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REFLECTIONS ON MONK FOR CONCERT BAND
by
KENNETH R. METZ, B.S., M.M.
A DISSERTATION
IN
FINE ARTS
Submi t t ed t o t he Gradua t e Facu l ty
of Texas Tech Univers i ty in
Par t ia l Ful f i l lment of
the Requ i remen t s fo r
the Degree of
DOCTOR OF PHILOSOPHY
Ap p r o ve d ,
May, 1997
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c . ^
ABSTRACT iv
LIST OF EXAMPLES v
CHAPTER
I. INTRODUCTION 1
II THELONIOUS MONK; HIS MUSICAL LIFE AN D 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 M ovement: 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
M o . 3 ^
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APPENDIX
A. ESrSTRUMENTATION 56
B SCORE 58
lU
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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 o f 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 o f varying quality that provides testimony about the music and musicians o f 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 o f musicians of the m odem
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 o f 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
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LIST OF EXA MPLES
1: Thirty-two measure chom s of rhythm changes. 8
2A-C : Figures from tritone substitution. 10
2D: Progression with tritone substitution. 10
3:
Park er arpegg io figures. 13
4: Parker diatonic scalar figures. 13
5: Parker formula with figures bracketed. 13
6: Scalar descent in Confirmation. 14
7: M onk's descending whole-tone figure. 21
8: W hole-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:
Mo nk secondal voicings. 26
17: Bent-no te 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 : Me tric superimposition. 30
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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. Hem iola at the hypermetric level. 38
3 2: 7/7/ E ulenspeigel
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 : Chrom atic scale presentation in Blu. 43
36: The two whole-tone scales. 44
37: Reduction of final cadence in
.5/M.
45
38:
W hole-tone figure in
'RoundMid in
vibraphone m. 2. 46
39A: 'RoundMidnight mm. 1-4. 46
39B:
Flute in
RoundMid...
mm.
18-20. 46
40A: M isterioso figure. 47
40B: Myst... melody, mm. 26-28 . 47
41: Final cadence Myst... m. 170. 48
VI
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CHAPTER I
INTRODUCTION
Jazz historians often cite 1945 as the beginning o f the modem jazz era. This year
corresponds to the period of time when the music called bebop began to
flourish
n 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 (1 920-1 955), the most important musician o f
modem jazz
according to
many historians. The hard bop era ends in 1967 vAth the death o f 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 (19 17-
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
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current ideas of melodic rhythm and develop his own system of musical construction
^
What are the special features o f Monk's musical constmction and techniques o f
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 w as 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 ts 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 o f 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 M onk's harmony would be an excellent topic, it is beyond the scope of this
document. Further, many interesting features of M onk 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
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The fourth chapter is a discussion of my composition. Reflections on M onk for
Concert Band, the score of which com prises the appendix B of this document. This work
is a tribute to Mo nk which employs some of the wonderful figures, motives, and themes
that M onk created in his compositions. Finally, the fifth chapter offiers a summary and
conclusions.
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CHAPTER II
THELONIOUS MONK:
HIS MUSICAL LIFE AND TIMES
Biographical Information
Thelonious Sphere Monk wa s born October 10, 1917 in Rocky M ount, North
Carolina. In 192 2 his family moved to N ew York City where he wou ld reside for the rest
o f
his
life. His parents were not musically inclined, but his mother sang in the church
choir. He beg an playing the piano at an early age with some of
his
first musical
expe riences 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 gosp el 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 193 8, by which time he had becom e the house pianist at Minton's Playhou se, a
night club in N ew York City's Harlem district that would becom e famous in the bebop era.
It is here that Monk came into contact w ith the major figure s of bebop including,
tmmpeter Dizzy Gillespie (1917-1993), dmmmer Kenny Clarke (1914-1985), and
saxopho nist Charlie Parker. Jazz writer Ira Gitler makes the claim that by 1941 Monk had
already written som e of the piece s that would beco me 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.
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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 Hou se, 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 becom e one o f 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, M onk 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 fro m 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 han d
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 M usic and Its Players
(Oxford: Oxford University Press, 1995),
p.
140,
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somewhat of an underground figure, his compositions,
'RoundMidnight, Epistrophy,
W ell, You Need n't, 52nd Street T hem e, Straight, No C haser, 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
M onk' 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 Pa rker's death in 1955. Coltrane, like Gillespie, acknow ledged the
profound influence that M onk had on his playing.
Working with Monk brought me close to a musical architect of the highest
order. I would talk to Mo nk 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
group s and recording sessions often included many of the finest jazz musicians of mod em
jazz including tmm peter Miles Davis (1926-1991), saxophonists Coleman Haw kins (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 p hotograph in Time M agazine in April of
1964.
In 1976, Monk abm ptly
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.
M onk w as one of the pioneers of the bebop era. He had developed his techniques
of comp osition 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,
C hasin'the Trane
(New York: Da Capo Press, Inc.), p.84.
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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 becom e
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 w ith 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,
tmm pet, 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 o f 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.
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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
n many jazz works.
AABA
4 Fine
A
h \
B^ G7 cmin7 F7 dm in7 G7 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 chom s 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 tw elve, sixteen, or thirty-two measures, is treated as a repeating strophe, called a
chorus. Typically, the lead instmm entalists state the melody, usually in unison, and then
members of the ensemble take tums soloing over the repeating ch oms. In hard bop,
players like Coltrane would often play twenty-minute and longer solos over repeating
chomses.
The m ost 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 com plex and polyrhythmic interaction. The
8
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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
ba ss 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, chrom atic, 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 becom es •'in/X -X) or a linear application affording
chromatic possibilities to melodic lines over progressions such as ii-V7-I. Example 2A, a
motive fro m the swing era which became common in bebop, demonstrates a Hnear
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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
^ f t J ^
G7(l>9) C
c
ok
f
^
Exam ple 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.
G 7
$
Conunwi tritone
ok
^
^3?
^
s
— L O
O T replaced by tritone substitute
Example 2D: Progression with tritone substitution.
Swing era com posers and players Duke Ellington and A rt Tatum employed tritone
substitution both harmonically and m elodically in their m usic, but in bebop , players added
substitutions in their melodic Unes more frequently and applied them to approaching the
third and fifth scale degree s. 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 w as
basically the sam e as that of the swing era: triadic and functional, w ith frequ ent circle of
fifths progressions. It is tm e that bebop players employed more often the uppe r partials
abov e the triad in their line, but this harmony is also found in the swing era in Ellington
and oth ers 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
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such as quartal or quintal constm ctions , m odality, bi-tonality, or atonality. Beb op style
evolved more from developments in rhythm, phrasing, and increasingly more frequent
apphcation of linear chrom aticism, than from new harmony.
