reflections on monk for concert band by a …
TRANSCRIPT
REFLECTIONS ON MONK FOR CONCERT BAND
by
KENNETH R. METZ, B.S., M.M.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty of Texas Tech University in
Partial Fulfillment of the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY
Approved ,
May, 1997
c.^ ABSTRACT iv
LIST OF EXAMPLES v
CHAPTER
I. INTRODUCTION 1
II THELONIOUS MONK; HIS MUSICAL LIFE AND TIMES 4
Biographical Information 4 The Bebop Evolution 7 The Parker Paradigm 11
III. MONK'S MUSICAL STYLE 17
Piano Style 18 Melody and Improvisation 20
Whole-tone Figures 21 Chromatic Figures 22 Arpeggiation 23 Other Figures 24
The Technique of Monk's Composition 25 Timbre 26 Reiteration and Sequencing 28 Rhythm and Meter 29 Economy: Form and Logic 33
IV. REFLECTIONS ON MONK 40
First Movement: Well... 40 Second Movement: Blu 42 Third Movement: Round Mid 45
Fourth Movement: Myst... 46
V. SUMMARY AND CONCLUSIONS 49
The Composition 51
BIBLIOGRAPHY 53
DISCOGRAPHY 55 ii
/ / < f 3 TABLE OF CONTENTS
Mo. 3^
APPENDIX
A. ESrSTRUMENTATION 56
B SCORE 58
lU
ABSTRACT
As the end of the twentieth century approaches, the generation of musicians who
were the pioneers of modem jazz (ca. 1945-the present) has all but died out. Fortunately,
there remains an abundance of recordings which bear witness to the wonderfiil creativity
of the men and women artists of the idiom. In some cases there exist well produced
documentary films that provide in-depth information about the important jazz artists and
the times in which they lived. In addition, there are many other films which capture their
live performances. There is also a large body of biographical, socio-historical, and critical
literature of varying quality that provides testimony about the music and musicians of the
era. In the last fifteen years authors have published transcriptions of recorded solos which
provide important insight into the nature of the music. Finally, theoretical research in jazz
has become an important new area for scholarly activity. Yet, the most important
elements that remain in our culture fi"om the first generation of musicians of the modem
jazz era are their ideas, their music, which is still being performed every day by a new
generation.
One musician who has left us much interesting music is Thelonious Monk. This
dissertation consists principally of a composition written using motives and themes from
Monk's music as well as information about his life. But it also contains a description of
the musical style of the times in which he rose to prominence, some analysis of his music,
a study of his compositional techniques, and a description of how I have employed certain
figures, themes, and techniques from the music composed by Monk to create Reflections
on Monk, a composition in four movements for concert band written in homage to this
important jazz musician.
iv
LIST OF EXAMPLES
1: Thirty-two measure choms of rhythm changes. 8
2A-C: Figures from tritone substitution. 10
2D: Progression with tritone substitution. 10
3: Parker arpeggio figures. 13
4: Parker diatonic scalar figures. 13
5: Parker formula with figures bracketed. 13
6: Scalar descent in Confirmation. 14
7: Monk's descending whole-tone figure. 21
8: Whole-tone figure from 52«c/iS/r^^/77?^we. 21
9A-B: Melodic and harmonic tritone figures. 22
10: Chromatic figure from Blue Monk. 22
11: Chromatic figure from Straight, No Chaser. 23
12: Various arpeggiation figures in Monk's music. 23
13: Consecutive sixths figure in M/5/mo5o. 24
14A-B: Pentatonic-derived figures. 24
15: Let's Cool One mm. 1-4. 24
16: Monk secondal voicings. 26
17: Bent-note effect. 27
18: Hornin' In mm. 1 -3. 27
19: Sequence in 52nd Street Theme. 28
20: Sequence from Well, You Needn't. 28
21: StqutncQ in Bemsha Swing. 29
22: Well, You Needn't mm. l-%. 30
23: Metric superimposition. 30
24: Metric superimposition with tmncation. 31
25: Four in One mm. 1-2. 31
26: Rhythm-a-ning mm. 1-4. 32
27: From/«/ro5/?ec^/ow, showing diminution of the figure. 32
28: From Introspection, displacement arising from elongation. 32
29: Well, You Needn't. 33
30: Straight, No Chaser 37
31. Hemiola at the hypermetric level. 38
3 2: 7/7/ Eulenspeigel mm. 6-9: 3 8
33 A: The figure from Well, You Needn't, m. 6. 41
33B: The Well... figure in mm. 7-8. 41
33C: Opening ofB section mm. 89-90. 41
34A: fFe//... cadence to subdominant, mm. 150-151. 42
34B: PTe//... final cadence to tonic, m. 157. 42
3 5 A: Blue Monk fi^xQ. 43
35B: Opening of 5/M. 43
35C: Chromatic scale presentation in Blu. 43
36: The two whole-tone scales. 44
37: Reduction of final cadence in .5/M. 45
38: Whole-tone figure in 'RoundMid in vibraphone m. 2. 46
39A: 'RoundMidnight mm. 1-4. 46
39B: Flute in 'RoundMid... mm. 18-20. 46
40A: Misterioso figure. 47
40B: Myst... melody, mm. 26-28. 47
41: Final cadence Myst... m. 170. 48
VI
CHAPTER I
INTRODUCTION
Jazz historians often cite 1945 as the beginning of the modem jazz era. This year
corresponds to the period of time when the music called bebop began to flourish in New
York City. Briefly, bebop is a style of jazz which emphasizes melodic improvisation in a
small group format. Historians consider bebop the beginning of modern jazz because it
represented a new level of artistic expression and creativity in American music history.
The bebop era divides conveniently into two periods, early bebop and hard bop.
The early bebop period begins in 1945 ends in 1955. The latter year marks the death of
Charlie Parker (1920-1955), the most important musician of modem jazz according to
many historians. The hard bop era ends in 1967 vAth the death of John Coltrane (1926-
1967), another very important innovator. Beginning with the bebop era, modern jazz has
evolved through various style periods, yet styles overlap. Though the bebop era "ended "
in 1967, contemporary jazz artists still play this style along with the older styles such as,
dixieland, swing, and post-bop styles. In short, the music of bebop is still alive and
breathing.
While Parker was the most influential bebop musician, there were others from this
era who are important to modern jazz. One such musician was Thelonious Monk (1917-
1982). Monk was a jazz pianist and composer who continues to have a profound
influence on the jazz tradition. Although he played an important role in the development
of early bebop and hard bop, both as a player and a composer, it is as the latter that he has
made a major contribution. Some of his compositions are among the most well known
and most often performed in the jazz repertoire. In assessing his contribution to the jazz
lexicon, jazz historian, Frank Tirro, has written that Monk was important because he was
"the first jazz musician to discard successfully the traditional concept of melody and the
current ideas of melodic rhythm and develop his own system of musical construction "
What are the special features of Monk's musical constmction and techniques of
composition that made him a giant in the jazz field?
Before addressing this question it is necessary to present information that places
Monk's activities into a historical and musical context. Therefore, Chapter II of this
document presents some important aspects of Monk's life and the musical style of the early
bebop period. The material in this chapter divides into three sections. The first section
begins with a brief biographical sketch of Monk and his role in the development of early
bebop. The second section contains a discussion of the early bebop era itself There is a
focus on early bebop in this document in order to explain the way in which Monk was an
important contributor to the development of this style. Additionally, once Monk had
developed his ovm style, it changed little for the rest of his career. Therefore, another
purpose for the discussion of bebop is to ascertain not only Monk's contribution to
developing bebop, but also, how his path departed from its conventions. The third section
of chapter two describes selected aspects of Charlie Parker's musical style and
improvisation because his music epitomized the bebop style. In addition, the example of
his style serves as a basis for comparison to Monk's musical style and improvisation, the
subject of the first section of chapter three.
Chapter III divides into two parts. After the discussion of Monk's musical style,
the second section of chapter three examines the techniques of Monk's composition. The
focus here is on those features of Monk's compositions that identify his style and make his
music unique. This study of Monk emphasizes melody and rhythm. While an in-depth
analysis of Monk's harmony would be an excellent topic, it is beyond the scope of this
document. Further, many interesting features of Monk as a composer are matters of his
melody and rhythm.
Frank Tirro, Jazz: A History (New York: W.W. Norton and Company), p. 283.
2
The fourth chapter is a discussion of my composition. Reflections on Monk for
Concert Band, the score of which comprises the appendix B of this document. This work
is a tribute to Monk which employs some of the wonderful figures, motives, and themes
that Monk created in his compositions. Finally, the fifth chapter offiers a summary and
conclusions.
CHAPTER II
THELONIOUS MONK:
HIS MUSICAL LIFE AND TIMES
Biographical Information
Thelonious Sphere Monk was born October 10, 1917 in Rocky Mount, North
Carolina. In 1922 his family moved to New York City where he would reside for the rest
of his life. His parents were not musically inclined, but his mother sang in the church
choir. He began playing the piano at an early age with some of his first musical
experiences coming from accompanying his mother and playing in the church. Although
he was largely self-taught, historians indicate that Monk studied at The Juilliard School of
Music during his teenage years.^ By the age of seventeen he was touring as a pianist with
a gospel group. At this time Monk was playing in the typical stride piano style of the
thirties.^ The influence of stride would remain an element of his piano style for the rest of
his career.
There is little information currently available to account for Monk's activities from
1930 until 1938, by which time he had become the house pianist at Minton's Playhouse, a
night club in New York City's Harlem district that would become famous in the bebop era.
It is here that Monk came into contact with the major figures of bebop including,
tmmpeter Dizzy Gillespie (1917-1993), dmmmer Kenny Clarke (1914-1985), and
saxophonist Charlie Parker. Jazz writer Ira Gitler makes the claim that by 1941 Monk had
already written some of the pieces that would become standards of jazz.** The fact that the
first recording of a Monk composition took place in 1944 lends support to Gitler's
Gary Giddens, Rhythm-a-ning (New York. Oxford University Press), p. 216. Giddens does not state how long Monk attended the school.
*ln stride piano style the left hand plays a bass note on beats one and three, and block-chords on two and four.
" In Cider's liner notes to Thelonious Monk, The Complete Genius, Riverside, BN-LA579-H2.
position.5 In that year Cootie William's big band recorded 'Round Midnight, one of
Monk's most sophisticated and well known ballads. Other evidence further suggests that
Monk had developed his unique piano style, approach to composition, and ideas about
harmony and chromaticism by the early forties. Dizzy Gillespie has acknowledged that
Monk had an early influence on his harmonic experimentation.
The bebop era of jazz evolved between 1941 and 1945 at Minton's Playhouse,
Monroe's Uptown House, and other clubs in New York City's Harlem district where a group
of musicians, Monk, Gillespie, Clarke, and Parker among them, would gather nightly to
experiment with their music until the morning hours. In the process of playing together they
created the bebop idiom. Parker would emerge from this milieu to become one of the most
influential musicians of modem jazz.
While Parker flourished. Monk went through a period of relative neglect from the
middle forties until the middle fifties. Some of the chroniclers of the period indicate that
Monk's playing was considered too eccentric even for the emerging bebop musicians and
their growing audience. Adding to this, because of a marijuana-related conviction in
1951, Monk was denied a cabaret card for six years. In New York City at this time
musicians were required to obtain a cabaret card in order to perform in estabhshments
where alcohol was served. Instead another pianist. Bud Powell (1924-1966), who was at
first influenced and encouraged by Monk, rose to prominence as the most important
pianist with Charlie Parker's groups. Powell's playing and improvisation were heavily
influenced by Parker's virtuosic musical style. He was among the first of the pianists to
transfer Parker's phrasing to piano music. In contrast. Monk had developed his own style
and had gone in a direction which differed from conventional bebop. Although he became
^There was a nationwide ban on recording from 1942-1944. See Tirro, p. 396-7. ^Al Tinney, a jazz musician who was house pianist at Monroe's in the eariy forties, gives first hand
testimony to this claim, in Annual Review of Jazz Studies 2, 1983, p. 166. ' Peter Rutkoff, "Bebop: Modem New York Jazz," Kenyon Review, 1 Apr 1996, p. 109. ^ Thomas Owens, Bebop: The Music and Its Players (Oxford: Oxford University Press, 1995), p. 140,
somewhat of an underground figure, his compositions, 'RoundMidnight, Epistrophy,
Well, You Needn't, 52nd Street Theme, Straight, No Chaser, Blue Monk, and In Walked
Budiymtten for Powell) had become standard repertoire among jazz performers.
In spite of the dearth of live performance opportunities in this period, Monk held his
first recording session as a leader in 1947 for the Blue Note label. He recorded as a sideman
with Parker in 1950. In 1952 he obtained his first extended recording contract. By 1957
Monk' s performing career was once again on the rise. In this year he began a fruitful
association wdth saxophonist John Coltrane, one of the next major jazz figures to emerge in
the hard bop era after Parker's death in 1955. Coltrane, like Gillespie, acknowledged the
profound influence that Monk had on his playing.
"Working with Monk brought me close to a musical architect of the highest order. I would talk to Monk about musical problems and he would show me the answers by playing them on the piano. He gave me complete freedom in my playing, and no one ever did that before."^
From this time untU he stopped performing in 1976, Monk enjoyed a position of
prominence throughout the world as a jazz performer, recording artist, and composer. His
groups and recording sessions often included many of the finest jazz musicians of modem
jazz including tmmpeter Miles Davis (1926-1991), saxophonists Coleman Hawkins (1904-
1969), Sonny Rollins (1930), and Johnny Griffin (1928), dmmmers Art Blakey (1919-
1990) and Roy Haynes (1926), and many others. He was even honored with a feature
article and cover photograph in Time Magazine in April of 1964. In 1976, Monk abmptly
stopped performing, probably due to declining health, and spent the rest of his life out of
the public eye. He died on the seventeenth of Febmary in 1982.
Monk was one of the pioneers of the bebop era. He had developed his techniques
of composition and his piano style before the period began. His ideas about music and his
compositions had a significant influence on the development of both bebop and hard bop.
^ J.C. Thomas, Chasin'the Trane (New York: Da Capo Press, Inc.), p.84.
6
Scholar Ran Blake states that bebop musicians "leamed from Monk's advanced voicings
and adventurous progressions and thereby (Monk) enhanced the evolution of bop." ^ In
addition, Monk had an influence on the modem jazz tradition in other ways which become
clear with an understandmg of the nature of the bebop style. In order to define the
musical style that arose in the bebop era, it is necessary to compare some of its
characteristics to the swing era style which developed in the Thirties.
The Bebop Evolution
Music in the swing era (c. 1932-1942), which preceded bebop, was largely geared
toward popular appeal and ballroom dancing. In contrast, bebop was a music grounded in
the aesthetics of art for art's sake. People stopped dancing and started listening to
musicians express themselves in musical terms. Drawing upon the basic elements of
swing, jazz musicians of the bebop era created an art music with its own musical language.
Because early bebop emphasized virtuosity, bebop musicians more often played their
music at a faster tempo and took a more intense rhythmic approach compared to the usual
medium tempo and relaxed rhythmic feel of swing.
There are other distinct differences between bebop and swing. In bebop a small
group of musicians, usually four to six members, replaced the big band as the primary type
of ensemble. For example, Charlie Parker's classic groups contained alto saxophone,
tmmpet, piano, bass, and dmms. Bebop employed the same basic twelve-measure blues
and thirty-two measure {AABA) forms as swing, but with generally simpler arrangements.
Many of the tunes from early bebop were melodic contrafacts, * melodies written
over pre-existent harmonic changes from pieces of the swing era and Tin Pan Alley. For
instance, quite a few bebop melodies or heads are based on the chord changes and form of
^ Ran Blake, "Monk Piano St>1e," Keyboard, July, 1982, p.25. ^ ^ Thomas Owens, op. cit., p.8.
Gershwin's / Got Rhythm. Jazz musicians refer to the harmonic stmcture of this common
thirty-two bar (AABA) form as rhythm changes. Example 1 shows a chord progression
commonly employed for rhythm changes. This chord progression is a good example of
the largely circle of fifths harmony that one may find in many jazz works.
AABA 4 Fine
A h \ B^ G7 cmin7 F7 dmin7G7 cmin7 F7 B^ B^7 E^ E°7 B, F7 B>
I (JQ t> c / / / / | / / / / | yyyx\ //y/\ /// /\/ /////// ///^
B 9 , D7 G7 C7 F7 D.C. al Fine
I V y y y / I//>-y^| y / / / | / / / y | x y / z l / / //'xy^^gy^^oo^
Example 1: Thirty-two measure choms of rhythm changes.
