walter smith iii transctiptions

5/6/2014 The African American Experience

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BebopToCoolContext,Ideology,andMusicalIdentityEddieS.Meadows

TheMusicalLanguageofTheloniousMonkTheloniousSphereMonkwasbornOctober10,1917,inRockyMount,NorthCarolina,anddiedFebruary17,1982,inWeehawken,NewJersey.Acomposerandpianist,hewasoneofthemostsignificantarchitectsofBebop.In1921,hemovedwithhisfamilytoNewYorkCity,whichremainedhisprincipalcomposingandperformingvenueuntilhisdeath.HiscareerhighlightsincludeastintashousepianistatMintonsPlayhouseintheearly1940s,whenthetransformationtothenewjazzwasunfolding.In1941,hemadehisfirstrecordingwiththehousebandquartetatMintonswithCharlieChristian.HealsoparticipatedinnumerousjamsessionsattheclubfeaturingartistslikeDonByas,RoyEldridge,DizzyGillespie,CharlieParker,andBudPowell.In1944,heteamedupwithColemanHawkins,collaboratedwithCootieWilliamstocomposeRoundaboutMidnight,andplayedwiththefirstDizzyGillespieOrchestra(bigband).In1947,hemadehisfirstrecordingsunderhisownnameforBlueNote.From1947to1952,herecordedHumph,Thelonious,Evidence,CrissCross,andCarolinaMoon.

OneofMonksmostproductiveperiodswasthe1950s,whenhewasabandleader,sideman,andcomposer.Asabandleader,hesignedarecordingcontractwithPrestigeRecordshisfirstsoloalbumwasrecordedinJune1954,forSwingRecords.Becauseoflowsales,hisPrestigecontractwassoldtoRiversidein1955,butbeforeleavingPrestige,herecordedLittleRootieTootie,writtenforhisson,onTheloniousMonkQuintet(1954).HerecordedBrilliantCornersin1956MonksMusic,TheloniousHimself,andTheloniousMonkwithJohnColtranein1957andTheTheloniousMonkOrchestraatTownHalland5byMonkby5in1959,allonRiversideRecords.Healsomadeseveralsignificantrecordingsasasidemaninthe1950s,includingBloomdidoandMyMelancholyBabywithParker(1950),SonnyRollinsQuintetwithSonnyRollins(1954),MilesDavisAllStarswithMilesDavis(1956),GigiGryceQuartetwithGigiGryce(1955),andJazzMessengersandTheloniousMonkwithArtBlakey(1957).

Theerafrom1957to1960wasoneofhismostproductiveasbothacomposerandbandleader.Between1957and1960,hisgroupsincludedJohnColtrane,JohnnyGriffin,RoyHaynes,CharlieRouse,WilburWare,andShadowWilson,tonameonlyafew.Duringthisperiod,hereharmonizedSmokeGetsinYourEyesandcomposedBrilliantCorners,RubyMyDear,andCrepusculewithNellie.Bythelatefifties,hisreputationasaneccentricandcreativeartistandrecognitionastheguruofmodernjazzincreasedhispopularity.KennyBurrellnotedaboutMonk:

Intermsofhiscompositions,heprobablyhasthemostoriginalapproachIveeverheard.Andintermsofhisplayingthepiano,hesprobablygotthemostoriginalapproach....Buthewasrespectedinthesensethathewaswritingtheseveryinterestingcompositions,andeveninhispianotechnique,itwasenoughtoplaywhathewantedtohear.Inotherwords,theideawasyouacceptpeopleforwhattheyare....Sowhathewasdoingcompositionallywasobvious.Whathewasdoingonthepianowasmaybenotsoobvious,butafterawhile,...yousay...hesnottryingtobeaflashypianoplayer,hejusthasenoughtechniquetoplaywhathewantstoplay,andheshappywiththat.(1997)

ImplicitinBurrellsassessmentofMonkarearespectforindividualityandtheideathathavingsufficienttechnicalabilityforselfexpressionwasenoughforacceptanceintotheartisticcommunity.

Fromthe1960suntilhisdeathin1982,MonkscareerhighlightsincludesigningarecordingcontractwithColumbiaRecordsin1962,appearingonthecoverofTimemagazinein1964,recordingStraight,NoChaserin19661967,andtouringoverseasseveraltimes.Intheearly1970s,hedisbandedhisgroupandbeganrecordingonAtlanticwiththeGiantsofJazz,aseriesofartiststhatincludedsomeofthemostsignificantperformersofthattime.



Hecontinuedtorecord,thistimeforBlackLionRecords,arelationshipthatproducedtwosignificantbutunderappreciatedalbums,SomethinginBlue(1971)andTheManILove(1971),trioandsolorecordings,respectively.HeappearedatCarnegieHallandtheNewportJazzFestivalsin1975and1976,beforeretiringfrompubliclifearound1977.HespenthislastyearslivingattheestateoftheBaronessPannonicadeKoenigswarter,hispatron,avidsupporter,andafanofjazz.

Althoughsomecriticsandjazzenthusiastshavefocusedmoreonhiseccentricbehaviorthanhismusicalattributes,Monkshouldberecognizedasoneofthemostsignificantproponentsofmodernjazzcompositionandperformance.JazzscholarsandthemarketingofBebopcombinedtomainstreamhismusic,althoughheresistedbeingcategorized(Tucker1999:227224).Inaddition,hewasaninspirationtomanyyoungavantgardemusicianswhowerecomingonthesceneatthepeakofhispopularityinthiscontext,RobinKelley(1999:135169)hasaddressedMonksrelationship(aesthetics,ideological,musical,andpersonal)withartistsincludingJohnColtrane,OrnetteColeman,SteveLacy,andCecilTaylor.EquallyimportanttohismusicalgeniusandtothebeliefthattheartistisabovepoliticsisthefactthatMonk,inaneraofsocialchange,wasnotavocalproponentofblackliberation.UnlikethemusicalandsocialinvolvementofGillespieandParker,theoutpokenviewsofCharlesMingusandMaxRoach,andthenumerousmusicianswhoeitherconvertedorweresympathetictoIslam,Monkwasdecidedlyapoliticalduringthe1940s1960sblackliberationmovement.Asearlyas1958,hedeniedasocialcontextforhismusic:Mymusicisnotasocialcommentondiscrimintionorpovertyorthelike.IwouldhavewrittenthesamewayevenifIhadnotbeenanegro(quotedinBrown1958:45).WhetherMonkwouldhavewrittenthesamewayornotisspeculative,ofcourse,becausehewasanegro.

Inanotherinterview,heexpressedhisapoliticalviewstoValerieWilmer(1965:22):

Ihardlyknowanythingaboutit...IneverwasinterestedinthoseMuslims.Ifyouwanttoknow,youshouldaskArtBlakey.Ididnthavetochangemynameitsalwaysbeenweirdenough.Ihaventdoneoneofthosefreedomsuites,1andIdontintendto.ImeanIdontseethepoint.Imnotthinkingthatracethingnowitsnotonmymind.Everybodystryingtogetmetothinkit,though,butitdoesntbotherme.Itonlybugsthepeoplewhoretryingtogetmetothinkit.