Though jazz historians cite Thelonious Monk as a pioneer of bebop style, and he
w as labeled by som e 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 d irection from beb op, I provide a rather detailed study of Chariie Parker's style of
melodic improvisation. As m entioned abov e, Parker wa s the most important musician of
the early bebo p era, therefore, an understanding of his melodic line seem s unavoidable in
the discussion o f bebop. M ore than anyone else Parker defines bebop. This discussion
leads to a comparison betw een a spects o f 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, m ore than any other bebop musician invented the paradigmatic
beb op line. His astonishing ability to create a linear expression of harmonies reflected a
supreme command o f his instmment and an advanced understanding of voic e 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 solo s, and
absorbed h is language. Wh ile many of Parker's original pieces becam e jazz standards, it
was both his phrasing and ability to improvise in a convincingly logical way on any piece
whethe r an original or a standard, that have had the most profound influence o n the jazz
tradition. For the m ost part, Parker recorded and performed standard pieces from the
l^Orrin Keepnews, The View From
Within:
Jazz Writings 1948-1987 (New
York:
Oxford Univ
Press, 1988), p. 114. Keepnews discusses the inappropriateness of this label given
to
Monk.
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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 wo rks
are either blues, rhythm changes, or other melodic contrafacts. For exam ple, 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 H igh the Moon.
According to jazz scholar Thom as Owens and others, Parker's improvisation w as
largely formulaic. ^^ In no way does this imply that his solos are predictable. Instead, the
statement suggests that they were constm cted from a repertoire of favored figures rather
than from motives derived from the melody of the piece he wa s 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 com e 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. 31-3 5. David Baker has also compiled Parker melodic formulas.
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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
som etime s the ninth above the fundamental. Figures from Ex. 2A -C and Ex. 3 we re 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 ^ ' l U I J l i ^
m
m
Exam ple 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. 2 A- 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
figur es 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.
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The rhythm o f the typical bebop line, except at medium and slower tempi, consists
largely o f a series of eighth notes with occasional triplet (or other)
figures
added to
provide variety. In a well-constm cted 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.
C onfirmation. ^ ^
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 fifth s
(^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.
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E7 cho rd. In the first measure Parker outlines the
B' '7
chord with an approach from the
ninth (C 5) 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 ^ v ii70/ii) over th e 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 tw o
octaves and a half-step from B^4 to A2. Ow ens states that this scalar organization is a
device that h e (Park er) brough t 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 m ore research, but whether O wen's claim is accurate or not, there is no
question that Parker remains one of the m ost imitated jazz musicians of the twentieth
century. While he played certain formulas in improvisations for different pieces, Parker
wa s not merely a formulaic improviser. In recent years Martin has scmtinized the body of
Parker's recorded solos using Schenkerian analytical me thods. 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 boo k, entitled Charlie Parker and Them atic
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.
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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
improv isation to the pa rticular needs of a given harmonic framework.^^ W hether
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 fragm ents 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 w as also fond of quoting the opening to the Habanera of B izet's Carmen.
The quotation became a common device among jazz m usicians.
22Henry Martin,
Charlie Parker and Thematic Imp rovisation,
p.3.
23rbid . ,p . l l l .
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CHAPTER III
MON K'S MUSICAL STYLE
Parker's rise to prominence in the early bebop era overshadowed the
accom plishmen ts of most of his contem poraries. 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 beb op. Monk 's playing style was in some w ays
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 w ays,
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 w ays from that of CharUe Parker. W hereas Parker's solos are filled with rapid
passag es. Mo nk's are filled with space. There is an economy in Monk's improvisation
wh ich employs silence as a musical resource . Parker m ade masterful statements and
showed jazz m usicians 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
M onk 's most important con tribution as a pianist was his ability to improvise a coherent
musical argument with a logic and stm cture comparable to the best of his notated
2'*Tirro, op. cit., p.30 7.
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com positions. 25 This description could just as well apply to Parker's improvisation relative
to his com position.
One feature of Monk's improvisation that contributes to its cohesiveness is his
tendency to develop ideas that a re 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
M artin in his analysis of Parker's solos lies at the heart o f Monk's musical style. Bo th
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 M onk, more than
Parke r and other co ntemporaries, employed the melody of the piece as a resource for ideas
in the solo. M onk's improvisational motives came from his composition. Both of these
elements cam e from his unorthodo x style of piano playing and the unusual note choice that
resulted from this technique.
Piano Style
M onk 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 W illiams, What Kind of Composer was Thelonious
Monk?, Music Qua rterly,
N3 1992,
p.437.
2'7owens, op. cit,
p. 141.
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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 B lake cites amateur recordings from M inton'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 M onk 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 w ith careflil calculation and control. Some of his advocates have pointed out that
M onk dem onstrated 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 wa s this skill which enabled him to play very rhythmically deft and surprising
punctuations in the left-hand accompaniment of his solos.
M onk '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 Jame s 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.
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especially in solo performances of ballads. Monk would play both standards and his own
pieces in the stride style. At the same time M onk w as a pioneer in the development of
bebop-style com ping. There are those w ho point out the influence of both Ellington and
Ta tum in his playing. M onk '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
comp ositions. This is primarily because M onk often derived figures from his compositions
in his improvisations, in short, he quoted himself ^^ Williams made the point above that
M onk used the melody as a basis for the improvisation. How ever, he also apphed
material from his other melodies to improvisations in totally different compositions. In a
way this is not so unlike Park er's playing of his favored figures w hich, after all, were
essentially pre-com posed ideas. As mentioned earlier, Parker, like Monk, would quo te his
own com positions while improvising over the chord changes of a different p iece. Unlike
Parker how ever. M onk seldom q uoted themes of popular or classical pieces in his
impro visations. W riter Whitney BaUiet provides an excellent description of the
relationship betw een 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-H all, 1978), p. 131.
^^Owen s, 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.
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Whole-tone Figures
From Tatum it is likely that Monk got the idea, shown in Ex. 7 for one of his
favorite figures, a d ownw ard sweeping whole-tone scale which Tatum employed, but
mo re often with a pentatonic scale.
Example 7: M onk's descending whole-tone figure.
One finds this or similar wh ole-tone derived figures in nearly all of Monk 's solos.