While the focus of the big band era was more on the smooth and pleasing but often
clever arrangements of ensemble passages, the focus of bebop, as mentioned previously,
was on the soloist and melodic improvisation. Solos were performed in swing era bands,
but seldom for longer than eight to twelve measures. In bebop, the formal stmcture,
usually twelve, sixteen, or thirty-two measures, is treated as a repeating strophe, called a
chorus. Typically, the lead instmmentalists state the melody, usually in unison, and then
members of the ensemble take tums soloing over the repeating choms. In hard bop,
players like Coltrane would often play twenty-minute and longer solos over repeating
chomses.
The most striking distinction between the two styles was in the functioning of
rhythm section, particularly with the contrasting approaches to playing the dmm set and
the piano. In comparison to the characteristically steady accompaniment of the big band
rhythm section, the rhythm section in bebop, especially the pianist and dmmmer
accompanied the melodic line with a more complex and polyrhythmic interaction. The
8
term comping was used to describe the way pianists accompanied a soloist. The pianist
would comp by playing intermittent chords, with irregular rhythms, in response to the
phrasing of the soloist. The polyrhythmic aspect of comping reflected the fact that the
rhythm of the bebop melodic line itself was usually more complex and syncopated than the
melodies and ensemble backgrounds (called riffs) of swing.
The role of the acoustic bass player also changed in bebop, as it became costumary
among bassists to play a more linear and conjunct bass part (called a walking bass line).
Though the walking bass line first developed in the swing bands of Count Basic and Duke
Ellington by Walter Page and Jimmy Blanton, respectively, in bebop it became idiomatic,
replacing the swing style bass part which typically contained repeated roots and fifths and
less conjunct motion.
While the bass part became more conjunct, the melodic line in bebop tended to be
more disjunct, chromatic, and dissonant than the relatively diatonic and conjunct melody
of swing. There were at least three factors that contributed to making the melodic line
more disjunct: increased syncopation in the phrasing, more rhythmic and melodic
complexity, and more sudden registral changes demanded by virtuosic playing of scalar
and arpeggiated material. Increased dissonance and linear chromaticism arose in part from
the more frequent playing of the harmonic series' upper partials (ninths, elevenths, and
thirteenths) above the fundamental of the chord and the addition of notes impUed by
tritone substitution.
In tritone substitution, the dominant-seventh chord whose root is a tritone away
from the fifth scale degree replaces the regular dominant-seventh chord of the key.
Substitutions may also apply to secondary dominants. This substitution can have either a
harmonic application (e.g., V7/X-X becomes •'in/X-X) or a linear application affording
chromatic possibilities to melodic lines over progressions such as ii-V7-I. Example 2A, a
motive from the swing era which became common in bebop, demonstrates a Hnear
apphcation of tritone substitution which results in the chromatic approach to the tonic of
the key. Example 2B and 2C show approach to the third and fifth of the key, respectively
ok c
^ftJ^ G7(l>9) C
c
ok
f ^
Example 2A-C: Figures from tritone substitution.
Example 2D shows tritone chord substitutions applied to dominant to tonic progression.
The German augmented sixth chord from the European tradition is equivalent to the
tritone substitution of V7/V in jazz.
G7
$
Conunwi tritone ok ^
^3? ^
s — L O
OT replaced by tritone substitute
Example 2D: Progression with tritone substitution.
Swing era composers and players Duke Ellington and Art Tatum employed tritone
substitution both harmonically and melodically in their music, but in bebop, players added
substitutions in their melodic Unes more frequently and applied them to approaching the
third and fifth scale degrees. Tritone substitution became an idiomatic element of bebop.
Monk, for example, often employed tritone substitution both harmonically and melodically
in his music.
Otherwise, in the early part of the era, the harmonic vocabulary of bebop was
basically the same as that of the swing era: triadic and functional, with frequent circle of
fifths progressions. It is tme that bebop players employed more often the upper partials
above the triad in their line, but this harmony is also found in the swing era in Ellington
and others as early as Gershwin. By and large, upper partials were still treated as
dissonances which needed resolution, especially by early bop players like Parker. Only in
the late fifties and sixties did jazz musicians experiment with more complex harmonies
10
such as quartal or quintal constmctions, modality, bi-tonality, or atonality. Bebop style
evolved more from developments in rhythm, phrasing, and increasingly more frequent
apphcation of linear chromaticism, than from new harmony.
Though jazz historians cite Thelonious Monk as a pioneer of bebop style, and he
was labeled by some critics as "the high priest of bop," his musical style features many
attributes that are not a part of bebop. ^ In order to show how Monk's music represents a
separate direction from bebop, I provide a rather detailed study of Chariie Parker's style of
melodic improvisation. As mentioned above, Parker was the most important musician of
the early bebop era, therefore, an understanding of his melodic line seems unavoidable in
the discussion of bebop. More than anyone else Parker defines bebop. This discussion
leads to a comparison between aspects of Parker's improvisation and that of Monk. This
comparison will demonstrate how Monk's music is atypical of bebop and how he fits into
the modem jazz era.
The Parker Paradigm
Charlie Parker, more than any other bebop musician invented the paradigmatic
bebop line. His astonishing ability to create a linear expression of harmonies reflected a
supreme command of his instmment and an advanced understanding of voice leading. As
a performer, he attained a level of virtuosity that jazz musicians still strive to emulate
today. Almost all the important jazz players have listened to him, studied his solos, and
absorbed his language. While many of Parker's original pieces became jazz standards, it
was both his phrasing and ability to improvise in a convincingly logical way on any piece
whether an original or a standard, that have had the most profound influence on the jazz
tradition. For the most part, Parker recorded and performed standard pieces from the
l Orrin Keepnews, The View From Within: Jazz Writings 1948-1987 (New York: Oxford University Press, 1988), p. 114. Keepnews discusses the inappropriateness of this label given to Monk.
11
swing era, earlier popular show tunes, or appropriated the same basic chord changes from
pieces that came from these genres for his own compositions. Most of his original works
are either blues, rhythm changes, or other melodic contrafacts. For example, his famous
piece. Donna Lee is based upon the harmony and form of a popular swing era piece,
Indiana by DeRaye and Paul. Another, by Parker, Ornithology, which is a musical pun on
Parker's nickname "Bird," is based on Morgan Lewis' How High the Moon.
According to jazz scholar Thomas Owens and others, Parker's improvisation was
"largely formulaic."^^ In no way does this imply that his solos are predictable. Instead, the
statement suggests that they were constmcted from a repertoire of favored figures rather
than from motives derived from the melody of the piece he was performing. This last
point has become a somewhat controversial issue with at least one scholar convincingly
demonstrating that there are both melody-specific motivic references and elements of
thematic improvisation hidden at higher levels of stmcture in Parker's solos. '
Nonetheless one finds that, in almost all of his solos, Parker tended to favor certain
melodic formulas comprised of combinations of his favorite figures. Some of these figures
came directly from his predecessors in the swing era. Owens has conducted the most
thorough examination of Parker's favored improvisational figures to date.^^ The following
examples come directly from his research.
Parker frequently employed idiomatic chromatic figures similar to those shovm in
Ex. 2A-C. Figures related to these can be found in almost every Parker solo. Another
important set of Parker figures, derived from swing and employing arpeggiation, appears
in Ex. 3.
^ Ibid, p.30. ' Henry Martin, Charlie Parker and Thematic Improvisation (Lanham, Md.: Scarecrow Press,
1996), p. 111-112. ^^Owens, op. cit., pp. 31-35. David Baker has also compiled Parker melodic formulas.
12
Example 3: Parker arpeggio figures.
As is the case of the figures in Ex. 2A-C, many other players from the swing and
bebop eras employed this or similar figures, an arpeggio, often outline the seventh and
sometimes the ninth above the fundamental. Figures from Ex. 2A-C and Ex. 3 were also
prominent in both Thelonious Monk's improvisation and composition.
The next most frequently employed Parker figures, shown in Ex. 4, are basically
diatonic and scalar in nature. ^
^ r ^ ' lU IJ l i ^ m m ^
Example 4: Parker diatonic scalar figures.
The simplicity of the above diatonic figures makes them easy to apply to many contexts.
Example 5 illustrates the combination of an arpeggiated figure, a chromatic figure, and a
diatonic figure in a favorite Parker formula. ^
gm7
3
C7
I ^ ^ s i chromatic J—, diatonic
i arpeggio ^
i ^ ^
Example 5: Parker formula with figures bracketed.
Parker often constmcted his solos using the three basic building blocks shown
above in Ex. 2A-C, Ex. 3, and Ex. 4. The way he put these figures together is what made
his line outstanding.
^ There is some controversy- conceming the terms figure and motive. The term, motive, will refer to figures combined in the construction of a phrase segment, also known as a phrase member.
^ A formula is a musical idea constructed from a combination of figures and used in improvisation.
13
The rhythm of the typical bebop line, except at medium and slower tempi, consists
largely of a series of eighth notes with occasional triplet (or other) figures added to
provide variety. In a well-constmcted bebop line the phrasing of the eighth notes creates a
sense of forward motion by directing the line toward a stmctural downbeat. Therefore,
the phrase will frequently end on strong beats and begin on weak beats or weak parts of
either strong or weak beats. The often syncopated rhythms of bebop enhance this
principle. The first arpeggio figure of Ex. 3 with its start on an upbeat is a typical metrical
starting position for a bebop phrase.
According to Owens, Parker's melodic line was logical from a tonal standpoint
because its organization at the phrase level often outlines a goal-oriented scalar descent.
In some instances this scalar descent is embedded in even higher levels of the stmcture
such as an entire choms. ^ Example 6 demonstrates one such scalar descent to a stmctural
dov^beat taken from one of Parker's solos on his composition. Confirmation. "^
Example 6: Scalar descent in Confirmation.
Example 6 illustrates important features of bebop and merits some close scmtiny.
The key of the passage is F major with harmonic motion largely in the circle of fifths
(^II7/VII7-iii7-VI7^9-ii-V7-I-V7-I). The first chord, B^7, is a tritone substitution for an
^^Owens, op. cit., pp.35-36. ^^Jamey Aebersold, The Charlie Parker Omnibook, p. 3, mm. 85-89.
14
E7 chord. In the first measure Parker outlines the B''7 chord with an approach from the
ninth (C5) of the chord. The registral jump from the last eighth note of the first measure
to the B** 4 in m.2 creates an accented appoggiatura. Parker outhnes a diminished-seventh
chord (F* A C E^ vii70/ii) over the amin7 D7^9 (iii7-VI7^^) harmony. This particular
chord substitution is a common melodic device in Parker. The chromatic approach on the
second beat of the fourth measure implies a tritone substitution as previously shown in Ex.
2 A. The passage in Ex. 6 clearly demonstrates the linear expression of harmony and the
importance of tritone and other substitutions in Parker's melodic Une.
From the perspective of Owens' analysis the scalar descent in Ex. 6 outlines pitches
in the B^-A-G-F^-E' '-D-C-B' '-A. If the registral leap is taken out, the descent spans two
octaves and a half-step from B^4 to A2. Owens states that "this scalar organization is a
device that he (Parker) brought into jazz, for his predecessors' music does not contain
them. "20
At least one prominent jazz scholar, Henry Martin, has disputed this claim. ^ The
issue deserves more research, but whether Owen's claim is accurate or not, there is no
question that Parker remains one of the most imitated jazz musicians of the twentieth
century. While he played certain formulas in improvisations for different pieces, Parker
was not merely a formulaic improviser. In recent years Martin has scmtinized the body of
Parker's recorded solos using Schenkerian analytical methods. These analyses reveal that
much of the underlying organization and logic in Parker's improvisation is not simply the
result of stringing together formulas. In his book, entitled Charlie Parker and Thematic
Improvisation, Martin has demonstrated that "Parker would often absorb the underlying
(Martin's italics) foreground motives and voice-leading stmctures of the themes, then
^^Owens, op.cit., p.36. ^^Henry Martin in a review of Owens' book m Annual Review of Jazz Studies 7, 1995, p. 266.
15
fashion his solos in light of that larger-scale thematic material. " 2 In effect, Parker
combined thematic material with basic formulas from his repertoire and tailored his
improvisation to the particular needs of a given harmonic framework.^^ Whether
consciously or not, Parker demonstrates an ability to link small-scale figures to large-scale
thematic relationships and conversely to express large-scale gestures at the figural level.
This is an important artistic quality which Parker shares with Monk.
One final aspect of Parker's improvisation deserves mention. In many of his solos
he quoted fragments of themes from popular, classical music, or his own compositions
For instance, he often ended a piece with a codetta that quoted Percy Grainger's Country
Gardens. He was also fond of quoting the opening to the Habanera of Bizet's Carmen.
The quotation became a common device among jazz musicians.
22Henry Martin, Charlie Parker and Thematic Improvisation, p.3.
23rbid.,p.lll.
16
CHAPTER III
MONK'S MUSICAL STYLE
Parker's rise to prominence in the early bebop era overshadowed the
accomplishments of most of his contemporaries. Monk, with his idiosyncrasies and unique
style, had receded into relative obscurity until after Parker had passed away. Although he
is credited with being a pioneer of bebop. Monk's playing style was in some ways
antithetical to many of the features of the bebop paradigm established by Parker. In
contrast to the ubiquitous influence that Parker had on saxophone players in particular and
jazz instmmentahsts in general. Monk has had relatively little styUstic influence on other
jazz piano players.
Nonetheless, Monk has had considerable influence on jazz style in other ways,
especially in the later stages of the bebop era. "He (Monk) among others, was beginning to
show jazz musicians that successful musical statements are not formulated purely in terms
of rapidly moving melodic lines. "2" Indeed, Monk's approach to improvisation differed in
interesting ways from that of CharUe Parker. Whereas Parker's solos are filled with rapid
passages. Monk's are filled with space. There is an economy in Monk's improvisation
which employs silence as a musical resource. Parker made masterful statements and
showed jazz musicians what to play. Monk showed them what and when not to play
because he was a master of understatement.
In different ways Monk and Parker were gifted improvisers and masters of both
melodic invention and motivic development. Jazz scholar Ran Blake has stated that
Monk's "most important contribution as a pianist was his ability to improvise a coherent
musical argument with a logic and stmcture comparable to the best of his notated
2'*Tirro, op. cit., p.307.
17
compositions. "25 This description could just as well apply to Parker's improvisation relative
to his composition.
One feature of Monk's improvisation that contributes to its cohesiveness is his
tendency to develop ideas that are derived from the composition that he was playing. This
is an important aspect of Monk's style that relates to the thematic aspect of Parker's
improvisation. The same underlying organization of thematic material revealed by Henry
Martin in his analysis of Parker's solos lies at the heart of Monk's musical style. Both
artists display a keen awareness of the hierarchical nature of musical development. For
Parker this quality is hidden in the improvisation. In Monk the quality reveals itself in his
composition.
According to jazz scholar Martin Williams, Monk once told a soloist that "you can
make a better solo if you use the melody. "2^ Wilhams suggests that Monk, more than
Parker and other contemporaries, employed the melody of the piece as a resource for ideas
in the solo. Monk's improvisational motives came from his composition. Both of these
elements came from his unorthodox style of piano playing and the unusual note choice that
resulted from this technique.
Piano Style
Monk had little formal training and developed his piano playing style by himself
His overall sound, choice of notes, and even melodic figures arise from his unconventional
piano technique. He did not bend his fingers to strike the keys, but rather held his hands
almost horizontal to the keyboard. "Often seemingly unintentional seconds embellished his
melodic lines, giving the effect of someone playing while wearing work gloves. "2' Though
25Ran Blake, Grove's Dictionary of Jazz, pp. 121-122. 2^Martin Williams, "What Kind of Composer was Thelonious Monk?," Music Quarterly, N3 1992,
p.437. 2'7owens, op. cit, p. 141.