AsIngridMonsoncorrectlyasserts,Monksapoliticalstancewasattractivetosomewhiteintellectuals,bohemians,andprogressivesbecausetheycouldfindcommoncausewithAfricanAmericanmusiciansinart(1999:188).

Monksapoliticalviewsalsoenabledwhiteintellectuals,bohemians,andprogressivestoseparatethemusicfromthepersonandthesocialcontextthatcreatedit,therebycontinuingahistoricalprecedentthatrewardedAfricanAmericanswhosufferedinsilenceforexample,LouisArmstrongandpunishedotherswhospokeout,musicallyorotherwiseMingus,Roach,Rollins,andMalcolmX,forexample.Yet,inspiteofMonksstatedviews,Monsondemonstratesthatheparticipatedincivilrightsbenefitconcertsinthe1960sandoccasionallywasastrongandwillingvoiceforAfricanAmericanliberation(1999:187201).

WhileMonksgeniuswaseclectic,andnewperspectiveshaveemergedtosupportthispremise,thediscussionhereislimitedtoselectedelementsofMonkscompositionsandperformancesthatcharacterizehisindividualism,specifically,thewayheusedgenericBebopmusicalpracticesandoriginalcontributionstoformhismusicalidentity.MonkwasoneofthefirstjazzcomposersandperformerstodevelopanoriginalBebopstyle.BythetimeheandKennyClarkeperformedtogetherina1938quartetatMintons,hehadconceptualizedhisoriginalpianostyle.AlthoughhewasindebtedtotheHarlemstrideconceptsofLuckeyRobertsandFatsWaller,hedidnotattempttoimitateGillespiesorParkershornlines.Instead,inhisimprovisations,heaccentuatedtheharmony,usedshortmusicalinserts,ofteninacallandresponsepattern,andplayedlinesthatswungwithinamoderatetempo.

Monkwasoneofthefirstmodernjazzpianiststoclarifyandconceptualizetheroleandfunctionofthepianowithintherhythmsection.Heunderstoodthatthepianistshouldcomplement,notcompetewith,thehornplayers.Heinspiredhornplayersbyconstantlyfeedingthemchordswithastrong,uniquerhythmicsense.MonkscomplementarycompingstylewasideallysuitedtoBebopbecauseitdidnotforcehimtocompetewiththemoretechnicallyproficientpianistsoftheday.Hecraftedauniquemusicalidentitywithinthemorassofsamenessofthelate1930sandearly1940s.

Burrell(1997)notedthatMonksapproachseemedmoreverticalthanlinearbecause,unlikeOscarPetersonorPowell,hewasmoreinterestedinsoundscapes.Monkwaslikeacombopianist...idealforthemusicthathewrote....Hewastryingtopromote...histotalconceptofmusic....He



hadacertainvisionthathefollowedthrough,righttotheend.HealsonotedthatMonkplayedmostlyhisownmusic,composedtoaccentuatehisvisionandcommensuratewithhistechnicalability.Monkwasnotdeterredbyhismusicalsurrounding,criticisms,orthefactthathewasatypicalwhencomparedtohispeers.LikeDavis,Gillespie,andParker,heexudedselfconfidenceandwasabletorealizehisidentitywithinthecontextofthe1940sandafter.

Monk,thoughanintegralpartoftheBebopmovement,wasatthesametimesomewhatremovedfromit.HelivedinasomewhatisolatedAfricanAmericandistrictneartheHudsonRiverintheNewYorksWestSixties,awayfromHarlem,anddidnottakepartinmanyofthebrainstormingsessionsthatwereheldattheapartmentsofGilEvans,Gillespie,andMaryLouWilliams.Heeschewedthetendencyofotherpianiststoplayhornlikelines,refusingtoemulatethestylesorembracethemusicalphilosophiesofothers.Hewasnotthemostsoughtaftersideman,becauseherefusedtocompromisehisindividualityjusttogetjobs.Thislefthimwithsomepainfulearlymemoriesofthepeoplewhowantedhimtoplaystraight(Keepnews1948:20).Artisticandcreativepurityweremoreimportanttohimthancapitulatingtothemusicalandphilosophicaltastesordemandsofanyspecificpersonoroccasion.

ItisinterestingthatMonkrecordedonlyonceeachwithGillespieaspartoftheGiantsofJazzbandin19711972andParkeronJune6,1950,forVerveRecords.PerhapsthereasonMonkseldomperformedandrecordedasaBebopsidemanwashispreferenceformoderatetempotunesandballadsovertheveryfasttunesperformedbyGillespieandParker.Also,Monksapproachtoperformingwasmoreharmonicthanlinear,andhistechniquewasnotcomparabletoAlHaigs,Powells,BillyTaylors,ArtTatums,orPetersons.HemightnothavefeltcomfortableperforminginsomeBebop,especiallywhenimprovising.Insteadhisabilitytoperformwithin

Clicktoseelargerimage

Photo10.1.(Fromlefttoright)DizzyGillespieandTheloniousMonkinNewYorkCityinthe1950s.CourtesyofMICHAELOCHSARCHIVES.COM.

hiscomfortlevelwhileothersexcelledtechnicallywasoneofMonksmostsignificantcontributionstojazz,onethatseparatedhimfrommostofhispianopeers.

ButMonkwasanoriginalimproviser.AlthoughhistechniquewasnotcomparabletomostBeboppianists,hedevelopedauniqueapproachtoimprovisation.Hisimprovisationswereoftenpermeatedwithtonalclusters,repetition,unresolvedintervals,silence,sparseuseofnotes,and



sequences.BurrellnotesthatMonkwasinfluencedbyEllingtonasapianistandasacomposer.Thatswithoutquestion.Youcanhearit,andheevenstatesithimself(1997).LikeEllington,Monklikedtosustainnotesaslongaspossibleandexplorethelowerregisterofthepiano.AlsolikeEllington,hewasacomposerwhoplayedpiano,andthereforehetreatedthepianoasaharmonicratherthanalinearinstrument.Inadditiontothepreviouslymentionedtechniques,heoftenemployedarubatorhythmicconceptfullofarpeggios,trills,anddiatonicandwholetoneruns,thelattermostoftendescending.Mostofhisimprovisationsweretwochoruseslongandstayedclosetothemelody.Inthesecondchorus,heoftenornamentedthemelodyratherthanimprovisingachorusgeneratedprimarilyfromtheharmony.Inaddition,heusedclustersandunresolveddissonancestocreatetension.Healsoemployedatypicalapproachestoharmonics,harmonicresolutions,andvoiceleading,preferringtofindhisownsolutionstomusicalproblems.