The frequent ap pearance of whole-tone figures is one important feature of Monk's music
that is not as commonly found in Parker's music. W hole-tone ideas became idiomatic only
in the later stages of the bebop era. Other figures which are the sources of Mon k's melody
in both com poshion and improvisation are described below.
Besides the figure in Ex. 7, M onk often employed other w hole-tone derived figures
bo th in his improvisation and com position. One such figure occurs in the bridge of his
52nd Street Theme, as shown below in Ex. 8.
v^
^^^TJ^ jn j j
Example 8: Wh ole-tone figure from 52ndStreet Theme.
In addition to the w hole-tone material which appears in the above example as
successive augme nted triads a whole step apart, the example also demonstrates one of
M onk 's favorite polyrhythms, the three against four p attern articulated by the three-pitch
sequence in eighth notes. Further, the example demonstrates sequencing. One can find
many o ther examples of sequencing in M onk's improvisation, many m ore than in Parke r
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There are num erous instances in which M onk's figures included the interval of the
tritone. One characteristic figure, shown in Ex. 9A, is from a transcription of one of
M onk's solos on
I Mean You^^
Here again, in the next measure of this solo he sequences
the figure dow n a half step. This figure was also the main motive for a later Monk p iece.
Raise Four. Tritone figures arise in relation to the who le-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 w ith the piece, Jackie-ing (Ex. 9B).^^
B
f
S
B l» Ma j7 #11
f
X E
Example 9A-B: Melodic and harmonic tritone figures.
Chromatic Figures
M onk employed ch romatic 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 be low 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.
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Another chromatic scale fragm ent is part of the motive of the famous M onk tu ne.
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 o f the key.
^ ^
i
M
%
Example 11: Chromatic figure from Straight, No C haser.
Half-step motion is a very important element in Monk's music, both melodically
and harmon ically. Many of his unusual harmonizations are tritone substitutions by which,
as dem onstrated a bove, V7/X-X becom es ''in /X -X . In this way root motion by half-step
frequ ently replaces circle of fifths harmony in Monk's music. In some cases this motion
mak es up almost the entire harmonic framew ork. 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 ex presses his harmonic concept. Example 12 illustrates some of Monk's
arpeggiated figures.
j J ? l jA jj | ^ ' ' i> ^ . y l ^ r f e
AskKie Now
hythm-a-ning ^^m^i^^uw -Round Midnight
Example 12: Various arpeggiated figures in Monk's music.
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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
n 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
n 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 n 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.
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One r e q u e n t ly findshat 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 fro m 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 M e.
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 hum orous 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.
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Almost all his pieces are in 4/4. Only one. Ugly Beauty, is a waltz. There are a variety of
features in his com positions 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 n many o f 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 o f 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 Dniin7orG 7 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.
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dissonance. Jazz writer Gary Giddens credits Mon k with being the one who more than
anyone else transformed the minor second from mistake to resource. -^^ This characteristic
sugge sts that M onk was paying attention to timbre in a way not unlike Schoenberg's
Klangfarben Melodie?^
In his article on M onk's com positional techniques Lawrence O. Koch points out
that M onk's simuh aneous 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 dem onstrates this
coloristic apph cation 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 tmm pet, ten or saxophone, and alto saxophone play the melody in unison while
M onk accompanies it with seconds below the line as demonstrated in Ex. 18.
This wo rk 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.
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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 m otion 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 l J ' i ' ^ J J
l l | 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 (se e 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
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to the subdominant chord in the ninth measure, contains such a sequence as demonstrated
in Ex. 2 1.
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. B esides 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 M onk'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 o f the rhythmic and metrical
properties o f the figu res. 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 wou ld often state a m otive using a certain rhythm, then when repeating it,
change the statement by the simple operation o f using a different metrical position for the
begimiing o f the same pitch and rhythm set. An excellent example of this rhythmic
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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 o n upbeat of four
^W
fcwi
3 t l
yijjj vjjij m
Entrance tnincated to upbeat of three
Example
22:
Well, You Needn't m m.
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 o f 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.
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Frequently the metrical displacement is employed along whh simple figural
tmn cation or elongation. The break between chom ses in I Mean You is ano ther
interesting example of this effect. As shown below (Ex. 24 ), the figure is offset in the
repea t in the same w ay the previous example was, that is, displacement has moved the
figure's beginning from the upbeat of four t o 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: Me tric superimposition with tmncation.
The implicit 3/4 meter is similar to the one in the previous example. How ever, in the
repeat of the figure, there is a tmnca tion 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
measu res with 3/4 and 4/4 m eters by this tmnc ation. 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.
N otated 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.
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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 o f 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
figu re 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
ii^J^
Example 27: From
Introspection,
showing diminution of the figure.
The second m easure is a superimposed 6/4 measure. Note that the
figure
s 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 o f the elements o f rhythm and meter
that is characteristic of M onk'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 m anipulates and combines his basic
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motives to build phrases in interesting and imaginative ways. The element o f 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 o f Thelonious Monk one
finds
many melodies harmonized by chords
which m ove in parallel motion up or down a half
step.
In some works this motion makes
up most o f the harmonic stmcture. One work o f 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 'l l u'l- JJ- Ji U i ^ J ^J - ^
D 9
N i r l i
I
M
n
E9
D9
J ^ J . J . J ^ i J ^ J J » J ^
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.
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This work, probably written before 1944, is a thirty-two measure
AABA
form. In
the firs t six measures the harmony is a repeating tw o 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 firs t
eight measures of the piece divides into two phrases, each of which contains two phrase
segments.
The melody o f the first phrase segment employs an arpeggiated figure which
outhnes an F7 chord. Significantly, the w hole piece begins with melodic motion of an
ascending half step from
G 3
to A 3, here referred to as the
semitone pickup gesture.
In
this case G^3 is the sem itone pickup for A3, the third of an F7 chord. Both the rocking
gesture and the sem itone 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
s 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 firs t 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
s introduced w hich is
an ascending P4 preceded by
semitone
pickup
gesture,
now to the
fifth
of the
F
major
chord (B3-C 4-F4). This
figure,
which occurs as a repeated pair, is a synthesis of tw o
aspects of the opening phrase segment.
