the maj7b9 sound while emphasising the b9 at the end of each arpeggiation but then he abstracts further by transposing the shape in more unusual ways. Example: using the aforementioned shape like so- shape descending from Eb in right hand and then shape descending from D in left hand with the sustain pedal held down all the while. But still, this could be interpreted harmonically as Gb6sus2 on F6sus2. That's the beauty of this cadenza really, its motivic cohesiveness remains no matter how far he abstracts the central harmonic concept (maj7b9#11s). The cadenza also demonstrates to improvising musicians that improvisation can be grounded in essentially simple things, the task is to transfer knowledge of these into more complex contexts as Mehldau has done here.
Tom Parker Wow! This is such a comprehensible explanation on the sound Brad is creating in the intro, but I have two questions roaming in my head. Is there any specific reason for notating this note pattern as 'maj6/7b9#11', opposed to 'maj7b9#11/13'? And, could you please elaborate a bit more on why this could also be interpreted as Gb6sus2 on F6sus2? Don't you mean Gb6sus2 on Esus(b2)?
Your notation for the pattern is probably better; I just like to think of the 13th as a 6th in this case. In answer to your second question, I didn't notate that instance of chromatic reiteration and so I think you've read one of the patterns that I did notate and assumed that that was what I meant when I said, "Gb6sus2 on F6sus2". I'm gratified that you understood my analysis, I get depressed when I can't talk to anyone about this kind of stuff.
Tom Parker Tom Parker You should be proud mate, I'm by no means an expert in harmonic analysis but yours was very easy to comprehend. Please keep sharing your knowledge, I'm almosts sure there are other people out there who can relate to it! Is there any music scene in your locality?
There is a music scene here in Sydney but it isn't great for jazz.
Tom Parker Too bad, but I'm sure my city is no better in that regard. There are maybe 7 jazz acts where I live and there aren't more than 20 people in the audience at every show. Sure Sydney is better than that, don't you think? (:
All star band! Kurt is incredible
Just look at Kurt. He absorbes himself in what is happening, eyes closed, gently swaying. So into the groove
You said it! Brad, Kurt, Larry, Joshua and Ali. Just fantastic. Brad and Kurt have taken music to new heights for me!
Commentaar, overmoedig om hier iets over te zeggen.Geniaal.
Man, Brad continues to impress me with his improvisational creativity. He can go anywhere!
C.G.T. Ukiah, CA
Charles Tresca Hey Ukiah! Eureka here.
For real
What a band! All amazing musicians/composers that are keeping it alive. And a psychedelic cow to boot!
He does not even look at the frets. He FEELS the next. Only a very few guitarists have that ability
The Lick 11:39 LOL Btw, thanks for posting. Brad Mehldau and Kurt Rosenwinkel are my favorite musicians. Actually, I love all the people is this group.
AHAHAHA how did you even catch that
What a master piece!
I once read in an interview with Kurt, that he noticed, Brad was playing a lot of maj7b9 stuff in the intro
That's true, shows how awesome Kurt's aural recognition is. I wonder how much Brad prepared this cadenza.
I love this composition
Una genialida fuera de serie
this was a great concert!
what a beautiful tune. thanks for posting.
Best of the best
Oh and the coolest thing about that chord (maj7#11) is that it's the main chord from the Simpsons theme!
No, the simpsons is a Dominant 7#11
9:45 so beautiful!
What a pianist !!!!
awesome of course. But the most awesome thing is the cow on the background. XD
All. Of. Them.
Wow! Brad and Kurt!
For the intro? It isn't one scale, he's playing through a load of different changes. He used lydian and lydian dominant scales in a lot of places.
9:27 tf are you doing ali jackson
why the audiende is so "blue"? :D...anyway..kurt is one of the best new composers..
If anyone knows why Kurt seems to me like an extinct star since Star of jupiter, I would be interested in understanding. Pat metheny and scofield, seem much less ephemeral... they are old suns...
Supergroup.
transcribe it :)
jazz-burn
A lot of Ligeti going down !
so cool, but what scale is that on the piano?
what would the name of the drum feel be called?
Even 8th's
is the full concert on youtube?
Some wholetone some diminished all based on b flat maj7 #11/d maj7...kinda
guess the weather was bad, and so the organizators gave these cheap raincoats to the people...
;)
Why the lags?