UnlikeotherBeboppianists,Monkusedeconomyofspaceasaprominentfeatureinhisimprovisations.Thisfreedhimtocontributetothemusicalconversationwheneverhewanted.SinceMonksimprovisationsseldomfeaturedlongtechnicalruns,hisimprovisationscanbeviewedasthemelodicanswertothebrokenrhythmicconceptsoftheday.Furthermore,byrandomlyusingclustersandunresolveddissonances,heassertedhisindividualitywithinarecognizablemusicallanguage.WhencomparedwithotherBeboppianists,hisapproachtoimprovisationwasakindofmusicalstutteringthatallowedtheperformermaximumfreedomtoflowinandoutoftheaestheticandrhythmicfeelofthecomposition.MonksapproachtoimprovisationwasatypicalofbothswingandBebopandkeptbothhisbandandtheaudienceinamusicallimbo,notknowingwhattoexpect.Heproducedimprovisationsthatcommandedtheattentionofhisbandandjoltedaninattentiveaudienceintofocusingonhisplaying.

MODESANDSCALESMonksmodeandscalepreferencesincludedDorian,Lydian,blues,andwholetone.HeusedtheDorianmodeinhisOffMinorimprovisationona32barAABAcomposition,inthefirstmeasureoftheAsection,fourthchorusthemissingEisghosted(musicalexample10.1).Inaddition,thisscalecanalsobeanalyzedasaGnaturalminor.ThismodeisrealizedoveraIV7vii7iii,progression,withoutharmonyinthelefthand.AnotherDorianmodecanbefoundinmeasure5ofthelastAsectionofhisfirstchorussoloinRubyMyDear(musicalexample10.2).Inthiscase,themodeisspelledfromF,andrealizedoveraBflatm7harmony.

Monkalsousedthebluesscaleinhisimprovisations.AnexampleissuggestioninIntrospection,measure2,repeatofA,secondchorus(musicalexample10.3).Thisexcerptoccursprimarilybetweenthesilenceofbeats1and4ofhislefthand,andisspelledfromC,withtheD,G,andAnaturalsghosted.


Musicalexample10.1.DorianmodeinOffMinor.WordsandMusicbyTheloniousMonk.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRights

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Musicalexample10.2.DorainmodeinRubyMyDear.WordsandMusicbyTheloniousMonk.Copyright1945(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRights


Introspectionisalsointerestingbecausetheharmonicrhythmfollowsatwochordpermeasuredensityforthreemeasures,followedbyonechord,andthena2+3+1+1harmonicrhythm.TwochordspermeasurearecommoninMonktunes,however,usingthreechordspermeasurewasunusualforbothMonkandotherBeboppers.MonkalsousedthebluesscaleinMisterioso,Straight,NoChaser,andOffMinor.

AlthoughMonkusedthesamescalarlanguagethatotherBeboppersused,thewholetonescalemayhavebeenhisfavorite.Heuseditprimarilyintwocontextstobeginacomposition,andtoevokeasuddendramaticeffectwithinanimprovisedphrase.Anexampleoftheformercanbefoundinthe2measureintroductiontoRubyMyDear,a32barAABAballad.Intheintroductorycadenza,MonkusedaseriesofoverlappingwholetonescalesdescendingfromAtoBflat(musicalexample10.4).Inturn,thedescendingscalesprovideananticipationbeforethemelodyentersonthethirdmeasure.Themelodybeginsonbeat2,followedimmediatelybyalowFinthelefthand.Bydelayingthemelodyuntilthesecondbeat,heincreasedthedrama,prolongingtheneedtoresolvethetensioncreatedbythecadenza.

RubyMyDearisalsointerestingbecauseofMonksuseofcounterpoint.Throughouttheimprovisation,wheneveronehandplayslongtones,theotherperformsamovingpart,includingrhythmicratiosofahalfnotetosixteenthnotesinmostcases,followedbyquarternotetosixteenths,andothers.Theimprovisationisunaccompaniedandfeaturesmovementonthefourthbeatofeachmeasure.Sincethemelodyispermeatedwithlongtones,Monkoftenemploysafournotesixteenthpatternonbeat4tocontinuetheforwardmotionintothenextmeasureorphrase.Thisforwardmotionappearstobeanexpansionofthemotionhefirstestablishedinthecadenza.Also,theforwardmotionpreventstheballadfrombecomingdisjointed,withmeasuresorphrasesbecomingterminalideasuntothemselves,ratherthanconnectedtobothanongoing,evolvingmusicaldialogue.

Monkalsousedpentatonicscalesasadramaticdevicewithinhismusicalphrases.InIMeanYou,abouncy,moderatetempo32barAABAcomposition,hisuseofdescendingpentatonicscalesinmeasures78ofthebridgeofthefirstchorusisbothabruptanddramatic(seemusicalexample10.5).

Inadditiontoprovidingdramaticeffect,thescalesalsobridgesthetimeandspacebetweenthemelodicphrasesofmeasures78,againprovidingforwardmotion.Byusingthepentatonicscaleinthiscontext,Monksignaledthathewascomfortablewithit,abletouseitinwhatevercontexthechose.ThepentatonicscalesarebuiltonFandGflat.HealsoachievedmelodicandrhythmicdramabyleapingfromlowGflattoF2.

TheuseoftenthsinmelodicmotifsandopenfifthsandseventhsinthelefthandwerealsostaplesofMonksimprovisationalstyle.Hisimprovisation


Musicalexample10.3.BluesscaleinIntrospection.WordsandMusicbyTheloniousMonk.Copyright1946(Renewed)byEmbassyMusicCorporation(BMI).InternationalCopyrightSecured.AllRightsReserved.ReprintedbyPermission.




Musicalexample10.4.WholetonescaleintheintroductiontoRubyMyDear.WordsandMusicbyTheloniousMonk.Copyright1945(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).International

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Musicalexample10.5.PentatonicscaleinIMeanYou.WordsandMusicbyTheloniousMonkandColemanRandolphHawkins.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI)andMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRights


waspermeatedwithatypicalchordprogressionsheseemedtodisdaintheuseofchordalcontinuity,suchasusingtheiiVIoriiiviiiVIprogressioninsteadofthemelodytomakeconnections.Inaddition,heusedaverticalharmonicapproachanddevelopedsimplemotifsinhisimprovisationinIMeanYou.Monkalsousedfewernotesthan,forexample,Tatum,Peterson,orPowellheimbuedtheimprovisationwithsilenceandacontrastbetweenquarterandeighthnotemelodicrhythm.

INTERVALSANDTONECLUSTERSLeapsofaseventhorless,asinIMeanYou,OffMinor,andInWalkedBud,arecommoninTheloniousMonksimprovisationallanguagelargerleapsarelessfrequentbutcanbefoundinThelonious,MonksMood,andRubyMyDear.OneofhismostdramaticusesoflargeintervalsoccursinthefinalmeasureoftheIMeanYouimprovisation(musicalexample10.6).Notonlyistheleapdramatic,butthechordisleftunresolved,creatingratherthanreleasingthetension,afavoriteMonkdevice.