18
one can hear in his playing this "work glove" effect which, to some critiques, suggested
that he lacked technique, Monk should not be dismissed as a pedestrian player. In listening
to his many recordings one finds that it is likely that these "wrong notes" are not due to a
lack of dexterity. Rather their appearance is part of a so called ''Klangfarben" technique in
which timbre is an artistic resource.28 Ran Blake cites amateur recordings from Minton's in
1940 which provide the earliest examples of Monk's playing as evidence that he, at this
time in his career, was able to play in the style of virtuosic swing era pianists such as Art
Tatum and Teddy Wilson.29 Further, among Monk's recordings there are difficuh passages
which he executes with remarkable finesse. An excellent example of the poUshed technique
which Monk could display is the piece Trinkle Trinkle^^ This is as difficult a melody to
perform as any in bebop, yet Monk played it with a precision that only an accomplished
pianist could match. In addition, he commanded great control over his articulation.
Though his attack was often percussive and harsh, he could suddenly change it, Ughtening
his touch with careflil calculation and control. Some of his advocates have pointed out that
Monk demonstrated a remarkably high degree of hand and finger independence.^^ He
could easily trill with outer fingers and play a melody with the other fingers in the same
hand. It was this skill which enabled him to play very rhythmically deft and surprising
punctuations in the left-hand accompaniment of his solos.
Monk's unusual playing style directly effected the type of melodic figures that one
finds in his composition and improvisation. These figures are often unusual and disjunct,
but they are still pianistic, at least for his approach to the piano.
In some ways Monk's piano playing is a link between the stride tradition of players
hke James P. Johnson and bebop players like Bud Powell. Throughout his career.
2^Laila Rose Kteilly-O'SuIIivan, "Klangfarben, Rhythmic Displacement, and Economy of Means," Master's Thesis 12/1990, pp. 6-47.
29Ran Blake, "Monk Piano Style," p.25. ^0 Thelonious Monk, The London Collections, Volume 3, Black Lion,760142. ^ Ran Blake, "Monk Piano Style," pp.27-28.
19
especially in solo performances of ballads. Monk would play both standards and his own
pieces in the stride style. At the same time Monk was a pioneer in the development of
bebop-style comping. There are those who point out the influence of both Ellington and
Tatum in his playing. Monk's attack, comping, and overall piano sound at times suggest
the influence of Ellington. 2 HQ ^y j^^^g learned some harmonic ideas from both Tatum
and Ellington, though it is hard to prove this.
Melody and Improvisation
The discussion of melody and improvisation includes material from Monk's
compositions. This is primarily because Monk often derived figures from his compositions
in his improvisations, in short, "he quoted himself " ^ Williams made the point above that
Monk "used the melody" as a basis for the improvisation. However, he also apphed
material from his other melodies to improvisations in totally different compositions. In a
way this is not so unlike Parker's playing of his favored figures which, after all, were
essentially pre-composed ideas. As mentioned earlier, Parker, like Monk, would quote his
own compositions while improvising over the chord changes of a different piece. Unlike
Parker however. Monk seldom quoted themes of popular or classical pieces in his
improvisations. Writer Whitney BaUiet provides an excellent description of the
relationship between Monk's improvisation and composition: "Monk's improvisations
were moUen Monk compositions and his compositions were frozen Monk
improvisations."^'*
^2Mark C. Gridley, Jazz Styles (Englewood Cliffs, N.J., Prendce-Hall, 1978), p. 131. ^^Owens, op. cit., p. 143. ^•^Whitney Balliet, Goodbyes and Other Messages: A Journal of Jazz, 1981-1990 (New York, Oxford
University Press, 1991), p. 3 7.
20
Whole-tone Figures
From Tatum it is likely that Monk got the idea, shown in Ex. 7 for one of his
favorite figures, a downward sweeping whole-tone scale which Tatum employed, but
more often with a pentatonic scale.
Example 7: Monk's descending whole-tone figure.
One finds this or similar whole-tone derived figures in nearly all of Monk's solos.
The frequent appearance of whole-tone figures is one important feature of Monk's music
that is not as commonly found in Parker's music. Whole-tone ideas became idiomatic only
in the later stages of the bebop era. Other figures which are the sources of Monk's melody
in both composhion and improvisation are described below.
Besides the figure in Ex. 7, Monk often employed other whole-tone derived figures
both in his improvisation and composition. One such figure occurs in the bridge of his
52nd Street Theme, as shown below in Ex. 8.
v^ ^^^TJ^jnjj Example 8: Whole-tone figure from 52ndStreet Theme.
In addition to the whole-tone material which appears in the above example as
successive augmented triads a whole step apart, the example also demonstrates one of
Monk's favorite polyrhythms, the three against four pattern articulated by the three-pitch
sequence in eighth notes. Further, the example demonstrates sequencing. One can find
many other examples of sequencing in Monk's improvisation, many more than in Parker
21
There are numerous instances in which Monk's figures included the interval of the
tritone. One characteristic figure, shown in Ex. 9A, is from a transcription of one of
Monk's solos on I Mean You^^ Here again, in the next measure of this solo he sequences
the figure down a half step. This figure was also the main motive for a later Monk piece.
Raise Four. Tritone figures arise in relation to the whole-tone scale, but in some of
Monk's music the tritone appears harmonically in the context of the Lydian scale. This is
particularly the case with the piece, Jackie-ing (Ex. 9B).^^
B
f S B l» Maj7 #11
f XE
Example 9A-B: Melodic and harmonic tritone figures.
Chromatic Figures
Monk employed chromatic scale fragments in a large variety of ways, including the
figures from Ex. 2 which arise from tritone substitution. One chromatic scale fragment in
a Monk composition is part of the melody of Blue Monk, a blues in which the main motive
is a four-note half-step ascent in eighth notes (D4 rise to F4). The first two measures
appear below in Ex. 10.
Example 10: Chromatic figure from Blue Monk.
• Stuart Isacoff, Thelonious Monk, p.21, mm. 5-8. Transcription by Jerry Kovarsky. • Lawrence O. Koch, "Thelonious Monk: Compositional Techniques, Annual Review of Jazz Studies
2, (1983). p. 68.
22
Another chromatic scale fragment is part of the motive of the famous Monk tune.
Straight, No Chaser, shown in Ex. 11. The chromaticism of this figure arises from the
combination of the blue note which is the flatted third (enharmonically spelled, circled in
the example) and the major third of the key.
^ ^ i M %
Example 11: Chromatic figure from Straight, No Chaser.
Half-step motion is a very important element in Monk's music, both melodically
and harmonically. Many of his unusual harmonizations are tritone substitutions by which,
as demonstrated above, V7/X-X becomes ''in/X-X. In this way root motion by half-step
frequently replaces circle of fifths harmony in Monk's music. In some cases this motion
makes up almost the entire harmonic framework. Two examples of this type of
composition are Epistrophy, and Well, You Needn't. The latter composition is decribed in
detail in the next section of this chapter (see Form and Logic). In addition. Monk
frequently exploited the dissonant sound of simultaneous minor seconds in his solos (see
Timbre below).
Arpeggiation
Many of Monk's melodies feature arpeggiated figures as a motive. Monk's
arpeggiated figures link his music to bebop and, at the same time show how closely his
melody expresses his harmonic concept. Example 12 illustrates some of Monk's
arpeggiated figures.
%jJ?ljAjj|^''i>^ . y l ^ r f e AskKie Now Rhythm-a-ning ^^m^i^^uw -Round Midnight
Example 12: Various arpeggiated figures in Monk's music.
23
Other Figures
Monk employed consecutive sixths to compose the blues-based M/.y/mo50.
Similar figures appear in his improvisations and as parts of other tunes. Example 13 is the
beginning of the theme to Misterioso.
i V^=^
Example 13: Consecutive sixths figure in Misterioso.
The pentatonic scale is a source for the melodies of I Mean You and 52nd Street
Theme. Monk frequently quoted both of these melodies or employed other pentatonic-
derived figures in solos. These melodies are shown below in Ex. 14A-B. In I Mean You
(Ex. 14 A), the second scale degree of the pentatonic scale is omitted, so that this melody
outlines the FMaj add6 chord.
Example 14A-B: Pentatonic-derived figures.
The examples above illustrate many of the figures with which Monk created his
music. There are also numerous diatonic figures in Monk's music some of which are
part of very singable melodies. One largely diatonic melody. Let's Cool One, is
regularly played on the children's television program, Sesame Street. The first four
measures of this melody appear below in Ex. 15.
El Maj?
^mm frnin? B1;7 £1^^3)7
w Example 15: Let's Cool One, mm. 1-4.
24
One frequently finds that many of the above Monk figures appear both in
improvised passages and as melodic material in his compositions. Monk employed
bebop vocabulary in common with Parker such as the idiomatic chromatic,
arpeggiated, and diatonic figures. However the whole-tone figures, consecutive
sixths, other figures which feature unusual contour and rhythm, are melodic elements
which clearly separate Monk from orthodox bebop as defined by Parker.
The Techniques of Monk's Composition
In contrast to Charlie Parker's original pieces, many Monk compositions feature
both original melody and harmony. This is not to say that Monk never composed
contrafact melodies, for some of his most famous tunes such as Straight, No Chaser, Blue
Monk, and Misterioso are based on the blues, a form which was the basis of compositions
by almost every jazz composer. He also composed melodies over rhythm changes, though
with various alterations, such as Nutty, Humph, Rhythm-a-ning, and a few others. In
other cases Monk v^ote contrafact melodies on popular standards of the day. For
example, In Walked Bud i^ based on the changes to Blue Skies, an Irving Berlin classic.
Let's Call This employs the basic changes to Sweet Sue, another then-popular standard.
He even reharmonized the changes to Jada in one piece. Sixteen. Monk also recorded
some popular standards such as Nice Work If You Can Get It, I Should Care, Honeysuckle
Rose, All the Things You Are and Willow Weep for Me.
Nonetheless, whether standards, contrafact melodies or completely original pieces.
Monk managed to leave a personal stamp on each of his performances. Some of his
melodies are humorous and almost childlike in their simplicity. Quite a few of his
compositions feature only one or two figures as motivic material. Others, especially his
ballads, feature expansive and lyrical melodies. Some pieces, such as the previously cited
Trinkle Trinkle, Four in One, or Introspection, are highly complex and difficuh to play.
25
Almost all his pieces are in 4/4. Only one. Ugly Beauty, is a waltz. There are a variety of
features in his compositions that give them their distinctive character. These include
unusual and interesting use of rhythm and meter, melodic gestures which are often disjunct
but always logical, interesting harmony, colorful dissonances, unusual phrase or formal
stmcture, or various combinations of these elements.
Monk wrote approximately seventy pieces in his career. Undertaking an
exhaustive analysis of every composition is beyond the scope of the current document.
Rather, I have confined my study to a few representative compositions. Furthermore,
there are certain compositional techniques that one finds in many of his pieces as described
below.
Timbre
One striking feature of Monk's style that he integrated into both his improvisation
and composition is the playing of simuhaneous mmor or major seconds as mentioned
above. Sometimes these seconds arise from his compact chord voicings. For example, in
a CMaj7 chord the seventh (b* ) and root (c'') are voiced as minor seconds. Example 16
shows this and similar voicings. ^
CMaj7 Dniin7orG7 C7 ^9
m 'j» ' t ^
Example 16: Monk secondal voicings.
In other passages one finds seconds which seem to be employed for coloristic
effects. These are the "wrong notes" which Monk seemed to rehsh. For instance, he
might add a major or minor second below a note in the melodic line creating a pungent
^^Mark Levine, The Jazz Piano Book (pQtulama, CA.: Sher Music, 1989), p. 147.
26
dissonance. Jazz writer Gary Giddens credits Monk with being the one who "more than
anyone else transformed the minor second from mistake to resource. "- ^ This characteristic
suggests that Monk was paying attention to timbre in a way not unlike Schoenberg's
Klangfarben Melodie?^
In his article on Monk's compositional techniques Lawrence O. Koch points out
that Monk's simuhaneous minor seconds are often blues derived. Frequently, Monk
played both the minor and major third of the triad simuhaneously in order to obtain a
"bent-note effect."^^ These seconds are also knowai as split thirds because the major and
minor third above the tonic sound simultaneously. Example 17 demonstrates this
coloristic apphcation of simuhaneous seconds.
k ^ ^ r= y ~ E
Example 17: Bent-note effect.
The clearest example of Monk's coloristic seconds is the piece Hornin' In. In one
recording tmmpet, tenor saxophone, and alto saxophone play the melody in unison while
Monk accompanies it with seconds below the line as demonstrated in Ex. 18.
This work also employs whole-tone material.
Example 18: Hornin' In mm. 1 -3.
^ Gary Giddins, Rhythm-n-ning (New York, Oxford University Press, 1985), p. 215. ^^Laila Rose Kteilly-O'Sullivan, op. cit., p. 6 " Lawrence O. Koch, op. cit. p. 69.
27
Reiteration and Sequencing
The primary developmental techniques in Monk's composition are reiteration and
sequencing. It is the interaction of these techniques with rhythm and meter that creates
Monk's unique musical character. Because his chords move so often in parallel motion by
half step it should not be surprismg to find that in his pieces he would also sequence a
figure by a half step. In Ex. 19, Monk sequences the opening motive of his 52wJ 5/ree/
Theme by half step.
i £ r ^ U - M J ' l j L J l ^ ^ ^ ^ ^ '^r-0
Example 19: Sequence in 52nd Street Theme.
Another famous sequence by successive half steps occurs in the bridge one of
Monk's well known compositions. Well, You Needn't shown in Ex. 20.
I<^^4 J I J ' ^ J J j lJ ' i '^JJ ll|J' J J J ^ J J 1
Example 20: Sequence from Well, You Needn't.
There are sequences that occur at intervals other than the minor second in Monk's
music. Whole-tone figures were sometimes sequenced by whole step as demonstrated
previously (see Ex. 8). In the blues forms he would often sequence the opening phrase (or
segment of it) up a perfect fourth in the fifth measure which, in the blues, is usually a
harmonic motion to the subdominant chord. This happens in Blue Monk (see Ex. 10) both
in m. 2 and m. 5 of the form. Bemsha Swing, a sixteen-measure AABA piece which moves
28
to the subdominant chord in the ninth measure, contains such a sequence as demonstrated
in Ex. 21.
I f^^ 7 r i?i» VM n=FF^ m -0—0-
B
^S 'F=F^ f
Example 21: Sequence in Bemsha Swing.
Monk may have been neither the first nor the only to employ sequencing in jazz,
but it is an important developmental device that pervades his music.
The sequencing mentioned above is but one technique that Monk employed to
reiterate a figure. Besides sequencing one finds other types of reiterations which are
simple repetitions of a figure or fragmems of a figure. In fact, reiteration, whether
through sequencing, exact repetition, or other means discussed below is a unifying formal
element in many of Monk's pieces. The economy and symmetry of Monk's music stems in
part from his skillfiil development of one or two figures with reiteration. Monk employed
reiteration in interesting ways that involved the manipulation of the rhythmic and metrical
properties of the figures. It is in part this mastery of motivic manipulation in terms of
rhythm and meter that strongly reveals Monk's great skiU as a composer. Monk's
manipulation of rhythm and meter in his composition is described below.
Rhythm and Meter
Monk would often state a motive using a certain rhythm, then when repeating it,
change the statement by the simple operation of using a different metrical position for the
begimiing of the same pitch and rhythm set. An excellent example of this rhythmic
29
displacement technique occurs m m. 7 of Well, You Needn't. Example 22 shows the
melody of the opening eight measures of this work. In this example the brackets delineate
the phrase segments of the passage.
Each segment begins on upbeat of four
^W fcwi 3 t l ^Myijjj vjjij ^^m
Entrance tnincated to upbeat of three
Example 22: Well, You Needn't mm. 1-8.
The displacement in the example above has the effect of dismpting what seems to
be an expected temporal interval between entrances of each phrase segment. More
importantly, there is also a dismption of the accent partem estabhshed by the three
previous phrase segments and the beginning of the fourth phrase segment which all began
on the upbeat of four. The displaced figure starts on the upbeat of three making beat four
of this measure accented by virtue of the previous strong beat placement of the ascending
perfect fourth. One explanation for this effect is that Monk has essentially superimposed a
3/4 measure onto the prevailing 4/4 meter." ^ The next example illustrates this effect.
Monk has divided two measures of 4/4 meter (4+4) into a 3+2+3 grouping.
(S=Strong beat, w=weak beat)
w w S w S w w
^ ^ ^ ^ ^ ^
P=^^ r Example 23: Metric superimposition.
One can find numerous examples of this and similar polymetric superimpositions in other
works.
" Mark S. Havivood, "Rhythmic Readings in Thelonious Monk," Annual Review of Jazz Studies 7 (1994-1995), p.27.