On one hand the
figure
s related to the arpeggio
figure
because they have in
common the sem itone 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
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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
he A section to the bridge. Thus, in a subtle
way. Monk has embedded the arpeggio
figure
nto 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. 2 1. Then this chordal line descends
from
he 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 figu re
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
n 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
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important stmctura l event. The stmctural zenith of the bridge arrives on beat three of this
measu re. The m easure 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 chrom atic
ascent o f 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 sec tion. 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 stmc ture is related t o the successive appearances of the four sem itone
pickup notes for each chord ton e 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 econom y with which Monk manipulates motivic material to generate the
phrase s, either by elongation or tmnc ation, creates an elegant balance m the formal
stm cture . 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 a re 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 occ urs in other quite a few o f Monk's other pieces including I Mean You,
Rhythm-a-ning, and 'RoundMidnight. As shovm above. Well You Needn't contains
only tw o figures, one of which is derived from the other. This economy of means is
typical of many Mon k compositions.^^
'^^The term economy of means comes from O'SuIlivan.
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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 demo nstrates a
very elegant, but subtle superposition.
Straight, No Cha ser
is one of M onk'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 b racke ts 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 com es from the segmentation afforded by the rise of
each phrase group to
E 5 .
No tice that this pairing of the phrase segments is similar to
the that which occurs in
Well,
You
Needn't. One can perceive other similarities
betw een the two pieces with respect to the tmncation, elongation, and reiteration of
motive in the constm ction. For instance, the second phrase segment (mm. 3-6) of has
been spun out to a four-measure length by motivic tmn cation, 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. M onk has mapped this two-p art phrase stmcture (6+6) onto a formal
stm cture made up of three phrases, each four measures m length, which harmonically
defines a three-part 4+4+4 {AAB) stmc tural relationship. In a sense, the rhythmic
interest of this piece is fiieled by the hemiola (2:3) that occurs at a hypermetrical
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•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.
N o 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 s a simple chromatic comiection
that employs the second scale degree, the
blue-note
third and major third.
44,
.oupe .Mo^r KTCsTt^fot^n .^;-^ Z^T^:,Z^- ^^ - . .have
h nneasure
I.e..
There
is
a h-erarchica, re>a.„Mp
f acL STrn^rXZ a^h^^ase
38
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M ost of the scholars seem to agree that Monk had little contact with Europe an
com posers. How ever, Ow ens has noted that, according to Mon k's son. Mo nk
possessed a record collection that included Chopin and Liszt and other European
composers.' *^ There is eye-witness evidence that early Twentieth-century European
com pos ers, notably Stravinsky, did have a palpable influence on bebop. Some of this
evidence come s from Al Tmney, a pianist who w as among the bebop pioneers. Tinney
wa s 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 w ere also things
borrowed from Stravinsky... at the end of Firebird S uite... (he) uses a
pedal bass and he h as about five or six chords in a chromatic
sequence...And I guess that's whe re 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 timb re, the chromaticism, the frequent whole-tone figures, adventurous
harm ony, the econom y, 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.
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CHAPTER IV
REFLECTIONS ON MONK
Reflections
on
Monk for
Concert
Band is a four-movement work. Each
movem ent employs various elements from M onk's music as a resource in the
con stmc tion of the work. There is a subtitle before every movement that is a fragme nt
of the nam e of the M onk composition which contains the primary figure, motive, or
theme em ployed in the movem ent. Each m ovement utilizes some of the Monk
com positional techniqu es 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 movem ent of this wo rk, in F, employs various elements from Mon k'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 Mo nk's work glove style. Voicings hke these appear in every
movem ent and are a unifying element of the work.
The melodic material in the A section com es from the figure in the m elody at
m. 6 of Monk's We ll, You Need n't, shown in Ex. 33 A.
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l f '^) l j^J
Example 33 A: Thefigure 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 n mm. 7-8.
In m. 9 another gesture, derived
from
Monk's
figure,
appears in the flutes.
Here the
figure
s 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 t h e ^ section (mm. 7-88).
The theme o f Well,
You Needti't
(mm. 89-95) marks the beginning o f the B
section. The tmm pets 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 M onk'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.
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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.
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^ ^ ^
Example 35 A:
Blue Monk
figure.
Flute^
fieure displaced
l ife H
^ . { ^ ,
S^, ^ ^ g
>#«/
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 o f octave displacement recalls the
Klangfarben
melodic treatment in the
music o f 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 n
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 figu re 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 m easures of Blu present four adjacent notes of the chromatic
scale (D -F bracket 1) v^th the rising half-step f igu re. This
figure
then appears in
sequence at the subdominant
(G-B**
bracket 2) in mm. 3-4, adding another four
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adjacent no tes. A new pitch (B) enters in clarinet 1 on the last sixteenth note of m. 4.
In effect, the four-note figur e 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 figu re
from G2-E2, mirroring the
rising
half-step figu re. 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
n
m.
11.
The
A
section returns at m. 14 now with the note pairs displaced by two
octaves betw een 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 who le-tone scales which begins whh Scale Ion
E^
as shown in Ex. 36.
Scale 1
zm
o o ig :
|?o (k
o x
Scale 2 t=s
> o v<i.
Example 36: The two whole-tone scales.
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Other than the tw o whole-tone scales, there is no specific reference to M onk'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 hom s 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
C
^
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 w ith simuhaneous major seconds in the clarinets on the weak
beats.
The vibraphone sounds a who le-tone
figure from
the bridge of 52nd
Theme
(Ex. 8), shown in Ex. 38, as another accompanimental figure.
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Vibraphone m.2
tsizza:
^
^
= ^
Example 38: Wh ole-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
M onk's famous ballad 'RoundMidnight, shown in Ex. 39A. The flute plays portions
of Mo nk's original melody(mm. 18-24), however, the material is transposed up a
minor second as sho v^ in Ex. 39B.
slow
fi'' 'iV' ' p ' jiiJ- ^.i ' > j T ^ T I'l ' i ^ » J ^
Example 3 9A: 'RoundMidnight mm. 1-4.
Flute
i f ^ y ^ r - f c j ^
• " #
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 em ploys a series of ascending sixths (see Ex. 40). This movem ent, composed
in C, is in 5/4 meter and features a five-part rondo form, introduction (mm. 1-25)
^4^
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(mm. 26-49)
B ^
(mm. 50-96) ^^(mm. 96 -119;5 ^(m m. 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
r a g m e n t
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: M isterioso figure.
At m. 26 the melody, shovm in Ex. 4 0B, 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, constm cted from descending sixths, mirrors the above Misterioso figure.
The
Misterioso figu re 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 figu re 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
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rocking gesture in which the half-step m otion now moves down then up to the final
chord, as shown in Ex. 41
mm. 169-170
r\
kU
^
«?