CloselyrelatedtohisuseofscalesandintervalsasdramaticdevicesisMonksuseofbothclustersandunresolvedtones.AlthoughunresolvedtonesarecommoninBebop,Monkusedclustersmoreoftenthanhispeers,todramatizetensionpointswithinandtoendaphrase.Amonghisnumeroususesofclustersaretwoorthreenotegroupings,suchasthosethatappearinOffMinor,IMeanYou,RubyMyDear,InWalkedBud,andEpistrophy.TwointerestingclustersarefoundinOffMinor.Onefeaturestheuseofclustersasdramaticdeviceswithintheflowoftheimprovisation




Musicalexample10.6.MonksuseoflargeintervalsinIMeanYou.WordsandMusicbyTheloniousMonkandColemanRandolphHawkins.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI)andMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.All

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thisexcerpt(musicalexample10.7)ismeasures78,secondAsection,secondchorus.Monkheightensthedramaticeffectofthesustainedclusterbyusingrhythmicvariation,creatingatensionthatisnotreleaseduntilhereturnstothemelodyoftheAsection.Thereafter,herevisitsthetensioninmeasure2ofthefinalAsectionofhissecondchorusbutthistimesurroundsitwithnotensioninmeasures13.

Monkalsousedclusterstodramatizetheendofimprovisations,asinIntrospection,measure1ofthebridgeofhissecondchorus(musicalexample10.8).Byusingaclustertoendarighthandphraseandsustainingnotesinhislefthand,Monkproducedafeelingofbothcontinuityandchange.Thesustainednotesinthelefthandhelptogenerateafeelingofsecurityforthelistener,amusicalsecurityblanketofsorts.Inturn,thissecurityblanketprovidessolaceasthelistenerawaitsasolutiontothecluster.Monkresolvedthattensionbyrepeatingthephraseinthenexttwomeasureswithoneexception,theclusterisnotrepeated.Here,Monkresolvedthetensionwithinthephrasebydemonstratingthatthemelodicphrasecanreachsimilaryetdifferentmusicalconclusions.


Musicalexample10.7.ToneclustersinOffMinor.WordsandMusicbyTheloniousMonk.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRights





Musicalexample10.8.ToneclustersinIntrospection.WordsandMusicbyTheloniousMonk.Copyright1946(Renewed)byEmbassyMusicCorporation(BMI).InternationalCopyrightSecured.AllRightsReserved.ReprintedbyPermission.

Monkalsousedalteredorcolortonestocreatetension,asshowninmusicalexample10.9,fromOffMinor,thelasttwomeasuresofthebridgeofhisfourthchorus.InsteadofresolvingtheGsharpatritone,MonkchosetocreateahangingdissonancethatwasresolvedwhenhebegantheAsection.Heusedthesamedramaticdeviceinthelastmeasureofthebridgeofhissecondchorus.

ARPEGGIOS,MELODICSEQUENCES,ANDREPETITIONTheuseofarpeggiatedchordalmotifs,melodicsequences,andphraserepetitioniscommoninMonksimprovisations.Monkusedarpeggiatedchordsalmostasoftenasscalarpassages.Heenhancedthearpeggioswithawiderangeofchordqualitiesandusedthemindifferentmusicalcontexts.Heusedarpeggiostobeginphrases,tocontrastscalarideaswithinphrases,and,lessoften,toendphrases(asinEpistrophyorMonksMood).Oneofhisfavoritearpeggioswasthediminished,asfoundinmanyofhisimprovisations.ThefollowingexcerptcanbefoundinOffMinor.

AmonghismostinterestingusesofarpeggiosarethosefoundinOffMinor,IMeanYou,andEpistrophy.InOffMinor,measures23ofthelastAsection,secondchorus,heusedanarpeggiowithinadescendinghalfstepchordprogression(musicalexample10.10).

OtherusesofdescendingarpeggiatedchordaloutlinescanbefoundinIMeanYouandMonksMood.Healsousedahalfstepprogressiontoalternatebetweentwochordqualitiesonediminished,andtheotheramajortriadwithaminorseventhandmajorninthinEpistrophy.Musicalexample10.11isfoundinmeasures1112ofhissecondchorus.

Inadditiontoachangeofchordquality,Monksequencedtheharmonyandthemelody,therebyaddingtheelementofcontrasttotheuseofadiminished




Musicalexample10.9.HangingdissonanceinOffMinor.WordsandMusicbyTheloniousMonk.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRights



Musicalexample10.10.ArpeggiosinOffMinor.WordsandMusicbyTheloniousMonk.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRights



Musicalexample10.11.HalfstepprogressioninEpistrophy.WordsandMusicbyTheloniousMonkandKennyClarke.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI)andMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRightsReserved.

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chordalmelodyrealizedwithinahalfstepprogression.Althoughbothdiminishedchordalmelodieswererealizedwithinhalfstepprogressions,therearedifferencesbetweenthetworealizationsoneascends,andtheotheriscontrastedandsequencedinsuccessivemeasures.Althoughdiminishedchordalmelodiesweregenerictohisimprovisations,Monkcontrastedthembyusingsubtle,yeteffectivereinterpretations.

RepetitionandvariationofharmoniesviahalfstepprogressionswasanothertrademarkofMonks.AmongthenumerousimprovisationsthatemploythisdeviceareOffMinor,IMeanYou,andIntrospection.Ashedidwithdiminishedchordalmelodies,Monkusedhalfstepprogressionstoimplementrepetition,asinOffMinor,betweenmeasure3ofthelastAsection,thirdchorus,andmeasure3,secondAsection,fourthchorus(musicalexample10.12).

HeusedthesameharmoniccontextinIntrospection.Monkalsousedhalfstepprogressions,tovaryorrestate.Whydidhechoosethisharmonic



context,ratherthantheiiV7IprogressionfavoredbymanyBeboppers?Perhapsbecauseofhispenchantforalteredandextendedharmonies,clusters,andhisoverallverticalapproachtoperforming,hewantedtoestablishhisindividualitywithinadifferentharmoniccontext.Monkalsorepeatedthephrasewithinadifferenthalfstepprogression,regardlessofaestheticortempo,therebydemonstratinghisindividuality.

