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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



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 ^



APPENDIX

A. ESrSTRUMENTATION 56

B SCORE 58

lU



ABSTRACT

As the end of the twentieth century approaches, the generation of musicians who

were the pioneers of modem jazz (ca. 1945-the present) has all but died out. Fortunately,

there remains an abundance 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



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



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



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



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



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.



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.



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,



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.

6



Scholar Ran Blake states that bebop musicians leamed

from

Monk's advanced voicings

and adventurous progressions and thereby (Monk) enhanced the evolution of bop. ^ In

addition, Monk had an influence on the modem jazz tradition in other ways which 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.



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



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



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

10



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.

11



swing era, earlier popular show tunes, or appropriated the same basic chord changes from

pieces that came from these genres for his own compositions. Most of his original 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.

12



Example 3: Parker arpeggio figures.

As is the case of the figures in Ex. 2A -C, many other players from the swing and

bebop eras employed this or similar figures, an arpeggio, often outline the seventh and

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.

13



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.

14



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.

15



fashion his solos in light of that larger-scale thematic material. ^2 In effect, Parker

combined thematic material with basic formulas from his repertoire and tailored his

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 .

16



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.

17



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.

18



one can hear in his playing this work glove effect which, to some critiques, suggested

that he lacked technique, Monk should not be dismissed as a pedestrian player. In listening

to his many recordings one finds that it is likely that these wrong notes are not due to a

lack of dexterity. Rather their appearance is part of a so called

''Klangfarben

technique in

which timbre is an artistic resource.28 Ran 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.

19



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.

20



Whole-tone Figures

From Tatum it is likely that Monk got the idea, shown in Ex. 7 for one of his

favorite figures, a 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

21



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.

22



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.

23



Other Figures

Monk employed consecutive sixths to compose the blues-based M/.y/mo50.

Similar figures appear in his improvisations and as parts of other tunes. Example 13 is the

beginning of the theme to Misterioso.

i

V^=^

Example 13: Consecutive sixths

figure

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.

2 4



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.

25



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.

26



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.

27



Reiteration and Sequencing

The primary developmental techniques in Monk's composition are reiteration and

sequencing. It is the interaction of these techniques with rhythm and meter that creates

Monk's unique musical character. Because his chords move so often in parallel 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

28



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

29



displacement technique occurs

m

m. 7 of

Well, You Needn't.

Example 22 shows the

melody of the opening eight measures of this work. In this example the brackets delineate

the phrase segments of the passage.

Each segment begins 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.

30



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.

31



In another work,

Rhythm-a-ning,

an accentuation of beat four again creates a

superimposed 3/4 measure. However, in this instance, rhythmic diminution of the

arpeggio figure creates this displacement as shown in Ex. 26.

m

1

g

i

i

tes

3

4

S w

w i s w WT

S

w 7

4 4

Example

26: Rhythm-a-ning mm

1-4.

Both augmentation and diminution 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

32



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.

33



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

34



hidden in the arpeggio figure (A3-C4-F4-C5, which some may suggest is the motivic

origin of the perfect fourth motive.

As shown eariier, (Ex. 20) it is the

figure

at

m.

7 that Monk sequences by a series

of half steps in the B section, often termed the bridge in jazz. This bridge begins with

what would be the next pickup gesture in an F7 chord. In this case D4-E^4 is the

semitone pickup gesture for the seventh of the F7 chord. In stmctural sense then, each

chord tone of the opening arpeggio figure (mm. 1-2) has, on a larger scale, received its

semitone pickup gesture in moving

from

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

35



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.

36



In some cases Monk based a composition on only one motive. A prime

example of this is Straight, No Chaser. The organization of this work 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

37



•evel,44 At m. 5 the continuation of the phrase across the formal structure's downbeat

dehneated by the harmonic gesture to the subdominant, creates an exciting sense of

forward motion. The beginning of the second phrase occurs in the middle, therefore

the relatively weaker part (S a ) of the second four-,

diagram illustrates this hemiola.

•measure phrase. The following

Phrase 1

Phrase 2

measures

measures;

2

s

1

1

,

s

+

2

4

s

3

W

4

W

5 6

1

s

L £ _

W

W

2__L .9 10 11 12

w S w

Example 31 Hemiola at the hypermetric level.

There is a noteworthy similarity between the motive of

Straight.

N o Chaser

and the opening motive of Richard Strauss' Till

Eule,êigel,

shown below in Ex. 32

mm. 6-9^

TT

ih^pîJAH^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^âse

38

l i w r r -

III



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.