)• ' ^; J ' V -
^ o -
r J
Example
4 1:
Final cadence Myst... m. 170.
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CHAPTER V
SUMMARY AND CONCLUSIONS
Thelonious M onk has left the world a very
rich
and varied collection of
com poshions. This document explored the cultural and musical context m which Monk
produced these w orks. 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
n the birth of bebop both as a composer and
pianist. In order to show how Monk fit into the bebop era, I have illustrated som e
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 o f Charhe Parker and imitated by many others.
Monk also utilized bebop vocabulary in comm on with Parker, such as the idiomatic
chromatic, arpeggiated, blues, and diatonic figures. However, many of the figu res
with w hich 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
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than a Cage.' *' The artistry o f 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
n jazz
because he reintroduced the unique Monk style to a jazz world in need of a new
direction. Monk w as a minimalist like Cage. But unlike Cage, who challenged the
very tenets o f Westem music. Monk worked within the confines o f 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 v oice leading of the work upon which he would base his
improvisation. Monk, in a similar way, demonstrates the understanding of how a figu re
undergoes logical developmental procedures in his music such as displacement and
sequencing.
The m usic o f Thelonious M onk shows remarkable organization, econom y, and
variety. There is a very w eh-developed sense of the hierarchical relationship of the
figu re, 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 fro m other periods o f music.
^^Martin,
Charlie Parker and Thematic Imp rovisation, p. 113.
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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 figu res
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 o f 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 tw o and four, nor much in the way o f 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 o f 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 o f Monk, jazz harmony,
and post-tonal chromaticism. Monk's economy is a strong influence m the way each
movem ent employs a few m otives which undergo development. Hopefully, the work
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reflects the type of awareness of hierarchical relationship that is characteristic of great
artists such as Monk, Parker, and the great com posers o f the past.
Monk has begun to receive wider recognition in the jazz world. There is now
a Thelonious M onk Institute of Jazz at the New England Conservatory o f Music in
Bo ston, M assachusetts. This institute sponsors yearly competitions for jazz
instmm entahsts 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 o f 1997.
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BIBLIOGRAPHY
Aebersold, Jamie. The Charlie Omnibook. N ew Y ork: Atlantic Music
Corp., 1978.
Baker, David, How to Play Bebop. New York: Hanson, 1978.
Blake , Ran. The M onk 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.
Ha yw ood , M ark 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.
Ne w York: Oxford University Press, 1988.
Ko ch, Law rance O. Thelonious Monk: Composhional Techniques.
Annual Review of Jazz Studies 2 (1983): 67-80.
Ktedy-O'Sullivan, Laila Rose. Klangfarben, Rhythmic Displacement, and
Econo my of Means: A Theoretical Study of the Works of Thelonious Mo nk.
M aster'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.
Ow ens, Thomas. Bebop: The Music and Its
Players.
New York: Oxford University
Press, 1995.
5 3
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Patrick, James. Al Tinney, Monroe's Uptown H ouse, and the Emergence of
Jazz in Uptow n Hariem.
Annual Review of Jazz Studies 2
(1983)
150-179.
Rutkoff,
Peter. Bebop:
M odern^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 G erow, 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: W W . N orton, 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.
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SELECTED DISCOGRAPHY
Christian, Chariie. The Imm ortal, Laserhght 17 032 (CD).
Mo nk, Thelonious. Blue
Monk,
Jazz Time 64026-2 (CD ).
. The Comp lete Genius, Blue Note BN-LA579-H2 (LP).
.
The Man I Love,
Black Lion BL-197 (LP).
. M /5/mo 5o, 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 Mon k with John Coltrane,
Jazzland JLP-46 (CD).
. Underground, Columbia CS 963 2 (LP).
Tattim Art. I Got Rhythm Vol 3 (1935-44), GRP GRD-630 (CD).
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APPENDIX
A
ESrSTRUMENTATION
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List of Instmments
Piccolo
[3] 1st Flute
[3] 2nd Flute
[2] Oboe
English H om
[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
Movem ent I: Tambourine, Shaker (egg), Chinese Gong (medium)
Movement
II:
Small Cymbal, Bass Dm m
Movem ent. 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
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APPENDIX B
REFLECTIONS ON MONK
FOR CONCERT BAND
SCORE
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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
Ba n 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
Ba a 'nombone
Baritone
TWnt
Vibtifihone
Tunpnni
Pcrcuction 1
Percuaion
2
Pctcimion3
Conductor Score (In C)
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Pice.
Fit. 1-2
Ob(. 1-2
E H n .
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
V i b .
Tunp.
Perc. 1
Perc.2
Fefc.3
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Pice.
Fit. 1-2
O b « .
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.
B a i .
TUb«
Vib.
Timp.
Pete.
1
PefC.2
Pnc.3
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Pice.
Fit. 1-2
Ot». 1-2
E H n .
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
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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 . H n t . 2 ^
Tbas. 1-2
B.Tbn.
Bar.
TUba
V i b .
Timp.
F«TC. 1
IVrc.2
FUC.3
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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. 1 3
F. Hnt. 2-4
Tbn.. 1-2
B.Tbn.
Bat.
TUba
Vib
Tunp.
Pete. I
Ptfc .
2
Pad
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Pice.
FU. 1-2
O b t .
1-2
E.Hn.
B n t .
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 tt3-4
F. Hnt. 1-3
R Hnt. 2-4
T b n t .
1-2
B.Tbn.
Bai.
T\t)t
V i b .
4 . ^ 1 f
Timp.
Petcl
Perc.2
Perc.3
7 bft Y I •/ d ; 7
1
t
1
1 1 if,—>—'' r^ \7^
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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
V ib .
Tunp.
Perc.
Perc.2
Perc.3
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Pice.
FU.1-2
Obc. 1-2
E H n .
Bnt. 1-3
a .
a t . 2-3
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
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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.
ubt
Vib.
Tunp.
Petcl
Perc.2
Perc.3
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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.
l U m
Timp.
Perc.I
Perc.2
Perc.3
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Pice.
FU.1-2
O b t . 1-2
E H n .
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
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
- ^
=
/
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P K C .
Re .
1-2
Obe.
1-2
E H n .
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
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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
V i b .
Timp.
Perc.
1
Perc.2
Perc.3
T-i- f f lBBB^
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Pice.
FU.1-2
Obe. 1-2
E H n .
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
V i b .
Tunp.