MonkrepeatedimprovisationalphrasesoverprogressionsotherthanhalfstepprogressionsinIMeanYouandIntrospection.Musicalexample10.13isfromIMeanYou.Thismotifisfoundinmeasure5,Asection,thirdchorus,andthenisrepeatedbeginninginmeasures34oftherepeatoftheAsectioninthesamechorus.Thesecondtime,however,therearetwodifferences.ThemotifisrepeatedoveraDflatharmony,anditisvariedmelodicallyandrhythmicallyinmeasure4.Oncemore,Monkusedrepetitionasadevicetoachievesymmetry.Unlikehistendencytousehalfstepprogressionstorealizechordalmelodies,inthisexcerpt,heusedotherprogressionstointroduce,repeat,andthenvaryanimprovisationalmotiveover


Musicalexample10.12.RepetitionviahalfstepprogressioninOffMinor.WordsandMusicbyTheloniousMonk.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).International

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Musicalexample10.13.MotifinIMeanYou.WordsandMusicbyTheloniousMonkandColemanRandolphHawkins.Copyright1947(Renewed)byEmbassyMusicCorporation(BMI)andMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRightsReserved.

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thirteenmeasureswithawalkingbassline,anoccasionalsinglenoteinthelefthand,andabrokenrhythmpermeatedwithaccents.

InMonksimprovisations,repetitioncanbefoundinatleasttwodifferentharmoniccontexts.Hetransformedandreinterpretedtheconcepttofithisownmusicalidentity.

QUOTES,ARTICULATION,ANDPHRASINGMonkusedquotesandspecificapproachestoarticulation,phrasing,andrhythminhisimprovisations.Moreoftenthannot,hequotedhisowncompositions(includingtheonehewasperformingatthetime)orimprovisations.InIMeanYou,forexample,hequotedthemainmelodicmotifofthecompositioninthefirstmeasureofthelastAsectionofhisthirdchorus.Byrepeatingtheoriginalmotif,heprovidedsymmetrywiththebeginning



ofthecompositionandareminderofitsmelodiccontent,althoughinthiscaseitfunctionedsolelyasanimprovisationalpointofdeparture.MonkslefthandwasabsentfromthebridgesectionthroughthelastAsection,whiletherhythmsectionfeaturedawalkingbasslineandarhythmpermeatedwithaccents.Monksphrasingandarticulationwerepermeatedwithunexpectedaccents,eighthnotearticulations,andfrequentuseoftripletpatterns,asinRubyMyDear,CrissCross,Thelonious,andIntrospection.OneofhismostinterestingusesofphrasingandarticulationoccurredinCrissCrossattheheadofthecomposition,wheretheeighthnoteswereemphasizedandperformedinalongshortmanner.

Inaddition,Monksarticulationsandphrasingswereoftenpermeatedwithsilenceandwithrhythmicphrasesbothonandoffthebeat.Hisuseofthesedevices,coupledwithhisarticulation,phrasing,andastylerootedintheHarlemstridepianoschooltradition,producedbothtimbralandrhythmicsurprises.AlthoughhisrighthanddexteritywaslessthanthatofAlHaigorBudPowell(somemusiciansevenquestionedhischoiceofnotesbecausetheyfeltheplayedthembymistakeduetohislackofrighthanddexterity),Monkneverthelessproducedahighlyindividualizedpianostylethatisconsideredoneofthemostuniqueinjazzhistory.

AnotherimportantaspectofMonksimprovisationsishispenchantforreinterpretingstandardjazzcompositions.Tounderstandhisreinterpretations,onemustbecognizantofthemusicalintangiblesoftheoriginalcomposition.WhenlisteningtoaMonkreinterpretation,itisimportanttorealizethatthemissingpartsareasimportantaswhatisbeingplayed.Monkstrippedmanyoftherecognizablemusicalelementsfromacomposition,fillingthevoidwithMonkisms.Theendresultwasthattheaudiencewasoftenleftunfulfilledbecausetheydidnotheartherecognizablemusicalelementstheyexpected,andwhattheydidhearseemedbothunexpectedanddissonant.

MonkreinterpretedstandardcompositionsincludingSmokeGetsinYourEyes,AprilinParis,andImGettingSentimentaloverYou.AprilinParishadbeenpopularizedbytheCountBasiebandandbecamearecognizablepartofpopularculturebecauseofthePopGoestheWeaseltrumpetsolo,Basiesexhortinghisbandtoplaytheendingonemoretime,andthepowerfulbrasssectionsrespondingtohiscommandwithgreatintensity.YetwhenMonkdecidedtoreinterpretthispopularsongataskmademoredifficultbecauseitwaswidelyperformedonradiostationsthatplayedAfricanAmericanpopularmusichesucceededinstampingitwithhisownidentity.HeeliminatedoneofthestaplesofBasiesmusicalidentity(aflatfourbeatspermeasure)and,initsplace,usedahalting,nonswingrhythmthatwastheantithesisofBasiesswingconcept.Inaddition,Monksreinterpretationwaspermeatedwithdissonance,arpeggios,andharmonicandmelodicclashes.Itleftthelistenerdesperatelyclingingtowhatevermusicalelementstheymightrememberfromtheoriginalversion.

MonksreinterpretationofImGettingSentimentaloverYouisalsoastudyinimposingMonkismsonastandardcomposition.AsinAprilinParis,heuseddissonanceinharmonicandmelodicrealizationsandarhythmicconceptthatismorerubatothanstraightswing.Itisimportanttonotethathisreinterpretationsweredoneonpiano,perhapsbecausehefeltmorefreedominthiscontextanddidnothavetoworryaboutgroupinterpretationsofrhythmorharmonicagreementbetweenbassandpiano.Infact,insuchsettings,heseemstohavepreferredarubatotempo,whichallowsmaximumfreedomofexpressionforthesoloist.Monkismsliketrills,arpeggios,clusters,silence,somestrideaccompaniment,andwholetonescaleswereincludedasamethodofimplantinghisidentityonaparticularcomposition.Inhisperformanceofstandards,Monkstayedclosetothemelodywhilealteringandreinterpretingtheminhisownstyle.

COMPOSITIONSAccordingtoRanBlake,Monkscompositionsfallintothreeperiods:thoserecordedforBlueNoteinthe1940s,hisworksinthe1950sforRiversideandSignal,andafewtuneswrittenafter1960forColumbia(1994:790).BlakestatesthatmostcriticsconsiderthefirsttwoperiodsMonksmostsignificant.Fromthoseperiods,RoundaboutMidnight,Evidence,Misterioso,CrissCross,Jackieing,CrepusculewithNellie,andGallopsGallopareamonghisbest.Thesecompositionsareuniquefordifferentreasons.RoundaboutMidnight,astapleintheBeboppersrepertoire,isoneofthefewballadsthatenduredfromtheBebopera.Usuallyperformedinmediumtempo,itisoneofthemostintrospectiveandsoulsearchingjazzcompositionseverpublished.However,thecompositionisatypicalforitstimebecausesomemeasurescontainfourdifferentchords.MonkusedanentrancetothemelodythatwasconsistentwithcompositionslikeRubyMyDearandStraight,NoChaser,beginningonabeatotherthanthefirst.Inaddition,hebeganwithaonebeatsixteenthnotepatterninEflatminor.Thecompositionisconstructedinsuchawaythatacompetentperformercanexplorehisorherdeepestemotions,aningeniouscontributiontotherepertoire.