39



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.

4 0



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.

41



m

^ ^

f

^ ^ -

ig.

- ^ 9 -

Example 34A: Well... cadence to subdominant, mm. 150-151.

The remaining measures form an extension intended to be a humorously

disjunct summary of the thematic material (mm. 152-157). The

final

cadence at m.

156 now moves again with tritone substitution to the tonic as shown in Ex. 34B.

m.l57

^

i

V

1

Example 34B:

Well...

final

cadence to tonic, m. 157.

Second Movement

Blu

The second movement refers to material

from

Monk's famous blues. Blue

Monk.

The form of this movement is as follows: ^(mm. l-U)A\mm. 14-25) B{mm.

26-52 ) ^- (mm. 53 -74) Coda(mm. 75-93) . This movement employs the four-note

rising half-step figure shown in Ex. 34A, which is the opening

figure

of

Blue Monk,

for

its constmction. Example 34B shows the

figure

as h appears in

m

1 of the second

movement of Blu.

42



^ ^ ^

Example 35 A:

Blue Monk

figure.

Flute^

fieure displaced

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

43



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.

44



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.

45

M f f m i H ^ P s .



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^

46



(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

47

• M P ^ v ^ ^ m ^ B ^ i . .



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.

48



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

49



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.

50



A musical painter of miniatures. Monk attended to the fine details of timbre,

rhythm, melody, harmony, and form. Coltrane's description of Monk as a musical

architect of the highest order is apropos. He employed a rich palette of 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

51



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.

5 2



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



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.

54



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).

55



APPENDIX

A

ESrSTRUMENTATION

56



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

5 7



APPENDIX B

REFLECTIONS ON MONK

FOR CONCERT BAND

SCORE

58



PnfocmaiKx Time - 20:00

Moderato

1. J . = 76

Reflections on Monk

for Concert Band

I. WeU.-

Ken Metz

Piccolo

Rulet 1-2

Ot>aetl-2

EogUthHoni

Banoonc 1-3

Bb aainet I

Bb Quinetc 2-3

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)

59

C1997byKenMe<z



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

60



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

61



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

62



Pice.

Fit. 1-2

OU. 1-2

E.Hn.

Bnc. 1-3

a .

1

Clt.2-3

B. a . 1-2

A. Sax.1-2

T. Sax 1-2

B.Sax.

•IY)»t. 1-2

T >« t . 3- 4

F.

Hnt. 1-3

F . H n t . 2 ^

Tbas. 1-2

B.Tbn.

Bar.

TUba

V i b .

Timp.

F«TC. 1

IVrc.2

FUC.3

63

«i«JiL.>v



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

65



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^

66



Piec.

Fit. 1-2

Obt. 1-2

E.Hn.

Bnt. 1-3

a . i

a t . 2 -3

B . a . 1 - 2

A. Sax.1-2

T. Sax 1-2

B.Sax.

Tpte. 1-2

TJ)tt.3-»

F Hnt. 1-3

R Hnt. 2-4

Tbnt. 1-2

B.Tbn.

Bat.

•MM

V ib .

Tunp.

Perc.

Perc.2

Perc.3

67



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



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



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



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

- ^

=

/

71

IUJ-. I1V



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

il'MlWl.'V



Pice.

FU.1-2

Obt. 1-2

E.Hn.

Bnt. 1-3

a .

CU.2-3

B .a . 1-2

A. Sax. 1-2

T. Sax 1-2

B.Sax.

Hxt . 1 - 2

Tptt. 3-4

R

Hnt.

1-3

R Hnt. 2-4

Tbnt.

1-2

B.Tbn.

Bat.

lUba

V i b .

Timp.

Perc.

1

Perc.2

Perc.3

T-i- f f lBBB^



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



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



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



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



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



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



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



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



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



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



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

• « •



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



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

• * ^



,^ 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



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 ^ ^ .



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

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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



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



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

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H T ' ()'

r^-f

1 ^V

i

92



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^' ^

^

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mp

r r

PP

mi

i ^ ' — I f — #

mp pp

^ pp mp pp

m

m

m

93



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

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P p ;

94



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



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



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



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

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H-

98

e 1997 by Ken Metz



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



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



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



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



Picc.

R l . 1 - 2

Obt. 1-2

E.Hn.

Bnt. 1-2

a . i

a t . 2 -3

B.a.

A. Sax.1-2

T.Sax

1-2

B. Sax.

T>te. 1-2

Tpte. 3-4

Hnt. 1-3

Hnt. 2-4

Tbnt . 1-2

B.Tbn.