Pad
Perc.2
Perc.3
61
i 1 i \^
$
W
' 'f-
-
f-
mp
^
^ ^
-T ^
^
m f
^
^
mfV
mf\
i t i
m
•mp
u
M ?
-< \I i y i
74
8/16/2019 Monk Thesis
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Pice.
Fit. 1-2
Obt. 1-2
E H n .
Bnt. 1-3
a.
1
a t. 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
8/16/2019 Monk Thesis
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Pice.
Fit . 1-2
Obe.
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.
Tpte. 1-2
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
T b n t . 1 2
B.Tbn.
Bar.
TUba
V ib .
Timp.
Pad
Perc. 2
Perc.3
r—r-j
r (•
i
8/16/2019 Monk Thesis
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Pioc.
He. 1-2
Obt. 1-2
EHn.
Bnc. 1-3
a c . 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.
B a t
lU b a
V ib .
Tunp.
Perc. 1
Perc.2
Perc.3
8/16/2019 Monk Thesis
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Pice.
FU.1-2
O b t . 1-2
E H n .
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
H K .
1-3
R
HiK.
2-4
'n>nt.
1-2
B.Tbn.
Bat.
lU>a
V ib .
Tunp.
Fete.
1
Pete.2
Pete. 3
78
8/16/2019 Monk Thesis
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Pice.
Fit. 1-2
Obt. 1-2
E H n .
Bnt. 1-3
a. I
a t . 2 -3
B . a . 1 2
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
V i b .
Timp.
Petcl
Perc 2
Perc.3
8/16/2019 Monk Thesis
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Pice.
R t . 1 2
O U . 1-2
E. Hn.
Bnt. 1-3
a.
1
C U. 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
V ib .
Tunp.
P e t c l
Perc 2
P t t c 3
m
l i ;.]p^p -'p-' i^^p r r '•' P ^ p ^ p - I'i
80
8/16/2019 Monk Thesis
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Pice.
FU.1-2
Obe.
1-2
E H n .
Bnc. 1-3
a . i
a c . 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
V i b .
Tunp.
Perc.
Perc 2
Perc.3
81
8/16/2019 Monk Thesis
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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.
I ti te. 1-2
•It>te.3-4
R Hnt. 1-3
RHiH.2-4
Tbnt. 1-2
B.Tbn.
Bat.
1 \ * a
V i b .
Tunp.
iVrcl
Perc 2
Ftrc3
n
f l -H—H—
t
1 ((((
f ^
—^ ' •'—
fftf
•f ^—i f ^—ffff
82
8/16/2019 Monk Thesis
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Picc.
FU.1-2
Obt. 1-2
E H n .
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
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bac
TUba
V i b .
Tunp.
Perc. 1
Perc 2
Perc.3
83
8/16/2019 Monk Thesis
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Picc
FU.1-2
Obt.
1-2
E H n .
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
T b » . 1-2
B.Tbn.
Bac
Itta
Vib.
T a p .
Perc 1
Perc.2
Perc.3
84
• « •
8/16/2019 Monk Thesis
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10S
Picc.
FU.1-2
O b t . 1-2
E H n .
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
H K .
1-3
R Hnt. 2-4
Tbnt.
1-2
B.Tbn.
Bat.
TUM
Vib.
Tmp.
Fletc.l
Pete 2
Perc 3
85
8/16/2019 Monk Thesis
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Picc.
FU.1-2
Obe. 1-2
E H n .
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
V i b .
Tunp.
Petcl
Perc 2
Perc.3
• * ^
8/16/2019 Monk Thesis
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,^ j A Tempo
Picc
Rt. 1-2
Obt. 1-2
E H n .
Bnt. 1-3
a . i
a t . 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.
P w c l
Perc 2
Perc 3
87
8/16/2019 Monk Thesis
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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
V i b .
Timp.
Perc. 1
Perc. 2
Perc.3
88
• W H i ^ ^ .
8/16/2019 Monk Thesis
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Picc.
Re .
1-2
Obe.
1-2
E H n .
Bnc. 1-3
at.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
J N
ij'
^
89
8/16/2019 Monk Thesis
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1 2 5
Picc
Rt. 1-2
Obt. 1-2
E.Hn.
Bnt.
1-3
a .
1
at.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
T b n t . 1-2
B.Tbn.
Bar.
T\Oa
Tunp.
Petcl
Perc 2
FCrc3
i 7 l l M V J/ 7 J) 7 7 l | k J ) J ) •>
ll ^
flfl'7 li
7
i
90
8/16/2019 Monk Thesis
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12S
Picc.
Rt . 12
Obt.
1-2
E H n .
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
8/16/2019 Monk Thesis
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133
Picc.
Re . 1-2
Obt. 1-2
E H n .
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
8/16/2019 Monk Thesis
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137
Picc.
Rt. 1-2
Obe. 1-2
E H n .
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.
P e t c l
Perc 2
Perc 3
137
m
m
•* > * a -^
^ ^ ^
h'
i^' ^
^
± ^
•* a -* > -* a -*•
mp
r r
PP
mi
i ^ ' — I f — #
mp pp
^ pp mp pp
m
m
m
93
8/16/2019 Monk Thesis
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Picc.
FU. 12
Obt. 1-2
E H n .
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
[)' ' [)' ^ ^ f
7 * — f 7-
r— 7-
p\>
V
P P
f 7-
• ''—f—f—f—f—7 f— 7-
« pp
P p ;
94
8/16/2019 Monk Thesis
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Picc.
Re .
1-2
O b t . 1-2
E t t a .
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
8/16/2019 Monk Thesis
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Pioc.
FU. 1 2
Ott. 1-2
E H n .
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
8/16/2019 Monk Thesis
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Picc.
FU.1-2
Obe. 1-2
E H n .
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
8/16/2019 Monk Thesis
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n. Biu~.
kfuttrimo
Piccolo
F l u tet l - 2
O b o e t l - 2
EagliifaHom
Baccoone 1-2
a a r i n e t l
aaineu 2-3
Bate aarinet
Afto Saxophooet 1-2
Tenot Saxophooet 1-2
Baritone Saxophone
Ihimpete 1-2
Ttampelt3-4
H o t K
1-3
Her nt 2-4
Ttonbonet 1-2
Batt lYombooe
Baritone
l \<)a
Marimba/Vibfi | i iooe
Tunpani
Petcuttioo
1
Petci ici ioo2
Petcuttioo
3
Misterioso
m
m
m
S
S
^
^
m vi m b a
M-
cu re (kumsVlight rtick
H
troall cymbal
H-
98
e 1997 by Ken Metz
8/16/2019 Monk Thesis
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Picc.