AnydiscussionofMonkscompositionsmusttreatthemethodsheusedtoconstructhismelodies.Hismelodiesoftenincludedintervalssuchasmajorseconds(inRubyMyDear,forexample)andfifthsandsixths(InWalkedBudandMisterioso).Themajorsecondcanbefoundinmeasures1,3,and5ofRubyMyDear(Musicalexample10.14).

AftersoundingtheGmin7chordinmeasure1andAmin7inmeasure3,themelodyentersonthesecondbeat,creatingacluster.Theprocessisrepeatedinmeasure5,inbothcases,overaiiV7flat9Iprogression.InMonkssolopianorendition,hecreatesacontinuityofforwardmotionbyfillingthetimeandspaceofsomemeasureswithaddedchords.Boththeharmonyandtheharmonicrhythmofmeasures2and4contrastwiththoseof1and3.InsteadofiiV7flat9Iprogressions,hisfillerharmoniesarerealizedinascendinghalfstepprogressionsinmeasure2,andacombinationofwholeandhalfstepsinmeasure4.ItappearsthatMonkwantedtocombinelinearandverticalharmonicconceptstocreateamusicalwhole.Thedissonantclustersinthemelodywereunitedaestheticallywiththehorizontalharmoniesrealizedinmeasures2and4.Hencethemusicalimpactoftheseapproachesismuchdeeperthanitappearstobeonthesurface.

MonksusedfifthsandsixthstoconstructamelodyinInWalkedBud(musicalexample10.15).

TheuseofaperfectfifthandminorandmajorsixthsequencesfollowedbyotherdisjunctintervalsisconsistentinthecompositionalpracticesofMonkandotherBeboppers.Thesedisjunctintervalsprovideanopennessthatallowstheimproviserstoexplorethevariousregistersoftheirinstrumentmorefully.Inhisimprovisations,Monkachievedthisopennessbyusingclustersandunresolvednotes.AsimilarintervallicconceptappearsinMisterioso,a12barbluescharacterizedbyarepetitioususeofeighthnoteswithnorestsorsustainedtones.Inaddition,theeighthnotesareperformedlegatoinasmoothrenditionoflowtohigh,harmonizedinsixths.Theintervalsarealsosequenced,andmoreconsistently,inanascendingpath.SuchuseoflegatowasatypicalforBebop.

Monksindividualityalsoextendstohisconstructionofthebridge.Althoughmostcompositionsoftheerafeaturedonebridge,Monkcomposed


Musicalexample10.14.MajorsecondinRubyMyDear.WordsandMusicbyTheloniousMonk.Copyright1945(Renewed)byEmbassyMusicCorporation(BMI).AllrightsoutsidetheUSAcontrolledbyMusicSalesCorporation(ASCAP).InternationalCopyrightSecured.AllRights


asecondbridgeforWellYouNeednt.Thefirstbridgebeginsasillustratedinmusicalexample10.16.Itcontinuesbysequencingaseriesoffoureighthnotegroupingsbeginninginmeasures58,beforereturningtotheAsection.Thefirstthreemeasuresofthealternatebridgeareshowninmusicalexample10.17.

Therearetwoapparentdifferencesinthebridges.First,thesecondversionisalmostidenticaltothethirdmeasureofthefirstbridge.Also,thefirsttwomeasuresmoveahalfstephigherinthesecondversion,reiteratingMonksstrongpreferenceforsequentialmelodiesandhistendencytowardunpredictability.Inadditiontothemelodiccontrast,thereisaharmoniccontrastinhissubstitutionofDflat9foraG7,andaD9foranAflat7,tritonesubstitutionsandawidespreadBeboppracticethatdeepensthecontrastbetweenthetwobridges.

Monkalsousedspecificmotivicdevelopmentalideasinhiscompositions.The4barphrasewascommon.InOffMinor,itisrepeatedidenticallyinmeasure5,andalteredthereaftertheAsectionisbasedononemotivicidea




Musicalexample10.15.FifthsandsixthsinInWalkedBud.WordsandMusicbyTheloniousMonk.Copyright1948(Renewed)byEmbassyMusicCorporation(BMI).InternationalCopyrightSecured.AllRightsReserved.ReprintedbyPermission.


Musicalexample10.16.FirstbridgeinWellYouNeednt.WELLYOUNEEDNTbyTheloniousMonk.Copyright1944(Renewed)byRegentMusicCorporation.AllRightsReserved.UsedbyPermission.InternationalCopyrightSecured.


Musicalexample10.17.SecondbridgeinWellYouNeednt.WELLYOUNEEDNTbyTheloniousMonk.Copyright1944(Renewed)byRegentMusicCorporation.AllRightsReserved.UsedbyPermission.InternationalCopyrightSecured.

andaltered,whilethebridgeoffersmorecontrast.TheoppositeistrueofRubyMyDear,inwhichtheAsectionconsistsoftwocontrastingmelodicmotifs,andthebridgealsocontainstwocontrastingideas.InWalkedBudisconstructedsimilarlytoOffMinor,becausetheAsectionisbasedprimarilyononemotifthatisexpandedintheturnback,beginninginmeasure6.UnlikethebridgeofOffMinor,thebridgeofInWalkedBudisbasedonone4barmotifthatisrepeatedbeginninginmeasure5.IMeanYouisalsobasedprimarilyononemelodicmotifinitsAsection,andonemotivicideathatisrepeatedandalteredslightlybeginninginmeasure5ofthebridge.However,italsobeginsandendswitha4barphrase.Thesolosbeginafterthe4barpatternattheendofthe32barAABAform.

Epistrophyhasamelodybasedprimarilyononesequencedmotif.Useofthatmotifmakesthisarifftune.2Its32barAABAformisinterestingbecause,althoughthereareanumberofBebopriffblues,suchasBlueMonk(byMonk),NowstheTimeandCoolBlues(byCharlieParker),andBirksWorks(byDizzyGillespie),thereareveryfewrifftunes.Onceagain,MonkreassertshisindividualityasacomposerofBeboptunes.Thecompositionalsofeaturesarepetitiveharmony:thefirst4barsarebasedonaCsharp7D7progression,andthenexteightarebasedonaDsharp7E7progression.BoththeriffmelodicstructureandtheharmonicarrangementareunusualforBebopcomposition.MonkalsosoundsachordornoteseveraltimesinsequenceinCrissCross,Evidence,andIShouldCare.

Monkscompositionalindividualityalsoextendedtohisbluescompositions,includingStraight,NoChaser,BlueMonk,andMisterioso.Theseinstrumentalbluesfeatureeitherawiderintervallicrangeormorerhythmicvarietythanmostvocalblues.TheuseofleapsofasixthinMisteriosoandBlueMonkareatypicalofmostblues,instrumentalorvocal,asishisuseofasinglemotifalteredthroughrhythmicdisplacement.BothconceptswereusedinpreviouslydiscussedMonkcompositions,andrhythmicdisplacementcanbefoundinCrissCross,OffMinor,IMeanYou,andStraight,NoChaser.Theuseofrhythmicdisplacementinabluesisatypicalforitstime.InStraight,NoChaseronemotifservesasthegermidea



butisalteredrhythmicallythroughouttheheadtoachievemusicalcontrast.