Bac

Tb.

MmJVib.

Tunp.

Perc. I

Pete 2

Pete 3

If

103



Picc.

Rt. 1-2

Obe. 1-2

EHn.

Bnc.

1-2

a . i

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



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



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



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 .

^

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Tunp.

Perc.l

Perc.2

Perc.3

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i> /«

mp

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107



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.

Petcl

Perc.2

Perc.3

fl-^

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mp

m

b a tt I k .

fr

-tp\

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108



Picc.

Rt. 1-2

Obt. 1-2

EHn,

Bnt. 1-2

a . i

a t . 2 - 3

B.a.

A, Sax. 1-2

T.Sax 1-2

B.Sax.

Tpte. I 2

Tpte. 3 ^

Hnt. 1-3

Hne. 2-4

Tbnt. 1-2

B.Tbo.

Tb.

MMjVib.

Timp.

Perc.l

Perc.2

Perc. 3

109



PICC

Rt. 1-2

Obt. 1-2

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

B,Tbn.

Bac

Tb.

MarTVib .

Tunp.

Perc.l

Perc 2

Perc,3

$

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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 ,

Tunp,

Perc.l

Fere 2

Perc 3

/

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^

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h

m

- ^ — ^

w

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^

111



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-^

TT

i— r

'M ^

f

• ^ ^

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112



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

^



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

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mf

114



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

^>v



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



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.

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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



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

w r \



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

• ^ f « S * ^ * \



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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f ^ ^ f ^

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f l-^ ^

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h

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Bt"^

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121



Picc,

R l , 1-2

Obt, 1-2

EHn,

Bnt, 1-2

a . i

a t . 2 - 3

B,

a.

A, Sax,1-2

T, Sax 1-2

B,Sax,

Tpte, 1-2

Tptt. 3-4

Hnt, 1-3

Hnt,

2-4

Tbnc, 1-2

B,Tbn,

Bac

Tb,

M a t A a b .

Tunp.

Petcl

Pete 2

Perc

3

122

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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

- i B H B H r s ^



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

^

H -

fl-i-

B-f

124



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,

$

$

^s

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M a tA/ i b ,

Timp,

Perc.l

Perc 2

Pete 3

.if

125



Pice

FU,

1-2

Obt, 1-2

EHn,

Bnt, 1-2

a. 1

a t . 2 -3

B . a .

A, Sax.1-2

T.Sax

1-2

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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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



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



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



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

$

$

m

'•l^^J

J

i

mp

Dolce

l,tolo

^

mp

J

, J J i J

tisn>ft

f

^ -

nfr

LY.

I

J I

1 . K

. L L J

130



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



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



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



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



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



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

^

ITJ

\fJ ~*_

f

^

^

136

'. .k iw i . . ^



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



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



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



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

140

" T » - W « W



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



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

$

142



^

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



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

•'

-^»i

144



Picc.

Fb.1-2

Oil*. 1-2

E H i .

Bu. 1-2

a . i

at.2-3

B.a .

A. Sax. 1-2

T.Sax

1-2

B.Sax.

Ttite.I-2

1^.3-4

Hnc.

1-3

Hm.lA

•am. 1-2

B.Tta.

Bac

Tb.

Tunp.

Pete. 2

Perc. 3

^

^

w

m

£ =1

^ T

* _ _ _ _ i »

^m

145



Picc.

Rt . 1-2

O t a . 1-2

EHn.

Bm. 1-2

a.

CU.2-3

B . a .

A .

S a x.

1-2

T.Sax 1-2

B.Sax.

T^ t e . 1-2

Tpte,

3-4

Hne, 1-3

Hnt, 2-4

Tb n t ,

1-2

B,Tbn.

Bat,

Tb,

Vib.

Timp,

P e t c l

Pete 2

Pete 3

iiU::=iii'^

mp -

° ' u'' ur

ii -

T

"7

i •'K'' C'' Kf

rm

1+-

^

rW QT'

T

^

mf

146



Picc

R t. 1-2

O ta . 1-2

EHn.

Bnt. 1-2

a.i

a t . 2-3

B.a.

A, Sax,1-2

TSax 1-2

B,Sax,

1^,1-2

T))te, 3-4

H u.

1-3

Hoc.2-«

Tbnc, 1-2

BTbn,

Bat,

Tb,

V ib ,

Timp,

Petcl

Pete 2

Pete 3

Ugctto

tLm.

'

Ugalo

T

Cresc.