Re . 1-2
Obt. 1-2
E H n .
Bnc. 1-2
a .
1
a c . 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.
M a t W i b .
Timp.
P e t c l
Perc 2
Pete.3
99
8/16/2019 Monk Thesis
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Picc.
Re .
1-2
Obe. 1-2
E H n .
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
100
8/16/2019 Monk Thesis
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Picc.
FU.1-2
Obt. 1-2
E H n .
Bat. 1-2
a . i
a t .
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
8/16/2019 Monk Thesis
http://slidepdf.com/reader/full/monk-thesis 108/178
I l l I
» l imL L J X^^ I I • • I • II • I
P i c c
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
T b n t . 1-2
B.Tbn.
Bac
Tb.
M « y V i b .
Tunp.
P e t c l
Pete 2
Ptic.3
8/16/2019 Monk Thesis
http://slidepdf.com/reader/full/monk-thesis 109/178
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
8/16/2019 Monk Thesis
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Picc.
Rt. 1-2
Obe. 1-2
EHn.
Bnc.
1-2
a . i
O c . 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 . T b n .
B a c
Tb.
Ma r A l b .
Timp.
Ptrc.l
Perc.2
Perc.3
104
8/16/2019 Monk Thesis
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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.
M j t / V i b .
•n-p
Petcl
Perc.2
Perc
3
105
8/16/2019 Monk Thesis
http://slidepdf.com/reader/full/monk-thesis 112/178
Picc.
Rt, 1-2
Obt. 1-2
E H n .
Bnc. 1-2
a . i
at . 2 -3
B . a .
A. S a x. 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
8/16/2019 Monk Thesis
http://slidepdf.com/reader/full/monk-thesis 113/178
Pice.
Rt. 1-2
Obt. 1-2
E H n .
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.
T b .
^
^ = r
-' i.j.
d^.^M
L — u^ ^;' i
vtp
-' L I I M
m p
L^ T P I
3 t
^ ^
M a rT V i b .
Tunp.
Perc.l
Perc.2
Perc.3
-7 7-
S n veD r .
-y-
i> /«
mp
^ V
107
8/16/2019 Monk Thesis
http://slidepdf.com/reader/full/monk-thesis 114/178
Picc.
Re .
1-2
Obt. 1-2
E H n .
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.
M t t / V i b .
Tunp.
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Perc.2
Perc.3
fl-^
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mp
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8/16/2019 Monk Thesis
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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
8/16/2019 Monk Thesis
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PICC
Rt. 1-2
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E H n .
Bnt. 1-2
a . 1
a t.
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
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Picc,
Rt, 1-2
Obt, 1-2
E H n ,
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
T b ,
M tfT V i b ,
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Perc.l
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Perc 3
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8/16/2019 Monk Thesis
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Picc,
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
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-^
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f
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112
8/16/2019 Monk Thesis
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Picc,
Re .
1-2
Obt. 1-2
E H n .
Bnt. 1-2
a . i
a t, 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,
M a rJV i b ,
Tunp.
Petcl
Perc,2
tee 3
113
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8/16/2019 Monk Thesis
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Picc
Re . 1-2
Obe, 1-2
E H n .
Bnt, 1-2
a. i
a t, 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.
M i t / V i b ,
Tunp,
Perc.l
Perc.2
Perc.3
T
f
mp
mp
r-
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114
8/16/2019 Monk Thesis
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Picc
Rt. 1-2
Obt. 1-2
E H n .
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.
T b .
MatTVib.
Tunp.
Pete I
Perc,2
Perc. 3
115
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8/16/2019 Monk Thesis
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Picc,
Rt, 1-2
Obt, 1-2
E H n .
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.
M a t W i b .
Tunp,
Perel
Perc,
2
Perc, 3
' ^ ^ r m ^
116
8/16/2019 Monk Thesis
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Picc,
Re. 1-2
Obt, 1-2
EHn.
Bnc.
1-2
a . i
a c , 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
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Dr.
f ^^
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8/16/2019 Monk Thesis
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Picc,
Rt, 1-2
Obe. 1-2
E H n .
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,
T b ,
M a r AT * .
Tunp.
Perc.l
Perc.2
Perc. 3
^ TTmr
118
8/16/2019 Monk Thesis
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Picc.
PU. 1-2
O U .
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
H K ,
1-3
Hnt, 2-4
Tbnt, 1-2
B,Tbn.
Bac
Tb.
M a t / V i b .
Timp.
Perc.
Perc. 2
Perc 3
'• ^ UH
119
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8/16/2019 Monk Thesis
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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. 1 3
Hnt, 2-4
Tbnt, 1-2
BTbn.
Bar.
Tb.
MM/Vib.
Tunp.
Petcl
Pete 2
Pete 3
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8/16/2019 Monk Thesis
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Picc.
FU, 1-2
Obt. 1-2
E H n .
Bnc,
1-2
a, 1
a t , 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,
M a t/ V i b ,
Tunp,
Petc l
Perc, 2
Perc 3
^
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D
f ^ ^ f ^
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h
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121
8/16/2019 Monk Thesis
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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,
M a t A a b .
Tunp.
Petcl
Pete 2
Perc
3
122
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8/16/2019 Monk Thesis
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Pice
FU.1-2
O b t , 1 2
E H n .
B a t , 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
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8/16/2019 Monk Thesis
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Picc.
FU, 1-2
Obt. 1-2
E H n ,
Bnc. 1-2
a c . 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,
M a r A i b .
Tunp.
Perc. l
Fere 2
Perc 3
^
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fl-i-
B-f
124
8/16/2019 Monk Thesis
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Picc.
Re . 1-2
Obt. 1-2
E H n .
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 , T b n ,
Bar,
Tb,
$
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M a tA/ i b ,
Timp,
Perc.l
Perc 2
Pete 3
.if
125
8/16/2019 Monk Thesis
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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
B S a x .
Tpte. 1-2
T i ) t t . 3 - 4
Hnt. 1-3
Hnt, 2-4
Tbnt, 1-2
BTbn,
l b .
M a i A i b ,
Timp.
P e t c l
Pete 2
Pete
3
i
i
126
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8/16/2019 Monk Thesis
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Pic c
Rt, 1-2
Obe,
1-2
E Hn,
Bnt, 1-2
a . i
a t . 2 - 3
B.a.