30
Frequently the metrical displacement is employed along whh simple figural
tmncation or elongation. The break between chomses in I Mean You is another
interesting example of this effect. As shown below (Ex. 24), the figure is offset in the
repeat in the same way the previous example was, that is, displacement has moved the
figure's beginning from the upbeat of four to the upbeat of three in the second measure.
I 5 fe
[I[fii [/'a :t¥=5 ^ ^ I I
Q S W W
4 w w ^ S w
^ 5 9^
grf.
Example 24: Metric superimposition with tmncation.
The implicit 3/4 meter is similar to the one in the previous example. However, in the
repeat of the figure, there is a tmncation so that the quarter note remains on a strong beat
both in the notated meter and the superimposed meter. Monk avoids what would be two
measures with 3/4 and 4/4 meters by this tmncation. This particular composition features
a notated meter change to 2/4 just before this break. This is unusual for Monk. A notated
meter change occurs in only one other Monk piece. Played Twice.
Notated polymetric superposition occurs in a variety of ways in Monk's music.
Perhaps the most interesting example of the highly sophisticated polymetric organization
in Monk's music is the curiously titled Four in One. Monk divides the first measure of this
work into quintuplet quarter notes which are then subdivided into eighth-note triplets as
shovm in Ex. 25.
, 3—1 I ^ ' I 3—1
Example 25: Four in One mm. 1-2.
31
In another work, Rhythm-a-ning, an accentuation of beat four again creates a
superimposed 3/4 measure. However, in this instance, rhythmic diminution of the
arpeggio figure creates this displacement as shown in Ex. 26.
m 1 g i i tes 3 4 S w w i s w WT S w 7 4 4
Example 26: Rhythm-a-ning mm 1-4.
Both augmentation and diminution of a figure, such as the one above is a common
device in Monk's music. In Ex. 27, from Introspection, Monk first plays the three-note
figure as a dotted quarter note, a quarter note, and a dotted quarter note. In the next
measure, the melodic figure appears twice in a hemiola pattern of quarter-note triplets
'^iMU ' i i^J^
Example 27: From Introspection, showing diminution of the figure.
The second measure is a superimposed 6/4 measure. Note that the figure is sequenced
down a half step on beats three through four. Later in this composition there is another
excellent example of rhythmic displacement arising from elongation.
k ^ ^
• ? • - . r - - ?
1 ^ JlSZ i/ ' 111 - ' 1 ^ j j u J w
Example 28: From Introspection, displacement arising from elongation.
The above examples demonstrate the mastery of the elements of rhythm and meter
that is characteristic of Monk's composition. The sophistication of the rhythm and meter
along with special timbral devices clearly set Monk apart from his contemporaries,
providing uniquely recognizable trademarks. Monk manipulates and combines his basic
32
motives to build phrases in interesting and imaginative ways. The element of humor in
Monk's music seems to arise in the metrical surprises combined with irregular melodic
contours that are typical of his phrases. Indeed, it is on the phrase level that one finds a
remarkably intricate organization in his music.
Economy: Form and Logic
In the music of Thelonious Monk one finds many melodies harmonized by chords
which move in parallel motion up or down a half step. In some works this motion makes
up most of the harmonic stmcture. One work of this type is Well, You Needn't,'^^ shown
in Ex. 29.
A ( mm. 1,9,25) /S Phrase 1
Form: AABA
F9 GITS F9 GI;9
' ^ j J r ^ J i ' U ^ ^ ^ i ^ ^ ^ ] M u ? i 1 ^
Phrase segment Phrase 2
Q F9 Qh9~~
i i f F9 T - ^
^ ^ ^ « ^
B mm. 17-24
ok j ^
4^ J ^ > M'll u'l- JJ- Ji Ui^ J^J- ^
D9
N i r l i I M n
E9 D9
J^J.J.J^i J ^ J J » J ^ i Ek
D.S.alCoda ^
C9 F9 >^
Example 29: Well, You Needn't.
I>''J^J V J ^ i j ^ ^ ^
' ' Thelonious Monk, The Complete Genius, Riverside, BN-LA579-H2.
33
This work, probably written before 1944, is a thirty-two measure AABA form. In
the first six measures the harmony is a repeating two measure half-step ostmato (F major
chord for one measure up to a 0 *9 chord for one measure), here referred to as the rocking
gesture. In this case, it is a large-scale gesture at the phrase level. Measures 1-8 form a
parallel period vsdth an antecedent and consequent phrase. As shovm in Ex. 29, the first
eight measures of the piece divides into two phrases, each of which contains two phrase
segments.
The melody of the first phrase segment employs an arpeggiated figure which
outhnes an F7 chord. Significantly, the whole piece begins with melodic motion of an
ascending half step from G 3 to A3, here referred to as the semitone pickup gesture. In
this case G 3 is the semitone pickup for A3, the third of an F7 chord. Both the rocking
gesture and the semitone pickup gesture play an important role in the formal stmcture of
the composition at various levels.
The arpeggio figure (mm. 1-2) consists of two parts, the arpeggio in m. 1 and the
descending perfect fourth in m. 2. This arpeggio figure is stated again in mm. 3-4. This
time, in the fourth measure, a sequence of a descending major third by half step (A4-F4,
B^4-G''4) replaces the perfect fourth. The third phrase segment at mm. 5-6 is identical to
the first one with its corresponding descending P4 on the downbeat of m. 6. Then, in the
phrase segment which begins on the pickup to m. 7, a second figure is introduced which is
an ascending P4 preceded by semitone pickup gesture, now to the fifth of the F major
chord (B3-C4-F4). This figure, which occurs as a repeated pair, is a synthesis of two
aspects of the opening phrase segment.
On one hand the figure is related to the arpeggio figure because they have in
common the semitone pickup gesture, though on different chord tones. On the other hand
the figure, because of its ascending perfect fourth mterval, seems related to the descending
perfect fourth in the second and sixth measures. There is an ascending perfect fourth
34
hidden in the arpeggio figure (A3-C4-F4-C5, which some may suggest is the motivic
origin of the perfect fourth motive.
As shown eariier, (Ex. 20) it is the figure at m. 7 that Monk sequences by a series
of half steps in the B section, often termed the bridge in jazz. This bridge begins with
what would be the next pickup gesture in an F7 chord. In this case D4-E^4 is the
semitone pickup gesture for the seventh of the F7 chord. In stmctural sense then, each
chord tone of the opening arpeggio figure (mm. 1-2) has, on a larger scale, received its
semitone pickup gesture in moving from the A section to the bridge. Thus, in a subtle
way. Monk has embedded the arpeggio figure into the larger stmcture.
The harmony of the bridge (mm. 17-25), shown above in Ex. 29, moves by half
steps in chord planing. From m. 17 a 0 *9 chord ascends chromatically to an E9 in the
third beat of m. 21. Then this chordal line descends from the E9 by half step to a B9 in
m. 25. Meanwhile, the harmonic rhythm of the first phrase of the bridge (mm. 17-20),
which had begun half as fast as in the A section, becomes four times faster in the second
phrase at measure 21. This rate increase and the rapid descent of the sequenced figure
drives the phrase back to the A section. This bridge has an interesting formal stmcture.
The first four measures contain two phrase segments which are temporal elongations of
the figure in the final phrase segment of the A section (m. 7). It is interesting to notice
that Monk has restored the temporal space that he had tmncated in mm. 7-8. The first
phrase segment (mm. 17-18) is sequenced up a half step in the second phrase segment
(19-20). Then, at m. 21, the sequencing of the figure, again in temporal tmncation,
continues up two half steps in the compressed time scale.
In this regard the overall period (mm. 17-24) has a modified parallel aspect to its
stmcture. Yet the increased harmonic rhythmic, the new descending harmonic motion,
and the motivic transformation that has taken place gives the second phrase strong
contrasting aspects. The beginning of the second phrase (m. 21) of the bridge is an
35
important stmctural event. The stmctural zenith of the bridge arrives on beat three of this
measure. The measure begins with the ascending motion but once the E9 chord is reached
the hne begins its descent. The root of the E9 chord which was the goal of the chromatic
ascent of the bridge is the semitone pickup (E) for the E-O'' ostinato of the A section. The
E9 chord appears in the context of a small scale rocking gesture (E' '-E-E''). It is also
noteworthy that the semitone pickup gesture for the pitches harmonized by E9 is F-F^, the
enharmonic equivalents of F-G'', the roots of the opening ostinato. The bridge section
ends with both semitone pickup gestures (B-C, G^-A) successively reintroduced, mirroring
the order of presentation in the A section. It is especially revealing that there is yet
another small scale mirror of the rocking gesture using the C9 B9-C9 chords in the last
two measures of the bridge.
The formal stmcture is related to the successive appearances of the four semitone
pickup notes for each chord tone of the F7 chord which, of course, make up the E7 chord.
This relationship is embedded most elegantly at stmcturally important locations in the
form. The economy with which Monk manipulates motivic material to generate the
phrases, either by elongation or tmncation, creates an elegant balance m the formal
stmcture. This piece also demonstrates Monk's remarkable control over the forces of
harmonic rhythm.
There are other features of Well, You Needn't that deserve mention because
they are typically found in other compositions. One example of this is the use of the
last phrase segment of the A section as the material for development in the bridge.
This occurs in other quite a few of Monk's other pieces including I Mean You,
Rhythm-a-ning, and 'RoundMidnight. As shovm above. Well You Needn't contains
only two figures, one of which is derived from the other. This "economy of means" is
typical of many Monk compositions.^^
' ^The term economy of means comes from O'SuIlivan.
36
In some cases Monk based a composition on only one motive. A prime
example of this is Straight, No Chaser. The organization of this work demonstrates a
very elegant, but subtle superposition. Straight, No Chaser is one of Monk's blues
based compositions. The melody and harmony are shown below (Ex. 30).
I b'- cj'l^fi'cr-^tf ^ ' ^ ^ J > } V ^ t 3 ^ ^ EI.7
^ ^
j^. ek
^•*l L tl)fr}Tr' •=e I G7
^^m ^ p cmin? F7 gj y
Example 30: Straight, No Chaser.
The brackets in the above example delineate the phrase segments which combine to
form a phrase in a paired antecedent-consequent relationship. The justification for the
grouping of the first two phrases comes from the segmentation afforded by the rise of
each phrase group to E' '5. Notice that this pairing of the phrase segments is similar to
the that which occurs in Well, You Needn't. One can perceive other similarities
between the two pieces with respect to the tmncation, elongation, and reiteration of
motive in the constmction. For instance, the second phrase segment (mm. 3-6) of has
been spun out to a four-measure length by motivic tmncation, repetition with
displacement (mm. 3-4), and elongation (mm. 5-6). In Straight, No Chaser there are
two phrases {A, A"), each six measures in length, subdivided (2+4) | (6), in the twelve-
bar form. Monk has mapped this two-part phrase stmcture (6+6) onto a formal
stmcture made up of three phrases, each four measures m length, which harmonically
defines a three-part 4+4+4 {AAB) stmctural relationship. In a sense, the rhythmic
interest of this piece is fiieled by the hemiola (2:3) that occurs at a hypermetrical
37
•evel,44 At m. 5 the continuation of the phrase across the formal structure's downbeat
dehneated by the harmonic gesture to the subdominant, creates an exciting sense of
forward motion. The beginning of the second phrase occurs in the middle, therefore
the relatively weaker part (S a ) of the second four-,
diagram illustrates this hemiola. •measure phrase. The following
Phrase 1 Phrase 2
measures
measures;
2
s 1
1
, s
+
2
4
s
3
W
4
W
5 6 1
s
L£_
W W
2__L .9 10 11 12
w S w
Example 31 Hemiola at the hypermetric level.
There is a noteworthy similarity between the motive of Straight. No Chaser
and the opening motive of Richard Strauss' Till Eule,^eigel, shown below in Ex. 32
mm. 6-9^
TT ih^p^iJAH^m k ^ ^
Example 32: Till Eulenspeigel mm. 6-9:
It is interesting that Strauss subjects the Till motive to rhythmic displacement
(bracketed in the above example) in a mamier not unlike Monk's technique. It is quite
possible that this is a mere coincidence, the figure is a simple chromatic comiection
that employs the second scale degree, the blue-note third and major third.
44,
.oupe.Mo^r K T C s T t ^ f o t ^ n . ^ ; - ^ ' Z ^ T ^ : , Z ^ - ^ ^ ' ' - . . h a v e h nneasure I.e.. There is a h-erarchica, re>a.„.Mp f acL STrn^rXZ a^h^^ase
38
l i w r r - III
Most of the scholars seem to agree that Monk had little contact with European
composers. However, Owens has noted that, according to Monk's son. Monk
possessed a record collection that included Chopin and Liszt and "other European
composers.'"*^ There is eye-witness evidence that early Twentieth-century European
composers, notably Stravinsky, did have a palpable influence on bebop. Some of this
evidence comes from Al Tmney, a pianist who was among the bebop pioneers. Tinney
was the house pianist at Monroe's at the same time Monk was at Minton's. In a 1983
interview he states:
"Stravinsky...borrowed a few things from jazz, but there were also things borrowed from Stravinsky... at the end of Firebird Suite... (he) uses a pedal bass and he has about five or six chords in a chromatic sequence...And I guess that's where these guys (bebop musicians) finally found out what you could do to a major chord. " ^
Whether influenced by late Romantic and early Twentieth Century art music or
not, there are certain elements in Monk's music that parallel the post-tonal chromatic
style and are not typical of the early bebop. His interesting melody and the way he
treats it through the innovative manipulation of rhythm and meter, the experimentation
vdth timbre, the chromaticism, the frequent whole-tone figures, "adventurous
harmony," the economy, and formal ingenuity are features of his composition which
brought a new level of sophistication to jazz and clearly established his importance as a
composer.
^^Owens, op. cit., p. 268. ^^Al Tinney, op. cit., pp. 170-171.
39
CHAPTER IV
REFLECTIONS ON MONK
Reflections on Monk for Concert Band is a four-movement work. Each
movement employs various elements from Monk's music as a resource in the
constmction of the work. There is a subtitle before every movement that is a fragment
of the name of the Monk composition which contains the primary figure, motive, or
theme employed in the movement. Each movement utilizes some of the Monk
compositional techniques discussed in the second section of chapter three. In other
instances I have quoted thematic material in a way that recalls Parker's famous
technique.
First Movement:
Well..
The first movement of this work, in F, employs various elements from Monk's
composition. Well, You Needn't. Well., has a temary form: introduction(mm. 1-7)
.4(mm.7-88)5(mm. S9-113)A'imm.ll4-I5l)extension(mm.l52-l51).
The mtroduction(mm. 1-7) begins with an ostinato whose harmony recalls the
rocking gesture of the A section from mm. 1-6 of Well, You Needn't (Ex. 29). The
appearance of the simuhaneous major seconds in the second clarinets at m. 1 reflects
the influence of Monk's "work glove" style. Voicings hke these appear in every
movement and are a unifying element of the work.
The melodic material in the A section comes from the figure in the melody at
m. 6 of Monk's Well, You Needn't, shown in Ex. 33 A.
40
lf'^)lj^J Example 33 A: The figure from Well, You Needn't, m. 6.
Example 33B is the derived figure, as it first appears in the beginning of the^i section
at m. 7, stated by the bass clarinet and baritone saxophone.
^ ^
Example 33B: The Well., figure in mm. 7-8.
In m. 9 another gesture, derived from Monk's figure, appears in the flutes.
Here the figure is sequenced by descending half steps. In m. 10 the bass clarinet
mirrors the figure played m. 7 (Ex. 33B). Similar figures, altered in a variety of ways,
appear throughout the^ section (mm. 7-88).
The theme of Well, You Needti't (mm. 89-95) marks the beginning of the B
section. The tmmpets and aho saxophones play Monk's melody in 9/8 meter.
Ako Saxophone 1 Alto Saxophone 2
Example 33C: Opening ofB section mm. 89-90.
The material beginning at m.96 strongly suggests the bridge of Monk's composition.
The B section builds to a chmax at m. 112. Then, at m. 114, a tuba solo signals the
retum of the opening figure of the A section. The A' section ends at m. 151 with a
tritone-substituted cadence to the subdominant as shown below in reduction in Ex.
34A.
41
m ^ ^ f
^ ^ -ig. - ^ 9 -
Example 34A: Well... cadence to subdominant, mm. 150-151.