Monkalsoexperimentedwithmusicalformsandreharmonization,includingbothalteringorvaryinga12barbluesanda32barAABAcomposition.Hevariedthetraditionalapproachofa32barcompositioninBemshaSwing,a16barcompositionbrokenintofour4barphrases,astarkcontrasttotheusualdivisionofa32barcompositionintofour8barphrases.Inaddition,heuseda4barphraserepeatedatthesamepitchlevelinFridaytheThirteenth,forminga16barcompositioninanatypicalAAAAform.Italsocontainsa2barharmonicprogression,G7F7Eflat7D7,whichisrepeatedand,withonerepeatofthe4barphrase,resultsinarepetitivepattern.

AmongMonksothercompositionaldeviceswerethereharmonizationofcompositionslikeSmokeGetsinYourEyesandCarolinaMoon.HeusedthewholetonescaleinHorninIn,andaspectsofwholetoneandLydianscalesandchromaticisminBrilliantCorners.TheextentofhiscontinuingfascinationwithclustersandcrushednotesisevidentinCrepusculewithNellie.Severalofhiscompositionswerebasedoncontrafacts,forexample,RhythmningandGointoMintons(bothbasedonIGotRhythm)andBrightMississippi(onSweetGeorgiaBrown).Butoverall,hiscompositionaloutputwascharacterizedbyindividuality,featuringcopioususeoftimeandspaceandstructuredtoallowsomeonetofillthespace.Hesometimesfilledthespaceswithdramaticdeviceslikescalarpassagesorharmoniestocreateandcontinuetheforwardrhythmicmotionofthecomposition,asinRubyMyDearandIMeanYou.Thusmanyofhisscalesandharmonies,includingclustersandcrushednotes,wereusedtoachieveextramusicalresults,resultsthatcreatedtensionandhelpedtocatapultthesoloisttonewheights.WhilesomeBebopcomposerstendedtofollowoneformatforconstructingmelodicmotifs,Monkvariedformats.Forinstance,inthebridgeofInWalkedBud,heusedonemotifforanentiresection,whileRubyMyDear,incontrast,containstwodifferentandcontrastingmotifsinitsAsectionandone4barmotifrepeatedinthebridge.IMeanYoucontainsonebasicmotifforbothitsAandBsections.

BecauseMonksmusicwaspermeatedwithalteredandextendedharmoniessevenths,ninths,elevenths,andthirteenthsaswellasmorecommondominantseventh,flattedninthharmonies,itisnotgenerallyrecognizedthatherepeatednotesandharmoniesseveraltimesinsuccessioninsomecompositions(forexample,CrissCross,Evidence,IShouldCare,andEpistrophy).Monklackednothinginthewayofharmonicsophistication,sotherepetitionofeithernotesorharmoniesmusthavebeenintendedtoproducebothasoundscapeandatimeline.ThelatterwouldproduceaharmoniccomfortzonethatenabledMonktorealizeothersoundsinthatcreativesituation.Hisimprovisationsandcompositionsallowedtheperformertoexperimentwithtimeandspaceandtoexplorethedeepestregionsofsensual,theoretical,andtechnicalmusicalcreativity.Forthesereasons,Monksmusicisanationaltreasureinthejazzidiom.Inaddition,heinfluencedthejazzstylesthatcameafterhim,asartistslikeMilesDavisbegantoincorporatehisuseoffewerchordsandopenspace,lessrelianceonuptempocompositions,andactualizinganindividualmusicallanguagewithoutcapitulatingtothegenericmusicallanguageofthetime.

RHYTHMTheloniousMonkwasaproponentofrhythmicdisplacementdisruptingtherhythmicflowwithsilenceand,occasionally,usingahalting,interruptedrhythm.InCrissCross,heusedaharddrivingrhythmsectiontounderpintherhythmicdisplacementinthemelody.Thisrhythmicdisplacementiseffectivebecauseofthefasttempo(




=188)andasequencedintervalpassageinthemelodyofsevenths,sixths,andfifthsintempo,followedbyadisplacedrhythmicconceptofaneighthnotetiedintoahalfnoteontheandofthesecondbeat.Thesequencedintervalpassagereoccursonthethirdbeatofthenextmeasure,followedbytwoeighthnotes,onetiedtoahalfnoteonthefirstbeatofthelastmeasure.The8barthemerivalsStraight,NoChaserasoneofMonksmostingeniousandprovocativeusesofrhythmicdisplacement.

MonkusedadifferentrhythmicdisplacementinBlueMonk,wheretherhythmisratherstraightforwarduntilthelastthreemeasures.Thecompositionischaracterizedbytheintroductionofamotifinmeasure3,whichisthenrepeatedidenticallyinmeasures7and10.Butwhenthemotifisrepeatedinmeasure11,itbeginsonthesecondbeatofthemeasureinsteadofonthecustomaryfirstbeat.Theresultisa5beatphrasein4/4meter,auniqueconceptforitstime,andonethatMonkusedonotheroccasions.Thesubtlebuteffectiverhythmicdisplacementproducesanunsettlingeffectuponbothlistenerandperformer.

Monkalsousedrhythmicdisplacementtoreplaceamelodicmotifwithinacomposition.Althoughtheconceptofrepetitionofaspecificmelodicphrasewithinacompositionwasnotnew(CharlieParkerhaduseditinhisimprovisations),Monkusedittoalterandtransformamusicalmotifbydisplacingthemotifrhythmicallywhenitoccurredlaterinthecomposition.HeusedthisconceptinJackieing,a16barcompositionintheLydianmode.

Theprimarymotifisrepeatedinmeasures56,anexactduplication(withoutthepickup),andisrepeatedandalteredmelodicallyandrhythmicallyinmeasures910and1214.

Monkfirmlyimplantedtherespectivemotifsintothemindofthelistenerbeforehesprangthesurprisereinterpretation.Inbothcases,therhythmicdisplacementisusedneartheendofthefirststatementofthemelody,whentherespectivemotifshavebeenfirmlyestablished.Thedisplacementismoreeffectivebecauseitproducesabreachbetweenexpectationsandreality.

AnotherexampleofrhythmicdisplacementoccursinCrissCross.Thedisplacementisheightenedbecausethelistenerexpectstoheartherepeated


ideathesamewayeachtime.However,afterintroducingthemotif,Monkaltereditthreeconsecutivetimesinmeasures13.