A . Sa x .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.
M a t A i b .
Timp.
Petcl
Pete 2
Pete 3
127
8/16/2019 Monk Thesis
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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,
T b ,
M a t A i b ,
Timp.
Perc,
Pete
2
Perc 3
128
8/16/2019 Monk Thesis
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m . 'Round Mid
Adagio
J= 52
Piccolo
R d e t l - 2
O b a e t t - 2
E o g l i t h H o m
Battoom I -2
Bb aatinet
1
Bbai t iK te2-3
B a a a a r i n e t
Ako Saxcphonee 1 -2
Tenor Saxophone 1-2
Baritone Saxophone
Thimpete 1-2
T h i mp e U 3 - 4
Flench Hcrne 1-3
French Hornc 2-4
Ttombonet 1-2
Bate Ttomtwne
Baritone
l U w
Vibtiphone
Timpani
Petcutt ion 1
Percuttion 2
Percuttion 3
129
8/16/2019 Monk Thesis
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Picc.
R l .
1-2
Obt. 1-2
E H n .
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,
V ib ,
Tunp,
Pete I
Pete 2
Pete 3
f
$
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i
mp
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, J J i J
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LY.
I
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1 . K
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130
8/16/2019 Monk Thesis
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P i c c ,
FU.1-2
Ota. 1-2
E H n .
Bnt, 1-2
a . i
at . 2 -3
B,a,
A, Sax, 1-2
TSax
B S a x .
T>tt. 1-2
T>te.3-4
RHnt. 1-3
R Hnt. 2-4
Tbnt, 1-2
B,Tbo,
Bar,
T b ,
Vib.
Tunp,
Petcl
Fete 2
Pete 3
131
8/16/2019 Monk Thesis
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Picc,
Rl . 1-2
Ota, 1-2
E H n ,
Bni.
1-2
a . i
a t . 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
8/16/2019 Monk Thesis
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Picc.
R t. 1-2
O t a ,
1-2
E H o ,
Bnt, 1-2
a .
a c ,
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 . T b n .
Bat.
T b .
V i b .
Timp,
Petcl
Pete 2
Perc, 3
'>'-^y^ 'r ^
^ ^
I 3 — n I
3
r r T ^
r r T
T ^ ^
^
^
133
8/16/2019 Monk Thesis
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Picc.
Rt, 1-2
Ota.
1-2
E H n .
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
RHn t, 1-3
RHnt, 2-4
Tbnc.
1-2
Bat,
Tb,
V i b .
Timp
Pac.\
Pete
2
Pete
3
134
8/16/2019 Monk Thesis
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Picc.
H I , 1-2
Ota. 1-2
EHn,
Bnt. 1-2
a . i
a t. 2-3
B . a .
A . Sax.1-2
T.Sax
B S a x ,
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
8/16/2019 Monk Thesis
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Picc.
Rt, 1-2
Ota, 1-2
E H n ,
Bnt, 1-2
a ,
1
a t , 2 - 3
B.a.
A, Sax, 1-2
T.Sax
B S a x .
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
^
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\fJ ~*_
f
^
^
136
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8/16/2019 Monk Thesis
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Picc,
PU. 1-2
Ota. 1-2
E H n .
Bnt. 1-2
a, 1
at,2-3
B,a,
A. Sax,1-2
TSax
B S a x ,
T ^ , 1 -2
T t t e , 3 ^
RHnt. 1-3
Tbnc. 1-2
B.Tbn.
Bar.
Tb.
Vib.
Timp.
Perc.l
Perc.2
Fere 3
^ 4 • ' j '
^W.
$
137
8/16/2019 Monk Thesis
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IV.
Myst.
Piccolo
Rulecl.2
Oboecl-2
EnglichHom
Baicoottc 1-2
aatinet I
aatinete 2-3
Bate aarinet
A to Saxophonet 1-2
Tenot Saxophooet 1-2
Baritone Saxophone
TlumpeU 1-2
Tkumpelt3-4
Horm 1-3
Ho t nt 2-4
Ttombooet 1-2
Bate Ttombooe
Baritone
TUM
Vibraphone
Tunpani
Petcuttion I
Petcuttion 2
Petcuttion 3
m
m
m
138
( W
8/16/2019 Monk Thesis
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Picc.
R l. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a.
O i. 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.
P e t c l
Fete 2
Pete 3
139
8/16/2019 Monk Thesis
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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
B S a x .
T^te. 1-2
T^.3 -4
Hnt. 1-3
Hnt. 2-4
Tboi. 1-2
B.Tbo,
Bac
l b .
V ib ,
Tunp,
P e t c l
Perc
2
Fere
3
fl— -f-^
ru
& - M ^
rr
-^ T
K
^-^
ftr
^rrcr
^ ^
F T
•JH'
f-^
mp
-h^
ja
7n
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8/16/2019 Monk Thesis
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Picc.
Rt. 1-2
O ta , 1-2
EHn,
Bnt, 1-2
a . i
at . 2-3
B . a .
A. S a x. 1- 2
T.Sax
1-2
B, Sax,
Tpte, 1-2
Tptt, 3-4
Hnt, 1-3
Hnt,
2-4
Tbnc, 1-2
B , T b n ,
Bar,
Tb,
Tunp,
P e r e l
Pete
2
P ete
3
^ ^
mp
ruf
^
mf
^
^ ^ ^
«lf
^ ^
« /
\>y
7
^
^
141
8/16/2019 Monk Thesis
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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 > t t . 3 - 4
Hnt, 13
Hnt, 2-4
Tbnt, 1-2
B,Tbn,
Bac
Tb.
V ib .
TSmp.
P e t c l
Perc
2
Pete
3
$
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8/16/2019 Monk Thesis
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^
Picc.
Rt. 1-2
Ota. 1-2
E H n .
Bni, 1-2
a .
1
a t. 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,
P e t c l
Fete 2
Pete 3
143
8/16/2019 Monk Thesis
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Picc
Rt. 1-2
Ota, 1-2
E H n ,
Bni, 1-2
a . i
a t , 2-3
B,a,
A. S a x. 1- 2
T.Sax 1-2
B.Sax,
T>te.
1-2
TJitt, 3-4
Hnt, 13
Hnt, 2-4
Tbnc, 1-2
B , Tb n .
Bat,
Tb,
Vib .
Tunp,
Petc l
F t t c 2
Pete 3
•'
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144
8/16/2019 Monk Thesis
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8/16/2019 Monk Thesis
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