The remaining measures form an extension intended to be a humorously
disjunct summary of the thematic material (mm. 152-157). The final cadence at m.
156 now moves again with tritone substitution to the tonic as shown in Ex. 34B.
m.l57
^
i V 1
Example 34B: Well... final cadence to tonic, m. 157.
Second Movement
Blu
The second movement refers to material from Monk's famous blues. Blue
Monk. The form of this movement is as follows: ^(mm. l-U)A\mm. 14-25) B{mm.
26-52) - (mm. 53-74) Coda(mm. 75-93). This movement employs the four-note
rising half-step figure shown in Ex. 34A, which is the opening figure of Blue Monk, for
its constmction. Example 34B shows the figure as h appears in m. 1 of the second
movement of Blu.
42
^ ^ ^
Example 35 A: Blue Monk figure.
Flute fieure displaced
life "^ H ^ . { ^ , S , ^ ^ g i>#«/ g
Bass Clarinet
^Pf
^
Example 35B: Opening of .S/w.
The first measure displays the rising half-step figure v th its first two notes in
the bass clarinet and second two notes in the flute displaced by an octave. The
technique of octave displacement recalls the Klangfarben melodic treatment in the
music of Schoenberg and Webera, also referred to a.s pointillism.
The compositional technique in the second movement centers on unordered
chromatic scale operations and counterpoint. The figure in m. 1 repeats in m. 2 but it
is offset by a sixteenth rest m a Monk-like displacement. In the third measure, the
original figure appears sequenced up a perfect fourth. Example 35C shows how the
pitches in the chromatic scale unfold in the first six measures of this movement.
mm. 3-4 4 m. 6 mm. 1-2
^ c :^
3 mm. 4-3
Example 35C: Chromatic scale presentation in Blu.
The first two measures of Blu present four adjacent notes of the chromatic
scale (D-F bracket 1) v^th the rising half-step figure. This figure then appears in
sequence at the subdominant (G-B** bracket 2) in mm. 3-4, adding another four
43
adjacent notes. A new pitch (B) enters in clarinet 1 on the last sixteenth note of m. 4.
In effect, the four-note figure on G-B'' undergoes expansion adding the fifth chromatic
note. In m. 5 the English hom adds G'' to the collection corresponding to the
expansion of the (D-F) figure. The English horn then completes the chromatic scale in
m. 6 with the C expanding the subdominant upward toward tonic and C expanding
the (D-F) figure dovmward.
Figural variants begin to appear in m. 4. One example of a variant is in the
bassoon at mm. 4-5. Here the bassoon plays a four-note descending half-step figure
from G2-E2, mirroring the rising half-step figure. The material in mm. 7-13 forms a
consequent gesture in that the Blue Monk motive, with its rising chromatic line, is
answered with the descending half-step line in the bassoon. At m. 7 thirds and sixths
in parallel motion now appear with the various chromatic fragments that have grown
from the original material. Fifths arise in the trombones at m. 7 as a resuh of the
chromatic lines moving in contrary motion. Major seconds also emerge from the
variant forms such as the bass clarinet figure in m. 11.
The A section returns at m. 14 now with the note pairs displaced by two
octaves between the tuba and tmmpet. This whole section (mm. 14-25) unfolds in
manner similar to the opening thirteen measures. This repeated section {AA ) employs
and further develops chromatic material in a contrapuntal texture.
In contrast, the B section which begins in m. 26, marked molto legato, employs
the two whole-tone scales which begins whh Scale Ion E as shown in Ex. 36.
Scale 1 zm o o ig:
|?o (k ox
Scale 2 t=s >o v<i.
Example 36: The two whole-tone scales.
44
Other than the two whole-tone scales, there is no specific reference to Monk's music in
this contrapuntal section. The bassoons, baritones, and tubas enter in m. 34. with a
sixteenth-note figure employing the altemate whole-tone scale, shown as Scale 2 in
Ex. 36, which begins to mix whh the phches of the first whole-tone scale.
The retum of material at m. 53 combines the two whole-tone scales so that
the half-step figure in ^ appears m whole-steps. Here the tubas play the second and
fourth notes of the figure and homs play the first and third notes with parallel major
thirds added above each note. This section ends abmptly in m. 74. The Coda (mm.
75-93) contains descending chromatic material, largely half-note triplet hemiola
rhythms in stretto. The Blue Monk figure appears in the final gesture at mm. 91-93.
shovm below in Ex. 37.
^ ^ ^ = > b
^ ^
Jzk ^m EC
^ T y
Wf.
r lEE
J
Example 37: Reduction of final cadence in Blu.
Third Movement
'Round Mid
The third movement reflects both Monk's stride influence and ballad style.
This movement, a ballad, is in 4/4 meter and temary form: ^(mm. 1-14) 5 (mm. 15-
25) A (mm. 26-42). The opening accompaniment suggests the "oompah" of the
stride piano format with simuhaneous major seconds in the clarinets on the weak
beats. The vibraphone sounds a whole-tone figure from the bridge of 52nd Theme
(Ex. 8), shown in Ex. 38, as another accompanimental figure.
45
MffmiH^Ps.
Vibraphone m.2
tsizza: ^ ^ = ^
Example 38: Whole-tone figure in 'RoundMid in vibraphone m. 2.
The melody which enters in the pickup to m. 7 in the trombone contams a blues-
derived flatted fifth and the whole-tone figure played by the vibraphone.
The B section which begins in m. 15 includes a quotation of the melody from
Monk's famous ballad 'RoundMidnight, shown in Ex. 39A. The flute plays portions
of Monk's original melody(mm. 18-24), however, the material is transposed up a
minor second as shov^ in Ex. 39B.
slow
fi'''iV'"' p ' jiiJ- .i ' ! > j T ^ T I'l ' i ^ » J "^
Example 3 9A: 'RoundMidnight mm. 1-4.
Flute
if^y^r-fcj^ • " # h f r r r T * a 3^#^
Example 39B: Flute in 'RoundMid... mm. 18-20.
The orchestral bells in this section symbohcally ring twelve times as the flute plays the
'RoundMidnight quotation.
Fourth Movement
Myst...
The Monk figure of the fourth movement comes f[om Misterioso, a blues
which employs a series of ascending sixths (see Ex. 40). This movement, composed
in C, is in 5/4 meter and features a five-part rondo form, introduction (mm. 1-25) 4
46
(mm. 26-49) B^ (mm. 50-96) ^(mm. 96-119;5^(mm. 120-137; ^(mm. 138-161^
extensionimm. 162-170). The introduction contains simuhaneous seconds in the
accompanimental figures. As in the second movement, this mtroduction unfolds with
gradual chromatic scale presentation. The piccolo states the first fragment of the
ascending major sixth figure at m. 8. The fragments grow in length in a gradual
constmction of the successive sixths m mm. 24-25, which derive from X^Q Misterioso
figure, shown in Ex. 40A.
Example 40 A: Misterioso figure.
At m. 26 the melody, shovm in Ex. 40B, serves as the primary thematic
material for the A section.
^ ' ^ ^ ^ ^ / * <l M V J . m->S
Example 40B: Myst... melody, mm. 26-28.
This melody, constmcted from descending sixths, mirrors the above Misterioso figure.
The Misterioso figure permeates the fabric of this movement, appearing in tmncation
and augmentation throughout.
The B section begins in m. 50 with a pedal ostinato in the lower brass on the
dominant (G). The climactic portion of this section (mm. 124-137) features the
Misterioso figure in stretto. The ending is again an attempt at humor. Whde this
movement employs modes of C, the final cadence lifts to, and estabhshes the
Neapolitan, D'' stmcture shown below. This final cadence forms a mirror of the
47
•MP^v^^m^B^i . .
rocking gesture in which the half-step motion now moves down then up to the final
chord, as shown in Ex. 41
mm. 169-170 r\ kU ^
% «?
")•' ; J ' V - ^ o -
rJ
Example 41: Final cadence Myst... m. 170.
48
CHAPTER V
SUMMARY AND CONCLUSIONS
Thelonious Monk has left the world a very rich and varied collection of
composhions. This document explored the cultural and musical context m which Monk
produced these works. Scholars such as Ran Blake and Martin Williams have championed
the importance of Monk's skill as a composer. His melody, interest in timbre,
"adventurous harmony," the economy of his style, and his thematic approach to
improvisation, are important contributions to the development of modem jazz.
Monk was an important figure in the birth of bebop both as a composer and
pianist. In order to show how Monk fit into the bebop era, I have illustrated some
features of bebop style, especially as demonstrated in Charlie Parker's music. Certain
idiomatic figures from swing became the important building blocks of the bebop
language as distilled through the music of Charhe Parker and imitated by many others.
Monk also utilized bebop vocabulary in common with Parker, such as the idiomatic
chromatic, arpeggiated, blues, and diatonic figures. However, many of the figures
with which Monk created his music arise from his unique playing style. The whole-
tone figures, consecutive sixths, simuhaneous seconds, and melodies which feature
unusual Monk contours and rhythms, are elements which clearly separate Monk from
orthodox bebop as defined by Parker.
There is a remarkable contrast of musical style between Monk and Parker.
Overall, Parker's style is tonally more tradhional than that of Monk. As Henry Martin
notes: "Parker is a musical conservative, a caretaker of tonal tradition, which, with
jazz adaptations, finds hs musical inspiration more in the musical outiook of a Bach
49
than a Cage.'"*' The artistry of Monk and Parker establishes their hnportance to the
jazz worid in different ways. In a sense. Monk points more toward the "Cage" in
Martin's analogy. After Parker's death Monk emerged as an important figure in jazz
because he reintroduced the unique Monk style to a jazz world in need of a new
direction. Monk was a minimalist like Cage. But unlike Cage, who challenged the
very tenets of Westem music. Monk worked within the confines of jazz tonahty. Still,
Monk's music suggested revolutionary directions in hs own individualistic way. His
interest in timbre, his mastery of the forces of rhythm and meter, his economy, and
humor all offer a radically different approach to jazz from the outstanding virtuosity of
Parker.
Both Parker and Monk emerged as significant artists of this period because they
displayed certain artistic quahties which set them apart from their contemporaries. The
abihty to understand and express the hierarchical and organic nature of musical constmction
is an important element of the artistry of both men. Parker displays a remarkable ability to
express the large-scale voice leading of the work upon which he would base his
improvisation. Monk, in a similar way, demonstrates the understanding of how a figure
undergoes logical developmental procedures in his music such as displacement and
sequencing.
The music of Thelonious Monk shows remarkable organization, economy, and
variety. There is a very weh-developed sense of the hierarchical relationship of the
figure, the motive and the phrase as demonstrated in both Straight No Chaser and
Well You Needn't. This is an important trah which Monk shared whh Parker and great
musicians from other periods of music.
^^Martin, Charlie Parker and Thematic Improvisation, p. 113.
50
A musical painter of miniatures. Monk attended to the fine details of timbre,
rhythm, melody, harmony, and form. Coltrane's description of Monk as a "musical
architect of the highest order" is apropos. He employed a rich palette of figures
arising from his idiosyncratic playing style as motivic material. Whh this material and
his masterful control of rhythm, phrasing, motivic development, and form, he created
elegant musical stmctures that are masterpieces of the jazz idiom.
The Composition
The concert band serves as the medium for this composhion because it seemed
that Monk's music whh its rich melodic, harmonic, rhythmic, and timbral features
would translate well to the variety of textures and timbres afforded by this medium.
The strong timbral contrasts of the band especially help to enhance the contrapuntal
aspect of the work.
This is a jazz-derived composition, but h is not jazz. I have avoided many jazz
elements. For instance, there is no swing ride pattem for the cymbal, no hi-hat on
beats two and four, nor much in the way of a walking bass line. Significantly, there is
no improvisation, which is a major component of jazz. The swing feel is not indicated,
though the music, because of syncopation and other Monk-influenced polymetrical
rhythm, should swing whhout h.
On the other hand, there is much jazz harmony, particularly Monk-hke
secondal voicings of seventh chords in every movement. In addition, much of the
harmony features the extended triads that are idiomatic chord constmctions in jazz.
There are also passages that employ chord planing, suggestive of Monk, jazz harmony,
and post-tonal chromaticism. Monk's economy is a strong influence m the way each
movement employs a few motives which undergo development. Hopefully, the work
51
reflects the type of awareness of hierarchical relationship that is characteristic of great
artists such as Monk, Parker, and the great composers of the past.
Monk has begun to receive wider recognition in the jazz world. There is now
a Thelonious Monk Institute of Jazz at the New England Conservatory of Music in
Boston, Massachusetts. This institute sponsors yearly competitions for jazz
instmmentahsts and provides scholarships to deservmg young jazz musicians. The
director of the institute is Monk's son, Thelonious Monk Jr., a jazz dmmmer currently
active in New York City. A biography of Monk by Peter Keepnews is nearly
completed with an expected publication date in the fall of 1997.
52
BIBLIOGRAPHY
Aebersold, Jamie. The Charlie Omnibook. New York: Atlantic Music Corp., 1978.
Baker, David, How to Play Bebop. New York: Hanson, 1978.
Blake, Ran. "The Monk Piano Style." Keyboards (1982)
Cone, Edward T. Musical Form and Musical Performance. New York: W.W. Norton Co., 1968.
Giddins, Gary. Rhythm-a-ning. New York: Oxford University Press, 1985.
Gridley, Mark C. Jazz Styles. Englewood Chffs, N.J.:Prentice-Hall Inc., 1978.
Haywood, Mark S. "Rhythmic Readings in Thelonious Monk." Annual Review of Jazz Studies 1 (1994-95): 25-46.
Isacoff, Stuart, Jazz Masters: Thelonious Monk. New York: Amsco Pubhcations, 1987.
Keepnews, Orrin. The View from Within: Jazz Writings 1948-1987. New York: Oxford University Press, 1988.
Koch, Lawrance O. "Thelonious Monk: Composhional Techniques." Annual Review of Jazz Studies 2 (1983): 67-80.
Ktedy-O'Sullivan, Laila Rose. "Klangfarben, Rhythmic Displacement, and Economy of Means: A Theoretical Study of the Works of Thelonious Monk." Master's Thesis, University of North Texas, 1990.
Lawn, Richard J. and Jeffrey L. Hellmer. Jazz: Theory and Practice. Los Angeles, ' Ca.,1996.
Levine, Mark. The Jazz Piano Book. Petulama, Ca.: Sher Music, 1989.
Martin, Henry. Charlie Parker and Thematic Improvisation. London: Scarecrow Press Inc., 1996.
Owens, Thomas. Bebop: The Music and Its Players. New York: Oxford University Press, 1995.
53
Patrick, James. "Al Tinney, Monroe's Uptown House, and the Emergence of Jazz in Uptown Hariem." Annual Review of Jazz Studies 2 (1983) 150-179.
Rutkoff, Peter. "Bebop: Modern^Qy^ York Jazz." Kenyon Review I (April, 1996): 24-48.
Schuller, Gunther. The Swing Era. New York: Oxford University Press, 1989.
Sheridan, Chris. "Portrait of an Eremite: An Appreciation of Thelonious Monk 10.10.17-17.2.82." Downbeat 35 n.5, (May 1982):24-27.
Tanner, Paul O., Maurice Gerow, and David W. MegiU, Jazz: A History. Dubuque, Iowa: Wm. C. Brown Pubhshers, 1988.
Thomas, J.C. Chasin' the Trane: The Music and Mystique of John Coltrane. Garden City, New York: Doubleday, 1975.
Tirro, Frank. Jazz: a History. New York: WW. Norton, 1977.
Wdhams, Martin. The Jazz Tradition. New York: Oxford University Press, 1983.
. "What Kind of Composer Was Thelonious Monk?" Musical Quarterly 76 (1992): 433-441.
54
SELECTED DISCOGRAPHY
Christian, Chariie. The Immortal, Laserhght 17 032 (CD).
Monk, Thelonious. Blue Monk, Jazz Time 64026-2 (CD).
. The Complete Genius, Blue Note BN-LA579-H2 (LP).
. The Man I Love, Black Lion BL-197 (LP).
. M/5/mo5o, Columbia CL 2416 (LP).
. MO«A:'5 5/M^5, Columbia CS 9806 (LP).
. Monk's Music, Riverside 12-242 (CD).
. Something in Blue, Black Lion BL-152 (LP).
. Straight, No Chaser, Columbia CS 9451 (LP).
. Thelonious Monk with John Coltrane, Jazzland JLP-46 (CD).
. Underground, Columbia CS 9632 (LP).