MonkuseddifferentversionsofrhythmicdisplacementinEpistrophy,Straight,NoChaser,andPlayedTwice.Oncemore,Monkdevisedauniquemotifand,throughrhythmicdisplacement,motivictransformation,andreinterpretation,realizedauniquemusicalcomposition.Epistrophy,a16barcompositionbasedonaseriesof2barphrases,isrhythmicallyunique.Oneuniqueaspectofthemelodyisthatitconsistsofa3beatmotifina4beatpermeasurerhythm.Thisisrepeatedinthefirsttwobars,andthereafteralteredmelodically.Anotherinterestingpointabouttherhythmicdisplacementisthattheoriginalmotifbeginsonthesecondbeatofthemeasure,butwhenitisrepeated,itisaltered.

Straight,NoChaserisa12barbluesfullofunexpectedrhythmicchangesandamelodythatevokesacrossrhythmbystressing3beatsinthemelodyagainst4beatsintherhythmsection.InbothStraight,NoChaserandEpistrophy,therhythmicdisplacementoccursatthebeginningofthecomposition,notattheend(asinBlueMonkandJackieing).Bysuperimposinga3beatmelodicunitona4beatrhythmicunit,Monkcreatedarhythmthatwassimultaneouslylinearandvertical.

MONKSGENIUSThetruemeasureofTheloniousMonkscompositionalabilityhasbeensomewhatlimitedbecausemostscholarshavefailedtoacknowledgetheimportanceofrhythminhiscompositions.MonksnewapproachtoBebopcompositionmayhavecomeaboutbecausehismusicalpeersweremoreattunedtoharmonicmelodicarrangementsthantheyweretorhythmicconcepts.Monkdemonstratedthatmelodiescouldberealizedwithinthecontextofrhythm.Indeed,rhythmmayhavebeenamoreimportantstructuraldeviceinhiscompositionthaneitherharmonyormelody.Monksgeniusasacomposerforcedimproviserstoreassesstheirapproachtoimprovisation.IhavepresentedalimitedviewofMonksarticulationsforadditionalinformationregardingMonkscompositionalprocessesandhisaffinityforpopularsongs,consultLawrenceKoch(1983:6780)andScottDeVeaux(1999:167187),respectively.DeVeauxacknowledgesMonksindebtnesstoTinPanAlleyandpopularsongsandidentifiesconnectionsbetweenMonksharmonicpracticesandcommercialmusic.

InadditiontotheneedforareassessmentoftheinfluenceofrhythmictransformationandreinterpretationinMonkscompositions,thereisalsoaneedformoreresearchontheimpacthiscompositionshadonframingtheimprovisationsofotherperformers(seeKelley1999).Monkchallengedimprovisersharmonically,melodically,andrhythmically.Hisuseofclusters,alteredchords,andatypicalprogressionswereenoughofachallenge,buthisrhythmicconceptsincreasedit.CompositionslikeStraight,NoChaserandCrissCrossmightfeatureaswingingrhythmsection,butthatswingwasinterruptedwiththerhythmicdisplacementsoftherespectivemelodies.Ifthedrummeradheredtothedisplacements,theimproviseralsohadtobecognizantofthosesignposts.Monkforcedthecreationofanewkindofimproviser,onewhowasoftenforcedtocondensehisideasintoshortrhythmiccells.Duringthe1940sand1950s,itwascommonforBebopdrummerstobreakupthesmoothflowwiththebassdrum,highhat,andothercymbals.Monkcarriedthistoanotherlevelbyincorporatingthemintohiscompositions.Hisuseofsilenceandrhythmicdisplacementareamonghisgreatestcontributionstojazz.HedemonstratedtoBebopperslikeMilesDavisthatonecouldbeanexcellentandeffectiveimproviserandcraftanindividualidentitywithoutfollowingthehighlyenergizeduptempousedbymostBeboppers.Davis,inturn,usedsilenceasastapleofhisCoolstyle.AlthoughCharlieParkercondensedmanyofhisslowimprovisationswithin2measuresandfastimprovisationswithin4barphrases,hewasnotforcedtouseeitherapproachbysilenceorrhythmicdisplacementinthecomposition.ButMonkusedthesedevicesasstructuralelementsinsomecompositions,forcinganymelodicorimprovisationalinterpretertoadheretotheseconcepts.Perhapsthiswaswhyhewasveryselectivewhenchoosingatenorsaxophonistbecausefewunderstoodhismusicwellenoughtofitcomfortablywithinhisgroupaesthetic.

MonksoriginalarticulationsMonkismscanbeheardinhiscompostionsandhisimprovisations.Thecompositions,characterizedbydisjunctintervals,wereatypicalfortheirtime.Melodicrhythms(asinStraight,NoChaser)consistedofasinglemelodicmotifthatwasrepeatedandvariedrhythmicallyinsubsequentmeasureswithdifferentendings.Thecompositionsoftenincludedunexpectedmelodicaccents(likethoseinRhythmning),whichrequiredstrictattentiontobeperformedsuccessfully,andthecreativeuseofintervals(asinMysterioso).Monkscombinationofmelodyandsilencerequiredthesoloisttoimprovisefrombothaharmonicandarhythmicpointofview.ThusimprovisationsinMonkstunesoftenfeaturedshort,2or4barphrasesinsteadofthelongerlinescommonlyheardduringthe1940s1980s.

MonkspianostylewasmoreharmonicandrhythmicthanthelinearstylesofhispeersBudPowellandArtTatum,beingrootedinthestridestyleofLuckeyRoberts,JamesP.Johnson,andFatsWaller.Monkscompingwasmorepercussivethanhispeers,helaidoutforlongperiods,heusedthewholetonescalemoreoftenthanhispeers,hisquotedprimarilyfromhisowncompositionsorimprovisations,clusterswerefeaturedinthemiddleand



attheendofhiscompositionsandimprovisations,andheaccordedmelodyandsilenceequalimportance.Monksarticulationsareamongthemostoriginalandidentifiableeverconceived,distinguishinghimasoneofthetruegeniusesofjazz.

NOTES1.MonkwasreferringtoFreedomSuite,bySonnyRollins.

2.Arifftuneusesasinglerepeatedmelodicmotifasthebasicconstructofitsmelody.

*****************CITATION**************

BebopToCool:Context,Ideology,andMusicalIdentityMLA

"TheMusicalLanguageofTheloniousMonk."BebopToCool:Context,Ideology,andMusicalIdentity.Westport,CT:Praeger,2003.TheAfricanAmericanExperience.GreenwoodPublishingGroup.6May2014.

ChicagoManualofStyle"TheMusicalLanguageofTheloniousMonk."InBebopToCool:Context,Ideology,andMusicalIdentity,Westport,CT:Praeger,2003.TheAfricanAmericanExperience.GreenwoodPublishingGroup.http://testaae.greenwood.com/doc.aspx?fileID=GM0071&chapterID=GM00711228&path=books/greenwood.(accessedMay6,2014).

Allrightsreserved.2009ABCClio130CremonaDrive,SantaBarbara,CA93117,(800)[email protected]

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