Brad Mehldau의 "Unrequited" 분석

Abstract

1959년 Miles Davis는 앨범 『Kind of blue』를 통해 Modal Jazz라는 새로운 흐름을 만들어냈다. 이는 조성 안에서의 화성 진행을 벗어나 모드(Mode)의 색채로 음악을 표현한 것이었다. 이 앨범은 재즈의 구성, 리듬 변화가 아닌 화성과 멜로디 변화의 새로운 시작이 되었다. 이 변화는 화성을 조성 안에서 사용하는 Functional Harmony를 넘어서 Non-Functional Harmony가 발전하는 계기가 되었다. 『Kind of Blue』 이후로 60년대에는 John Coltrane, Joe Henderson, Wayne Shorter, Herbie Hancock, McCoy Tyner 등의 재즈뮤지션들을 통해 다양한 방법으로 조성을 벗어나는 음악들이 나왔고 70년대 이후로는 Non-Functional Harmony가 특정 뮤지션이 아닌 많은 재즈 뮤지션들의 작곡 기법으로 다양하게 쓰였다. 본 논문은 현존하는 최고의 피아니스트라는 찬사를 받는 Brad Mehldau의 “Unrequited”를 Non-Functional Harmony를 중심으로 분석하였다. 이를 위해 Non-Functional Harmony에 대해 조(Key), 멜로디(Melody), 화성진행(Harmonic Progression), 코드(Chord)로 나누어 연구하고 곡을 분석하였다. “Unrequited”는 Non-Functional Harmony의 대표적인 구현방법인 Multi-Tonic System을 사용한다. 화성진행은 Patterned Structure, 베이스라인을 이용한 진행, 보이스 리딩을 이용한 진행을 사용한다. 멜로디는 한 음을 여러 마디에 걸쳐서 길게 사용하였으며 컴핑은 코드의 생략형을 사용한다. 즉흥연주는 리듬적 모티브 반복, 모티브의 음정적인 요소의 활용, 대위법적인 모방 기법을 활용한다. 본 연구는 Brad Mehldau의 “Unrequited”곡의 특징을 분석하였고 이를 분석하기 위한 주요 도구인 “Non-Functional Harmony”에 대한 연구를 담고 있다. 본 연구의 결과가 Brad Mehldau의 작법, 연주법에 대한 폭넓은 연구가 이루어지는 기반이 되기를 기대한다.| In 1959, Miles Davis created a new concept called Modal Jazz through his album 『Kind of Blue』. Modal Jazz was the expression of music with the color of mode, apart from harmonic progression in the tonality. This album was a new beginning of harmonic and melodic changes, not forms and rhythmic changes. This change has led to the development of Non-Functional Harmony beyond Functional Harmony, which uses harmony in the tonality. Since then, jazz musicians from 1960s such as John Coltrane, Joe Henderson, Wayne Shorter, Herbie Hancock, and McCoy Tyner introduced jazz music that escaped the tonality in various ways. Since 1970s, Non-Functional Harmony has been widely used as a composition technique by many jazz musicians, rather than a specific musician. This paper focuses on Non-Functional Harmony of “Unrequited” by Brad Mehldau, who is praised as one of the best pianists nowadays. For this analysis, Non-Functional Harmony was classified into several categories such as key, melody, harmonic progression, and chord. “Unrequited” uses Multi-Tonic System, a typical implementation of Non-Functional Harmony. The harmonic progression uses baseline and voice leading. The melody uses single long note over several measures, and the comping uses the shape of incomplete chord. The improvisation uses the rhythmic motive repetition, the pitched elements of the motive, and the imitation technique in the counterpoint. This study analyzed the characteristics of “Unrequited” by Brad Mehldau and further examined Non-Functional Harmony as a major analytic tool. The results of this study are expected to serve as a basis for extensive research on Brad Mehldau’s methods of composition and play.; In 1959, Miles Davis created a new concept called Modal Jazz through his album 『Kind of Blue』. Modal Jazz was the expression of music with the color of mode, apart from harmonic progression in the tonality. This album was a new beginning of harmonic and melodic changes, not forms and rhythmic changes. This change has led to the development of Non-Functional Harmony beyond Functional Harmony, which uses harmony in the tonality. Since then, jazz musicians from 1960s such as John Coltrane, Joe Henderson, Wayne Shorter, Herbie Hancock, and McCoy Tyner introduced jazz music that escaped the tonality in various ways. Since 1970s, Non-Functional Harmony has been widely used as a composition technique by many jazz musicians, rather than a specific musician. This paper focuses on Non-Functional Harmony of “Unrequited” by Brad Mehldau, who is praised as one of the best pianists nowadays. For this analysis, Non-Functional Harmony was classified into several categories such as key, melody, harmonic progression, and chord. “Unrequited” uses Multi-Tonic System, a typical implementation of Non-Functional Harmony. The harmonic progression uses baseline and voice leading. The melody uses single long note over several measures, and the comping uses the shape of incomplete chord. The improvisation uses the rhythmic motive repetition, the pitched elements of the motive, and the imitation technique in the counterpoint. This study analyzed the characteristics of “Unrequited” by Brad Mehldau and further examined Non-Functional Harmony as a major analytic tool. The results of this study are expected to serve as a basis for extensive research on Brad Mehldau’s methods of composition and play.