Tattim Art. I Got Rhythm Vol 3 (1935-44), GRP GRD-630 (CD).
55
3
I
APPENDIX A
ESrSTRUMENTATION
s a
56
List of Instmments
Piccolo [3] 1st Flute [3] 2nd Flute [2] Oboe
English Hom [3] Bassoon [6] 1 st B Clarinet (div. a3) [6] 2nd B^ Clarinet (div. a3) [2] B^ Bass Clarinet [2] E'' Alto Saxophone [2] B'' Tenor Saxophone
E'' Baritone Saxophone [3] IstB^ Tmmpet [3] 2nd B^ Tmmpet [4] F Hom [4] Trombone
Bass Trombone [4] Baritone [6] Tubas [5] Percussion
Vibraphone, Marimba Tympani Percussion I:
Movement I: Crash Cymbal, Triangle, Cowbell, Small Cymbal, Vibraslap
Movement II: Snare Dmm Movement III: tacet Movement IV: Woodblocks (11 different sizes)
Percussion II Movement I: Tambourine, Shaker (egg), Chinese Gong (medium) Movement II: Small Cymbal, Bass Dmm Movement. Ill: Orchestral Bells Movement IV: Shaker, Vibraslap, CowbeU
Percussion III Movement I: Temple Blocks, Tam Tarn (medium) Movement.II: Tambourine Movement III: tacet Movement IV: Crash Cymbal, Claves, Suspended Cymbal,
CowbeU
s
57
APPENDIX B
REFLECTIONS ON MONK
FOR CONCERT BAND
SCORE
58
PnfocmaiKx Time - 20:00 Moderato
1. J. = 76
Reflections on Monk for Concert Band
I. WeU.-Ken Metz
Piccolo
Rulet 1-2
Ot>aetl-2
EogUthHoni
Banoonc 1-3
Bb aainet I
Bb Quinetc 2-3
Ban Qainet 1-2
AloSaxopiwoet 1-2
Tenof Saxophooet 1-2
Baritone Saxophone
'nunipetil-2
'nunipetc3-4
Prendi Horns 1-3
Ftencli Hornc 2-4
TromlxMiet 1-2
Baa 'nombone
Baritone
TWnt
Vibtifihone
Tunpnni
Pcrcuction 1
Percuaion 2
Pctcimion3
Conductor Score (In C) 59 C1997byKenMe<z
Pice.
Fit. 1-2
Ob(. 1-2
EHn.
Bnc. 1-3
a. i
Cl«.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
TYXi. 1-2
Tt)«».3-4
F. Hot. 1-3
F.Hni.2-4
Tbnt. 1-2
B.Tbn,
Bar.
Tuba
Vib.
Tunp.
Perc. 1
Perc.2
Fefc.3
60
Pice.
Fit. 1-2
Ob«. 1 2
E.Hn.
Bnt. 1-3
a. 1
Cit. 2-3
B.CI. 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
•nxt. 1-2
TtXt.3-4
F. Hnt. 1-3
RHnt.2-«
'n>nt. 1-2
B.Tbn.
Bai.
TUb«
Vib.
Timp.
Pete. 1
PefC.2
Pnc.3
61
Pice.
Fit. 1-2
Ot». 1-2
EHn.
Bnc. 1-3
a. 1
Clt.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T^ti. 1-2
•nut. 3-4
F. Hnt. 1-3
F. Hnt. 2-4
'n>nc. 1-2
B.Tbn.
Bat.
"Ma
Vib.
Tmip.
Perc. 1
Perc. 3
62
Pice.
Fit. 1-2
OU. 1-2
E.Hn.
Bnc. 1-3
a. 1
Clt.2-3
B.a. 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
•IY)»t. 1-2
T>«t.3-4
F. Hnt. 1-3
F.Hnt.2^
Tbas. 1-2
B.Tbn.
Bar.
TUba
Vib.
Timp.
F«TC. 1
IVrc.2
FUC.3
63
«i«JiL.>v
Pice.
PU. 1-2
Obe. 1-2
E.Hn.
Bnt. 1-3
a. 1
at . 2-3
B.a. 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
1 ^ . 1 - 2
Tptt.i-4
F. Hnt. 1-3
F.HiK.24
Hnt. 1-2
B.Tbn.
Bar.
1\<M
Vib.
Timp.
Pete.
Perc.2
Pete.3
fl—^ Tambourine
mp .-1
64
Pice.
Pll. 1-2
Ob«. 1-2
B.Hn.
Bnt. 1-3
a. 1
at . 2-3
B. a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1 ^ . 1 - 2
1>«.3-4
P. Hnt. 13
F. Hnt. 2-4
Tbn.. 1-2
B.Tbn.
Bat.
TUba
Vib.
Tunp.
Pete. I
Ptfc. 2
Pad
65
Pice.
FU. 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a. 1
a t . 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1 ^ . 1 - 2
•n)tt.3-4
F. Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bai.
T\t)t
Vib.
4 . ^ 1 f.
Timp.
Petcl
Perc.2
Perc.3
7 bft Y I •/ d ; 7 1 t 1 1 1 if,—>—''""r^ \7^
66
Piec.
Fit. 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a. i
a t . 2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
TJ)tt.3-»
F Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
•MM
Vib.
Tunp.
Perc.
Perc.2
Perc.3
3
67
Pice.
FU.1-2
Obc. 1-2
EHn.
Bnt. 1-3
a.
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B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T>tt. 1-2
T^.3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Tuba
Vib.
Tunp.
Perc.1
Perc.2
Perc.3
PKX.
Fit. 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a . i
Clt.2-3
B.a. 1-2
A. Sax.1-2
T. Sax 1-2
Tp^.l-l
1 ^ . 3 - 4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
Tubt
Vib.
Tunp.
Petcl
Perc.2
Perc.3
Pice.
FU.1-2
Ote. 1-2
E.Hn.
Bnc. 1-3
Cit. 2-3
B . a . 1-2
A.Sax.1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
Tpte. 3-4
F Hnt. 1-3
R HiK. 2-4
Tbac. 1-2
B.Tbn.
Bar.
lUm
Timp.
Perc.I
Perc.2
Perc.3
Pice.
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a . i
at . 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1 ^ . 1 - 2
Tptt. 3-4
R Hnt. 1-3
F Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
•MM
Vib.
Tunp.
Perc.1
Perc.2
Pete.3
m s
-^
= /
71
IUJ- . I1V
PKC.
Re. 1-2
Obe. 1-2
EHn.
Bnc. 1-3
a. i
ac . 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tl)«c. 1-2
T ^ . 3 - 4
F. Hnc. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.T»)n.
Bac.
1\*»
Vib.
Timp.
Perc. 1
Fere.2
FCrc.3
"il'MlWl.'V
Pice.
FU.1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a.
CU.2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Hxt. 1-2
Tptt. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
lUba
Vib.
Timp.
Perc. 1
Perc.2
Perc.3
T - i - f f l B B B ^
Pice.
FU.1-2
Obe. 1-2
EHn.
Bnt. 1-3
a . i
a t . 2-3
B . a . 1-2
A. Sax. 1-2
T Sax 1-2
B.Sax.
TtXc. 1-2
TtXc.3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
•MM
Vib.
Tunp.
Pad
Perc.2
Perc.3
61
i 1 i \^
$
W ' 'f- - f-mp
^ ^ ^ -T^ ^
mf ^
^
mfV •mf\
i t i m •mp
u M ? -< \I i y i
74
Pice.
Fit. 1-2
Obt. 1-2
EHn.
Bnt. 1-3
a. 1
at . 2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T^Xt. 1-2
Tptt. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
T u p .
Perc. 1
Pete. 2
Perc.3
1 fl'i 1
J' i iJ'' i'^ nff
m
GS
i \,j^ 1 ^ ^ mf
Pice.
Fit. 1-2
Obe. 1-2
EHn.
Bnt. 1-3
a . i
a t .2 -3
B. a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1 2
B.Tbn.
Bar.
TUba
Vib.
Timp.
Pad
Perc. 2
Perc.3
r—r-j r (• i
Pioc.
He. 1-2
Obt. 1-2
EHn.
Bnc. 1-3
ac . 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tl)te. 1 2
Tpte. 3-4
R Hnc. 1-3
R Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bat
lUba
Vib.
Tunp.
Perc. 1
Perc.2
Perc.3
Pice.
FU.1-2
Obt. 1-2
EHn.
Bnc. 1-3
a.
ac.2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1 ^ . 1 - 2
Tptt. 3-4
R HK. 1-3
R HiK. 2-4
'n>nt. 1-2
B.Tbn.
Bat.
lU>a
Vib.
Tunp.
Fete. 1
Pete.2
Pete. 3
78
Pice.
Fit. 1-2
Obt. 1-2
EHn.
Bnt. 1-3
a. I
at . 2-3
B . a . 12
A. Sax.1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
Tk>te.3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbo.
Bar.
TUba
Vib.
Timp.
Petcl
Perc 2
Perc.3
Pice.
Rt. 1 2
OU. 1-2
E. Hn.
Bnt. 1-3
a. 1
CU.2-3
B. a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
Tpte. 3-4
R Hu. 1-3
R Hnt. 2-4
11>K. 1-2
B.Tbo.
Bat.
TUba
Vib.
Tunp.
Petcl
Perc 2
Pttc3
m li ;.]p^p -'p-'i^^p'' r r '•' P ^ p ^ p - I'i
80
Pice.
FU.1-2
Obe. 1-2
EHn.
Bnc. 1-3
a . i
ac . 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T^te. 1-2
Tpte. 3-4
R Hnt. 1-3
RHiK.2-4
Tbnc. 1-2
B.Tbn.
Bat.
TUM
Vib.
Tunp.
Perc.
Perc 2
Perc.3
81
PlCC
Rt. 1-2
Obt. 1-2
E » i .
Bnt. 1-3
a . i
at.2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Itite. 1-2
•It>te.3-4
R Hnt. 1-3
RHiH.2-4
Tbnt. 1-2
B.Tbn.
Bat.
1\*a
Vib.
Tunp.
iVrcl
Perc 2
Ftrc3
n
fl-H—H—t 1 (((( -f-^—^ '"•'—fftf •f-^—i f-^—ffff
82
Picc.
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a . i
a t . 2-3
B.a. 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
1 ^ . 1 - 2
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bac
TUba
Vib.
Tunp.
Perc. 1
Perc 2
Perc.3
83
Picc
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a.i
at.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 12
B.Sax.
1^.1-2
1^.3-4
R HiK. 1-3
R Hnt. 2-4
Tb». 1-2
B.Tbn.
Bac
Itta
Vib.
Tap.
Perc 1
Perc.2
Perc.3
84
• « •
10S
Picc.
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a . i
at.2-3
B.a. 1-2
A. Sax. 1-2
T Sax 1-2
B.Sax.
1 ^ . 1 - 2
Tt)te.3-4
R HK. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
TUM
Vib.
Tmp.
Fletc.l
Pete 2
Perc 3
85
Picc.
FU.1-2
Obe. 1-2
EHn.
Bnt. 1-3
a . i
a t . 2 3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T )te. 1-2
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
TUba
Vib.
Tunp.
Petcl
Perc 2
Perc.3
• * ^
,^j A Tempo
Picc
Rt. 1-2
Obt. 1-2
EHn.
Bnt. 1-3
a. i
at.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
Tptt.3-»
R Hnc. 1-3
F Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bat.
T\<>a
Vib.
Tunp.
Pwcl
Perc 2
Perc 3
87
117
Picc.
Rt. 1-2
Obe. 1-2
E.Hn.
Bnc. 1-3
a.
at. 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tt)te. 1-2
Tptt. 3-4
R Hnc. 1-3
R Hnt. 2-4
Tbnc. 1-2
B.Tbn.
Bar.
"njba
Vib.
Timp.
Perc. 1
Perc. 2
Perc.3
88
• W H i ^ ^ .
Picc.
Re. 1-2
Obe. 1-2
EHn.
Bnc. 1-3
a t . 2 -3
B. a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
•^te.1-2
T>tt. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
BaL
Tuba
Vib,
Tunp.
Petcl
Pete 2
Perc 3
121
$
harmoD mule ,
i \ ^"
j 1 I'j ^
$
t 1 ^ i ^
muteo£F
P 7 P 7 ? \,jt
1 JN ij' ^
89
125
Picc
Rt. 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a. 1
a t . 2 -3
B . a . 1-2
A. Sax.1-2
T. Sax I 2
B.Sax.
Tptt. 1-2
Tptt. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
T\Oa
Tunp.
Petcl
Perc 2
FCrc3
i 7 l l M V J/ 7 J) 7 7 l|kJ)J) •> l l ^ flfl'7 li 7 i
90
12S
Picc.
Rt. 12
Obt. 1-2
EHn.
Bnc. 1-3
a . i
ac. 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tptt. 3-4
R Hnc. 1-3
R Hnc. 2-4
Tbnc. 1-2
B.Tbo.
Bac
l U a
Vib.
Timp.
Perc. I
Perc 2
Perc 3
91
133
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc. 1-3
a. i
Oc. 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
T^te. 3-4
R Hnt. 1-3
R Hnc. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
TUba
Vib.
Tunp.
Perc.1
Perc 2
Perc.3
^H ' i,'
1 « •
-7 r- ^' a ' b H T ' ()' ^ r^-f 1 ^V i
92
137
Picc.
Rt. 1-2
Obe. 1-2
EHn.
Bnc. 1-3
a. i
Oc. 2-3
B. a. 1-2
A. Sax.1-2
T.Sax 1-2
B.Sax.
Tpte. 1-2
Tpts.3-*
R Hnc. 1-3
R Hnc. 2-4
Tbnc. 1-2
B.Tbo.
Bac
I U M
Tunp.
Petc l
Perc 2
Perc 3
137
m m •* > "* a -^
^ ^ ^
h' i^' ^
^ ± ^
•* a -* > -* a -*•
mp r r
PP mi i i ^ ' — I f — #
mp pp
^ " pp mp pp
m m m
93
Picc.
FU. 12
Obt. 1-2
EHn.
Bnc. 1-3
a . i
at. 2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tpte. 3-4
R Hnc. 2-4
Tbnt. 1-2
B.Tbo.
Bac
•MM
Vib.
Timp.
Petcl
Pete 2
Perc.3
}) -1 }) t I
^ ^ ^
i 7 I h h 7 h 7 h 7 |ii
^\^ji' i' i ^
i 7 / J 7 ;, 7 J 7 Ijj. mp
^ ^ ^ ^ ^ ^ ^ tnp
vtp
D [)' ' [)' ^ ^ f 7*—f 7- r—7-p\> V P P
f 7- •"' '—f—f—f—f—7 f—7-«pp P p ;
94
Picc.
Re. 1-2
Obt. 1-2
Etta.
Bnt. 1-3
a. i
at.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T )ti. 1-2
•nJte.3-4
R H K . 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbo.
1\<>a
Vib.
T-p .
Petcl
Pete 2
Perc.3
95
Pioc.
FU. 1 2
Ott. 1-2
EHn.
Bu.1-3
a . i
at.2-3
B. a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
Tpte. 3-4
R Hat. 1-3
R Hnc. 2-4
Tbnt. 1-2
B.Tba.
B«.
T\Oa
V*.
Tmip.
Ftac.l
tac.2
Perc.3
96
Picc.
FU.1-2
Obe. 1-2
EHn.
Bnt. 1-3
a. I
CU.2-3
B . a . 1-2
A. Sax. 1-2
T Sax 1-2
B.Sax.
T ^ . 1-2
Tpte. 3-4
RHw. 1-3
R Hu. 2-4
IbK. 1-2
B.Tbo.
Bac
T\lba
V*.
Tunp.
Pete.
Pete. 2
Pete 3
« -E/tofttL
97
n. Biu~. kfuttrimo
Piccolo
Flutetl-2
Oboetl-2
EagliifaHom
Baccoone 1-2
aarinetl
aaineu 2-3
Bate aarinet
Afto Saxophooet 1-2
Tenot Saxophooet 1-2
Baritone Saxophone
Ihimpete 1-2
Ttampelt3-4
HotK 1-3
Her nt 2-4
Ttonbonet 1-2
Batt lYombooe
Baritone
l\<)a
Marimba/Vibfi|iiooe
Tunpani
Petcuttioo 1
Petciiciioo2
Petcuttioo 3
Misterioso
m m
m S S ^
^
mvimba
M- cure (kumsVlight rtick
H O troall cymbal
H-98
e 1997 by Ken Metz
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc. 1-2
a . 1
ac. 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
1 ^ . 1 - 2
T|)te.3-4
Hnc. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bar.
Tb.
MatWib.
Timp.
Petcl
Perc 2
Pete.3
99
Picc.
Re. 1-2
Obe. 1-2
EHn.
Bnc. 1-2
a . i
ac. 2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tk)tt.3-4
Hnc. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bar.
Tb.
Mtt/Vib.
Tunp.
Perc. 1
Perc.2
Perc.3 X
100
Picc.
FU.1-2
Obt. 1-2
EHn.
Bat. 1-2
a. i
at . 2 3
B.a.
A. Sax. 1-2
T.Sax 1-2
B.Sax.
TY)te. 1-2
Tptt. 3-4
Hot. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbo.
Bar.
Tb.
MmJVib.
Timp.
Petcl
Perc.2
Perc.3
101
I l l I » limLLJX^^ I I • • I • II • I
Picc
Rt. 1-2
Obt. 1-2
E H o .
Bnt. 1-2
a. i
a t . 2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1 ^ . 1 - 2
Ti)te.3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bac
Tb.
M«yVib.
Tunp.
Petcl
Pete 2
Ptic.3
Picc.
R l . 1-2
Obt. 1-2
E.Hn.
Bnt. 1-2
a. i
a t . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B. Sax.
T>te. 1-2
Tpte. 3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bac
Tb.
MmJVib.
Tunp.
Perc. I
Pete 2
Pete 3 If
103
Picc.
Rt. 1-2
Obe. 1-2
EHn.
Bnc. 1-2
a . i
Oc. 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
TtKc. 1-2
T ^ . 3 - 4
Hnt. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bac
Tb.
Mar A l b .
Timp.
Ptrc.l
Perc.2
Perc.3
104
PKC.
FU.1-2
Obt. 1-2
E»i .
Bnt. 1-2
a. i
CU.2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
T Jte. 3-4
Hue. 1-3
HiK.2-4
TbK. 1-2
B.Tbn.
Bac
Tb.
Mjt/Vib.
•n-p
Petcl
Perc.2
Perc 3
105
Picc.
Rt, 1-2
Obt. 1-2
EHn.
Bnc. 1-2
a. i
at . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
Tpte. 1-2
Tl)te.3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
Tb.
Mtt/Vib.
Tunp.
Pete
Perc.2
Perc. 3
106
Pice.
Rt. 1-2
Obt. 1-2
EHn.
Bnt. 1-2
a.
a t . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
Tkite. 1-2
TY)te.3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
Tb.
^ ^ = r
"-'"i.j. d^.^M L—u^ ;' i vtp
-' L I I M mp
L^ T P I 3 t ^ ^
MarTVib.
Tunp.
Perc.l
Perc.2
Perc.3
-7 7-SnveDr.
-y- i> /«
mp ^ V
107
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc. 1-2
a . i
ac. 2-3
B.a.
A, Sax.1-2
T. Sax 1-2
B.Sax.
Tt>te. 1-2
TVte.3-4
Hnc. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bac
Tb.
Mtt/Vib.
Tunp.
Petcl
Perc.2
Perc.3
fl-^ -7 7 f mp m
battIk.
fr -tp\
• ^ — ^
108
Picc.
Rt. 1-2
Obt. 1-2
EHn,
Bnt. 1-2
a . i
a t . 2-3
B.a.
A, Sax. 1-2
T.Sax 1-2
B.Sax.
Tpte. I 2
Tpte. 3 ^
Hnt. 1-3
Hne. 2-4
Tbnt. 1-2
B.Tbo.
Tb.
MMjVib.
Timp.
Perc.l
Perc.2
Perc. 3
109
PICC
Rt. 1-2
Obt. 1-2
EHn.
Bnt. 1-2
a. 1
at. 2-3
B.a.
A, Sax,1-2
T, Sax 1-2
B, Sax,
T ^ , 1-2
Tt>te,3-4
Hnt. 1-3
Hnt, 2-4
Tbnt, 1-2
B,Tbn.
Bac
Tb.
MarTVib.
Tunp.
Perc.l
Perc 2
Perc,3
$
^ ^ / ^ ^
-1 ^ Sn>:Dr. w -i ^ vr
no
Picc,
Rt, 1-2
Obt, 1-2
EHn,
Bnt. 1-2
a . i
a t . 2-3
B. a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
Ti>te. 1-2
T^.3-»
Hnc. 1-3
Hot. 2-4
Tbnt. 1-2
B.Tbn.
Bac
Tb,
MtfTVib,
Tunp,
Perc.l
Fere 2
Perc 3
/ 'W -^ 7 h m -^—^ w • ^ r ^
111
Picc,
FU.1-2
Obt, 1-2
EHn,
Bnt, 1-2
a, 1
at , 2-3
B.a.
A. Sax,1-2
T.Sax 1-2
B.Sax.
TtKc, 1-2
Tpte, 3-4
Hnc, 1-3
Hnc, 2-4
Tbnt, 1-2
B,Tbo.
Bac
Tb,
MarTVib.
Timp.
Pete
Pete 2
Perc 3
m^—ramr fl-^ TT
i—r 'M ^ f
• ^ ^
-y—/^
OT/
112
Picc,
Re. 1-2
Obt. 1-2
EHn.
Bnt. 1-2
a. i
at , 2-3
B.a,
A, Sax.1-2
T. Sax 1-2
B.Sax.
T))tt. 1-2
Tt)te. 3-4
Hnc. 1-3
Hne. 2-4
Tbnc. 1-2
B.Tbn,
Bac
Tb,
MarJVib,
Tunp.
Petcl
Perc,2
tee 3
•I'-i
113
^
Picc
Re. 1-2
Obe, 1-2
EHn.
Bnt, 1-2
a.i
at , 2-3
B,a.
A, Sax,1-2
T, Sax 1-2
B, Sax.
T ^ . 1-2
Tptt, 3-4
Hnt, 1-3
Hnt, 2-4
Tbnt, 1-2
BTbn.
Bar,
Tb.
Mit/Vib,
Tunp,
Perc.l
Perc.2
Perc.3
T f mp
mp r-j^ ^ 7
mf
114
Picc
Rt. 1-2
Obt. 1-2
EHn.
Bnt, 1-2
a , I
CU,2-3
B,a,
A, Sax, 1-2
T, Sax 1-2
B,Sax.
TJ)tt. 1-2
Tptt, 3-4
Hnt, 1-3
Hne, 2-4
B,Tbu.
Bar.
Tb.
MatTVib.
Tunp.
Pete I
Perc,2
Perc. 3
115
^>v
Picc,
Rt, 1-2
Obt, 1-2
EHn.
Bnt, 1-2
a . i
a t . 2-3
B.a.
A. Sax. 1-2
T, Sax 1-2
B, Sax.
Tpte. 1-2
Tptt. 3-4
Hnc, 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tbn.
Bar,
Tb.
MatWib.
Tunp,
Perel
Perc, 2
Perc, 3 ' " rm^ 116
Picc,
Re. 1-2
Obt, 1-2
EHn.
Bnc. 1-2
a . i
ac, 2-3
B, a.
A, Sax,1-2
T, Sax 1-2
B, Sax.
Tpte, 1-2
TJ)te, 3-4
Hnt, 1-3
Hnc. 2-4
Tbnc, 1-2
B,Tbn.
Bar,
Tb,
MarATib,
Timp.
Perc.l
Perc.2
Perc 3
Snare Dr.
f ^^ I' I'
-7 7^
tan<Mwine
1M
/' /' c/•
mi^ r r mf
«/[>
OT/
• ' M n '
«{f racr -r4>
^
T ? f' ^
racr 117
Picc,
Rt, 1-2
Obe. 1-2
EHn.
Bnt. 1-2
a . i
a t . 2-3
B.a,
A, Sax.1-2
T. Sax 1-2
B.Sax.
T ite. 1-2
Tt)te. 3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn,
Bar,
Tb,
Mar AT* .
Tunp.
Perc.l
Perc.2
Perc. 3 ^"TTmr 118
Picc.
PU. 1-2
OU. 1-2
EHn.
Bnt, 1-2
a, 1
CU,2-3
B,a,
A, Sax,1-2
T, Sax 1-2
B.Sax,
Tptt, 1-2
Tptt.i-4
HK, 1-3
Hnt, 2-4
Tbnt, 1-2
B,Tbn.
Bac
Tb.
Mat/Vib.
Timp.
Perc.
Perc. 2
Perc 3
'• ^ UH 119
!wr\
Pice
Rt. 1-2
Obt. 1-2
EHn.
Bu, 1-2
a, I
CU.2-3
B.a,
A, Sax, 1-2
T, Sax 1-2
BSax,
T>te, 1-2
Tptt, 3-4
Hnt. 13
Hnt, 2-4
Tbnt, 1-2
BTbn.
Bar.
Tb.
MM/Vib.
Tunp.
Petcl
Pete 2
Pete 3
•^f«S!*^*\
Picc.
FU, 1-2
Obt. 1-2
EHn.
Bnc, 1-2
a, 1
at,2-3
B,a,
A, Sax,1-2
T, Sax 1-2
B.Sax,
Tptt, 1-2
T^,3-4
Hnt, 1-3
Hnt, 2-4
Tbu, 1-2
B.Tbn,
Bar,
Mat/Vib,
Tunp,
Petcl
Perc, 2
Perc 3
^ cQirrrr jy
D f ^ ^ f ^ -f-t^
^ ^
fl-^ ^
-I ( 1 1 f
h 7 i
-^—^
- ^ — ^
- ^ - ^ Bt"^ /YY*
121
Picc,
R l , 1-2
Obt, 1-2
EHn,
Bnt, 1-2
a. i
a t . 2-3
B, a.
A, Sax,1-2
T, Sax 1-2
B,Sax,
Tpte, 1-2
Tptt. 3-4
Hnt, 1-3
Hnt, 2-4
Tbnc, 1-2
B,Tbn,
Bac
Tb,
MatAab.
Tunp.
Petcl
Pete 2
Perc 3
122
"HM^N^
Pice
FU.1-2
Obt, 1 2
EHn.
Bat, 1-2
Oi. 2-3
A, Sax, 1-2
T, Sax 1-2
B, Sax.
• n * . 1-2
Tt>te,3-4
Hnt, 1-3
Tbnt. 1-2
B.Tba.
Bac
Tb,
MatATib.
Timp.
Perel
Perc, 2
Pete 3
123
-iBHBHrs^
Picc.
FU, 1-2
Obt. 1-2
EHn,
Bnc. 1-2
ac. 2-3
B.a.
A, Sax,1-2
T,Sax 1-2
B.Sax.
Tptt, 1-2
Tpte, 3-4
Hnc. 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tbn.
Bar,
Tb,
MarAib.
Tunp.
Perc.l
Fere 2
Perc 3
^
H-
fl-i-
B-f
124
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc, 1-2
a.
at. 2-3
B.a.
A, Sax,1-2
T, Sax 1-2
B,Sax,
T>tt, 1-2
Tptt, 3-4
Hnc, 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tbn,
Bar,
Tb,
$
$
^s \U
MatA/ib,
Timp,
Perc.l
Perc 2
Pete 3 .if
125
Pice
FU, 1-2
Obt, 1-2
EHn,
Bnt, 1-2
a. 1
a t . 2-3
B.a.
A, Sax.1-2
T.Sax 1-2
BSax.
Tpte. 1-2
Ti)tt.3-4
Hnt. 1-3
Hnt, 2-4
Tbnt, 1-2
BTbn,
l b .
MaiAib,
Timp.
Petcl
Pete 2
Pete 3
i i
126
^n••^^
Picc
Rt, 1-2
Obe, 1-2
E Hn,
Bnt, 1-2
a. i
a t . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
T>)te, 1-2
TJ)te, 3-4
Hnt, 1-3
Hnt, 2-4
Tbnc. 1-2
B.Tbo,
Bat,
Tb.
MatAib.
Timp.
Petcl
Pete 2
Pete 3
127
Picc,
Rt, 1-2
Obt, 1-2
EHn,
Bnc, 1-2
a, I
Oc, 2-3
B,a,
A, Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tpte, 3-4
Hnc. 1-3
Hnc, 2-4
B,Tbn.
Bat,
Tb,
MatAib,
Timp.
Perc,
Pete 2
Perc 3
128
m. 'Round Mid
Adagio J= 52
Piccolo
R d e t l - 2
Obaett-2
EoglithHom
Battoom I -2
Bb aatinet 1
BbaitiKte2-3
Baa aarinet
Ako Saxcphonee 1 -2
Tenor Saxophone 1-2
Baritone Saxophone
Thimpete 1-2
ThimpeU3-4
Flench Hcrne 1-3
French Hornc 2-4
Ttombonet 1-2
Bate Ttomtwne
Baritone
l U w
Vibtiphone
Timpani
Petcuttion 1
Percuttion 2
Percuttion 3
129
Picc.
R l . 1-2
Obt. 1-2
EHn.
Bnt. 1-2
a . i
a t , 2-3
B,a,
A, Sax, 1-2
TSax
B.Sax,
T ^ , 1-2
Tpte, 3-4
RHnt, I 3
R Hnt, 2-4
Tbnt, 1-2
B,Tbn,
Bac
Tb,
Vib,
Tunp,
Pete I
Pete 2
Pete 3
f
$
$
m
'•l^^J J i
mp
Dolce l,tolo
^ mp
J ,J J iJ
tisn>ft f ^ -
nfr
LY. I J I
1. K .LLJ
130
Picc,
FU.1-2
Ota. 1-2
EHn.
Bnt, 1-2
a. i
at . 2-3
B,a,
A, Sax, 1-2
TSax
BSax.
T>tt. 1-2
T>te.3-4
RHnt. 1-3
R Hnt. 2-4
Tbnt, 1-2
B,Tbo,
Bar,
Tb,
Vib.
Tunp,
Petcl
Fete 2
Pete 3
131
Picc,
Rl. 1-2
Ota, 1-2
EHn,
Bni. 1-2
a. i
at . 2-3
B.a.
A. Sax. 1-2
TSax
B.Sax.
T>te. 1-2
Tptt. 3-4
R Hnc. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
Tb,
Timp.
Petcl
Pete 2
Fletc3
132
Picc.
Rt. 1-2
Ota, 1-2
EHo,
Bnt, 1-2
a.
ac, 2-3
B.a,
A,Sax,1-2
TSax
B,Sax.
Tpte. 1-2
Tpte, 3-4
R Hnc, 1-3
R Hne, 2-4
Tbnc, 1-2
B.Tbn.
Bat.
Tb.
Vib.
Timp,
Petcl
Pete 2
Perc, 3
'>'-^y^ 'r ^
^ ^
I 3 — n I
3
r r T ^
r r T IT ^ ^
^
^
133
Picc.
Rt, 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a. i
Oc, 2-3
B,a,
A, Sax, 1-2
TSax
B,Sax.
1|)te, 1-2
T>te.3-4
RHnt, 1-3
RHnt, 2-4
Tbnc. 1-2
Bat,
Tb,
Vib.
Timp.
Pac.\
Pete 2
Pete 3
134
Picc.
H I , 1-2
Ota. 1-2
EHn,
Bnt. 1-2
a. i
at . 2-3
B.a.
A. Sax.1-2
T.Sax
BSax,
Tptt. 1-2
Tpte, 3-4
R Hnt, 1-3
RHnt. 2-4
Tbnt, 1-2
B.Tbn.
Bat.
Tb,
Vib.
Tunp.
Petcl
Pete 2
Pete 3
^
( 3 1
^ |J Ii ^ -t
135
Picc.
Rt, 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a, 1
a t , 2-3
B.a.
A, Sax, 1-2
T.Sax
BSax.
Tpte, I 2
Tt)te,3-4
R Hne, 1-3
R Hnt, 2-»
Tbnt, 1-2
B,Tbn,
Bat.
Tb.
Vib.
Tunp,
Petcl
Pete 2
Perc, 3
^ ITJ \fJ ~*_
f ^
^
136
'. .kiwi. . ^
Picc,
PU. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a, 1
at,2-3
B,a,
A. Sax,1-2
TSax
BSax,
T ^ , 1-2
T t te ,3^
RHnt. 1-3
Tbnc. 1-2
B.Tbn.
Bar.
Tb.
Vib.
Timp.
Perc.l
Perc.2
Fere 3
^ 4 • ' j ' ^W.
$
137
IV. Myst.
Piccolo
Rulecl.2
Oboecl-2
EnglichHom
Baicoottc 1-2
aatinet I
aatinete 2-3
Bate aarinet
Ato Saxophonet 1-2
Tenot Saxophooet 1-2
Baritone Saxophone
TlumpeU 1-2
Tkumpelt3-4
Horm 1-3
Hot nt 2-4
Ttombooet 1-2
Bate Ttombooe
Baritone
TUM
Vibraphone
Tunpani
Petcuttion I
Petcuttion 2
Petcuttion 3
m
m m
138
( W
Picc.
Rl . 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a.
Oi . 2-3
B.a,
A. Sax. 1-2
T.Sax 1-2
B.Sax.
TtKc. 1-2
T^.3-4
Hnc, 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tba
Bac
Tb,
^
^
^
Vib,
Tunp.
Petcl
Fete 2
Pete 3
139
Picc,
FU, 1-2
Ota, 1-2
EHn,
Bnt. 1-2
a . i
a t . 2-3
B, a.
A, Sax,1-2
T, Sax 1-2
BSax.
T^te. 1-2
T ^ . 3 - 4
Hnt. 1-3
Hnt. 2-4
Tboi. 1-2
B.Tbo,
Bac
l b .
Vib,
Tunp,
Petcl
Perc 2
Fere 3
fl— -f- ru &-M^ rr
-^ T K ^-^ ftr
^rrcr ^ ^ FT
•JH' f-^
mp
-h^ ja 7n
140
" T » - W « W
Picc.
Rt. 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a. i
at . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B, Sax,
Tpte, 1-2
Tptt, 3-4
Hnt, 1-3
Hnt, 2-4
Tbnc, 1-2
B,Tbn,
Bar,
Tb,
Tunp,
Perel
Pete 2
Pete 3
^ ^ mp ruf
^ mf
^ ^ ^ ^
«lf
^ ^
« /
\>y 7 ^
^
141
Picc,
Rt, 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a , I
a t , 2-3
B . a ,
A, Sax,1-2
T. Sax 1-2
B,Sax.
l^te. 1-2
T>tt.3-4
Hnt, 13
Hnt, 2-4
Tbnt, 1-2
B,Tbn,
Bac
Tb.
Vib.
TSmp.
Petcl
Perc 2
Pete 3
$
142
^ *
Picc.
Rt. 1-2
Ota. 1-2
EHn.
Bni, 1-2
a. 1
at . 2-3
B.a,
A, Sax.1-2
T.Sax 1-2
T))te. 1-2
Tpte, 3-4
Hnt. 1-3
Hnt. 2-4
Tbnc. 1-2
B.Tbo,
Bat,
Tb,
Vib,
Tunp,
Petcl
Fete 2
Pete 3
143
Picc
Rt. 1-2
Ota, 1-2
EHn,
Bni, 1-2
a. i
at , 2-3
B,a,
A. Sax.1-2
T.Sax 1-2
B.Sax,
T>te. 1-2
TJitt, 3-4
Hnt, 13
Hnt, 2-4
Tbnc, 1-2
B,Tbn.
Bat,
Tb,
Vib.
Tunp,
Petcl
Fttc2
Pete 3
•' l -^»i
144
Picc.
Fb.1-2
Oil*. 1-2
EHi .
Bu. 1-2
a . i
at.2-3
B.a.
A. Sax. 1-2
T.Sax 1-2
B.Sax.
Ttite.I-2
1^.3-4
Hnc. 1-3
Hm.lA
•am. 1-2
B.Tta.
Bac
Tb.
Tunp.
Pete. 2
Perc. 3
^
^ w m
£ =1 ^ T
* _ _ _ _ i » ^m
145
Picc.
R t . 1-2
Ota. 1-2
EHn.
Bm. 1-2
a.
CU.2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
T^te. 1-2
Tpte, 3-4
Hne, 1-3
Hnt, 2-4
Tbnt, 1-2
B,Tbn.
Bat,
Tb,
Vib.
Timp,
P e t c l
Pete 2
Pete 3
iiU::=iii'^ mp-
° ' u'' ur ii -T "7
i •'K'' C'' Kf rm 1+-
^
rW QT' T •^+-
mf
146
Picc
Rt. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a. i
a t . 2-3
B.a.
A, Sax,1-2
TSax 1-2
B,Sax,
1 ^ , 1 - 2
T))te, 3-4
Hu. 1-3
Hoc.2-«
Tbnc, 1-2
BTbn,
Bat,
Tb,
Vib,
Timp,
Petcl
Pete 2
Pete 3
Ugctto
tLm. '
Ugalo
T Cresc.
6-^Tr^ r ^ -'([lew.''
f
0 ' * • ; ! » •
DirxiT jf^
M^—T -7 ctath cymbal Lv,
r 'A
^ ^ « /
" /
Crtc.
147
Picc,
R l . 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a, 1
at , 2-3
B,a,
A, Sax. 1-2
T, Sax 1-2
B, Sax.
T>tt, 1-2
Tptt, 3-4
Hm, 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbo.
Bat,
l b .
Vib,
Timp,
Pete, t
Pete.2
Peic.3
:.4.4 I'liK
;.-af.-
148
i n
Picc
Rt. 1-2
Ota. 1-2
EHn.
Bni, 1-2
a. i
a t . 2-3
B.a,
A, Sax,1-2
T Sax 1-2
B,Sax.
T^)te.l-2
T>tt.3-4
Hot. 1-3
HiK.2-4
Tbnt. 1-2
B.Tbn.
Bat,
Tb,
V*.
Timp.
Petcl
Pete.2
Pete 3 i ° ' \>( M' b ^-yrmwrm H p r p
149
Picc
FU.1-2
Ota. 1-2
EHn.
Bnt. 1-2
a. i
at.2-3
B.a.
A. Sax. 1-2
T.Sax 1-2
B.Sax,
1 ^ , 1 - 2
Tptt, 3-4
Hnt, 1-3
Hi»,2-4
TbK, 1-2
B,Tbn.
Bac
Tb.
Vib.
Tunp.
Petcl
Pete 2
Pete. 3
2.4,1 i oQjy
Hr^rrv rrrvd Trrrr—r mp
FTTTrwrrrr 150
Picc
FU, 1-2
Ota, 1-2
E l k .
Bnt. 1-2
a. i
a t . 2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
TtKi.3-4
Hnt. 1-3
Hu. 2-4
Tbnc. 1-2
B.Tba.
Bac
Tb.
Vib.
Tunp.
Petcl
Perc.2
Perc 3
Croc. ^
mrr 151
Picc.
Rt. 1-2
Ota. 1-2
EHn.
Bat. 1-2
a. i
at.2-3
B.a.
A, Sax,1-2
TSax 1-2
BSax,
T ^ . 1-2
Tptt. 3-4
Hnt. 1-3
Hnt. 2 4
Tbnt. 1-2
B.Tbn,
Bat,
Tb.
Vib.
Timp,
Petcl
Pete 2
Pete 3
only
frTrrrrr •sip
H M I ^'^T I' 11 ^ Croc.
r r r r rrrrr mf
152
t ^
Pkc.
Rt. 1-2
Ota. 1-2
E H o ,
Bot. 1-2
a , 1
Cit,2-3
B , a ,
A, Sax, 1-2
T, Sax 1-2
BSax.
T>te, 1-2
T^>te,3-4
Hat, 1-3
H K , 2 - 4
Tbw, 1-2
BTbo.
Bac
Tb.
Timp,
tec, 1
tec 2
Pete 3
« / l /'J ?*flf \.\\.u^\'[.\:>'.
J- ^ J- .T'i. j J J :1s:t: iU J. J' « /
TTTTrT rrmTTrrm rrTTTT /
b I' I' r ( V
153
1 ^
Picc,
Rt, 1-2
Ota, 1-2
EHn.
Bnt, 1-2
a, 1
at , 2-3
B,a,
A, Sax,1-2
T.Sax 1-2
B.Sax.
HHc. 1-2
1^.3-4
Hnc, 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tbn,
Bar.
Tb.
Vib.
Timp.
tec. 1
tec. 2
tec 3 M r r "T ->f ( I I ^''H' I r f '' '1 r I r i' f
154
Picc,
Re, 1-2
Ota, 1-2
EHn,
Bnc, 1-2
a, 1
at.2-3
B.a,
A, Sax, 1-2
TSax 1-2
B, Sax,
TWc. 1-2
Ti)te.3-4
Hnt. 1-3
HiK.2-4
Tbnc. 1-2
B.Tbn,
Tb.
Vib.
Timp.
tec.l
tec, 2
tec 3 1° M r r r f wrm rrTTTT FTTtn
mm UTTrj
mf
r-rrrry i»T I' f r i
155
"sa
Picc.
Re. 1-2
Ota. 1-2
EHn.
Bnc, 1-2
a.i
CU.2-3
B.a.
A. Sax.1-2
T. Sax 12
B.Sax.
T ^ . 1-2
'n)te.3-4
Hnt. 1-3
HiK.2-4
Tbnt. 1-2
B.Tbn.
Bac
Tb.
Vib.
Timp.
tecl
tec. 2
tee 3
° ( ( l>( \ ^^ Croc.
rrrm \fCr.
FTTTTT rrrm? M I r I i
rprrrrr Jf to clavi
f r n w to claw c
Croc. fCric. ^>T r r (• '
clavet
7P
156
Picc,
Rt. 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a, 1
at , 2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ , 1-2
Tpte, 3-4
Hnt, 1-3
Hot. 2-4
Tbnt. 1-2
B.Tbo.
Bac
Tb.
Vib,
Timp,
tecl
tec, 2
Pete.3
157
SZM
Picc.
Rt. 1-2
Ota. 1-2
EHo.
Bnt. 1-2
a. i
at . 2-3
B.a.
A, Sax,1-2
TSax 1-2
B.Sax,
Tpte, 1-2
Ttte,3-4
Hnt, 1-3
HiK,2-4
Tbnc. 1-2
B.Tbn.
Bat,
Vib
Timp,
tecl
tec, 2
Pete 3
158
(Sfl
Picc.
Rt. 1-2
Ota. 1-2
EHn,
Bnt, 1-2
a.i
at. 2-3
B.a.
A. Sax. 1-2
T.Sax 1-2
B.Sax.
T))tt, 1-2
T ^ , 3 - 4
Hnt, 1-3
H K , 2 - 4
Tbne, 1-2
B,Tbo.
Bar,
Tb.
Vib.
Tunp.
tecl
tec, 2
tec 3
^ i ^ l i g ^
^-U^ 7
i X-<l'ii\'< rm sr^
r u ' uT \ M : " r: f: •> rrr^ tr T XT ^
159
Picc,
R t , 1-2
Ota, 1-2
E,Hn.
Bnt. 1-2
a t , 2-3
B,a.
A, Sax,1-2
TSax 1-2
B.Sax,
T ^ , 1-2
1 ^ , 3 - 4
Hni. 1-3
Hnt, 2-4
B, Tbn,
Bat,
Tb,
Vib.
Tunp.
tecl
tec 2
tee 3
9' J^7 7 ])•
'\>\>^cic mf-
^
1 ° (>"a""u>' ^ m
rtrtfT mf
mf H— T^
M r:* rrF -^ T
r tmrr \ 7ff7 rm ^
O M C .
|)''0'' " ' mf
160
Picc,
R l 1-2
Ota, 1-2
EHn,
Bnt. 1-2
a . i
a t . 2-3
B.a.
A, Sax,1-2
TSax 1-2
B, Sax,
T|)te. 1-2
Tt)te,3-4
Hnc, 1-3
Hnc. 2-4
Tbnc, 1-2
B,Tbn,
Bat,
lb .
Tunp,
tecl
tec 2
tec. 3
161
Picc,
FU, 1-2
Ota, 1-2
EHn,
Bnc, 1-2
a, 1
ae,2-3
B, a.
A. Sax.1-2
T. Sax 1-2
B,Sax,
T ^ , 1-2
Tpte, 3-4
Hnc, 1-3
Hne, 2-4
m m
Tbnc, 1-2
BTbn,
Bac
Tb,
Vib.
Tunp.
tec.l
tee 2
tec 3
^
S
^ £r
fr^
J- hi J- ;iJ- U J- .N mf Croc.
J- iu J- hm h} J. > mf Croc.
U4ooly
162
Picc.
Rt, 1-2
Ota, 1-2
EHn.
Bot. 1-2
a . 1
a t . 2 -3
B . a
A, Sax.1-2
T. Sax 1-2
B.Sax.
Tptt. \-2
Tt>te.3-4
HK. 1-3
H»,2-4
Tbnc, 1-2
B.Tbo.
BM.
Tb.
V * .
T-p,
tecl
tec 2
Pete 3
163
Pioc.
PU. 1-2
Ota. 1-2
EHn.
Bnt, 1-2
a, 1
C3t,2-3
B, a .
A.Sax. 1 2
TSax 1-2
B.Sax.
T>tt. 1-2
T ^ . 3 - 4
Hnt, 1-3
H K . 2 - 4
TbK. 1-2
B.Tbn.
Bac
Tb,
Vib.
Timp
tec. I
Pete 2
Pete.3
Conbell mrrr tucpeoded cymbal
^TTTTTT mm srrm u r r r ^
Crete. u r I ( V
164
Picc.
Rt. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a.
a i , 2-3
B,a,
A.Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tttt.3-4
Hnt, 1-3
Hoi, 2-4
Tbnt. 1-2
B.Tbn.
Bat.
Tb.
Vib.
Tunp.
tecl
tec, 2
Pete 3 ^ .
r m ^ i ^ T rTTTTT ff
•i>T I I r \ > \ \ I I I ^ 1 I I I
mrTT fff
mri^T clawi fjff
T- •
m T
JJXI
165
Picc.
Rt. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a t , 2-3
B, a .
A.Sax. 1-2
T.Sax 1-2
B.Sax.
T4>te. 1-2
1 ^ . 3 - 4
Hnt. 1-3
TbH. 1-2
B.Tbo.
Bac
Tb.
Vib.
Timp.
tec.l
tec. 2
tee 3 ' b r ' " ^ ' r ' vtp
166
Picc.
FU.1-2
Ota. 12
EHn.
Bni. 1-2
a . i
at . 2-3
B, a .
A.Sax, 1-2
T. Sax 1-2
B.Sax.
Ttitc. 1-2
T^.3-4
Hnt. 1-3
Hn«.2-4
TbM. 1-2
B.Tbo.
Bac
Tb.
Vib.
Tunp.
tec.l
toe 2
tec, 3
167
Picc.
Rt. 1-2
Ota. 1-2
EHo.
Bnt. 1-2
a. i
a t . 2-3
B.a.
A.Sax. 1-2
T. Sax 1-2
B.Sax,
Tpte, 1-2
Tpte, 3-4
Hnt. 1-3
Hnc. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
Tb.
Vib.
Tunp.
tec.l
tec. 2
tee 3
168
Picc
Re. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a . i
a t . 2-3
B.a,
A.Sax. 1-2
T.Sax 1-2
B.Sax.
T ^ . 1-2
T^.3-4
Hnc. 1-3
Hnc, 2-4
Tbnc, 1-2
B.Tbn.
Bat,
Tb.
Vib.
Timp.
tec.l
tec 2
tec 3 0 i: 1 t
"TT • ^ r' "
169
Picc
R t . 1-2
Ota. 1-2
EHn,
Bnt, 1-2
a t . 2-3
B,a.
A, Sax, 1-2
T, Sax 1-2
B.Sax.
T ^ . 1-2
T ^ . 3 - 4
Hnt. 1-3
Hnt. 2-4
1 b » . 1-2
B.Tbn.
Bat,
Tb,
Vib,
Tunp,
tecl
Perc.2
tec 3
170
Picc,
R l . 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a. i
<3t.2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B,Sax.
Tptt. 1-2
TVt .3-4
Hnc. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbo.
Bat.
Tb,
Vib,
Tunp,
tecl
tec 2
tec 3
171
Picc.
Rt. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a . i
O I . 2-3
B.a.
A.Sax. 1-2
T.Sax 1-2
B.Sax.
T ^ . 1-2
T^.3-4
Hnt, 1-3
Hnc, 2-4
Tbnc, 1-2
B.Tbo,
Bar,
Tb.
Vib.
Tunp.
Petc l
tee 2
tee 3
172