6-^Tr^

r

^ -'([lew.''

f

0 *

• ; » •

DirxiT

f^

M^

—T

-7

tath cymbal Lv,

r A

^ ^

« /

" /

Crtc.

147



Picc,

R l . 1-2

O ta , 1-2

EHn,

Bnt, 1-2

a, 1

at ,

2-3

B,a,

A, Sax. 1-2

T, Sax

1-2

B, Sax.

T>t t , 1-2

Tptt, 3-4

Hm, 1-3

Hnt. 2-4

Tbnt. 1-2

B.Tbo.

Bat,

l b .

V i b ,

Timp,

Pete, t

Pete.2

Peic.3

:.4.4

I liK

148



Picc

Rt. 1-2

Ota. 1-2

E H n .

Bni, 1-2

a . i

at. 2-3

B . a ,

A,

Sax,1-2

T

Sax

1-2

B,Sax.

T^)te.l-2

T>tt.3-4

Hot. 1-3

HiK.2-4

Tbnt. 1-2

B.Tbn.

Bat,

Tb,

V*.

Timp.

Petcl

Pete.2

Pete

3

i °

\> (

M ' b

^-yrmwrm

H p r p

149



Picc

FU,

1-2

Ota, 1-2

E l k .

Bnt. 1-2

a . i

at. 2-3

B . a .

A. Sax. 1-2

T.

Sax

1-2

B.Sax.

T ^ . 1-2

TtKi.3-4

Hnt. 1-3

H u .

2-4

Tbnc. 1-2

B.Tba.

Bac

Tb.

Vib.

Tunp.

Petcl

Perc.2

Perc

3

Croc. ^

mr r

151



Picc.

Rt. 1-2

Ota. 1-2

E H n .

Bat. 1-2

a . i

at.2-3

B . a .

A, Sax,1-2

TSax 1-2

B S a x ,

T ^ . 1- 2

Tptt. 3-4

Hnt.

1-3

Hnt. 2 4

Tbnt. 1-2

B.Tbn,

Bat,

T b .

Vib.

Timp,

Petcl

Pete 2

Pete 3

only

frTrrrrr

•sip

H M I ^'^T I' 11 ^

Croc.

r r r r rrrrr

mf

152



t ^

Pkc.

Rt. 1-2

Ota. 1-2

E H o ,

Bot. 1-2

a , 1

C i t ,2 - 3

B , a ,

A, Sax, 1-2

T, Sax 1-2

B S a x .

T>te, 1-2

T^>te,3-4

Hat, 1-3

H K , 2 - 4

Tbw, 1-2

BTbo.

Bac

Tb.

Timp,

tec, 1

tec 2

Pete

3

« /

l /'J

?*flf

\.\\.u^\'[.\:>'.

J - J-

.T 'i. j J

J

:1s:t:

i U J. J'

« /

TTTTrT

rrmTTrrm

rTTTT

/

b

I' I' r ( V

153



Picc,

Rt, 1-2

Ota, 1-2

E H n .

Bnt,

1-2

a, 1

at , 2-3

B,a,

A, Sax,1-2

T.Sax 1-2

B.Sax.

HHc. 1-2

1^.3-4

Hnc, 1-3

Hnc, 2-4

Tbnc, 1-2

B,Tbn,

Bar.

Tb.

Vib.

Timp.

tec. 1

tec. 2

tec 3

M r r "T

- > f

( I I ^ H I r f

^ ^ 1

r I r i'

f

154



Picc,

Re ,

1-2

O ta , 1-2

E H n ,

Bnc, 1-2

a, 1

at.2-3

B.a,

A, Sax, 1-2

TSax 1-2

B,

Sax,

TWc. 1-2

Ti)te.3-4

Hnt. 1-3

HiK.2-4

Tbnc. 1-2

B.Tbn,

Tb.

V ib .

Timp.

tec.l

tec, 2

tec 3

1°

M r r r f

wrm

rrTTTT

FTTtn

mm

UTTrj

mf

r-rrrry

»

I' f r i

155



Picc.

Re.

1-2

Ota.

1-2

E H n .

Bnc, 1-2

a.i

CU.2-3

B . a .

A. Sax.1-2

T.

Sax

12

B.Sax.

T^ . 1-2

'n)te.3-4

Hnt. 1-3

HiK.2-4

Tbnt. 1-2

B.Tbn.

Bac

Tb.

Vib.

Timp.

tecl

tec. 2

tee 3

° (

(

l>( \ ^^

Croc.

rrrm

\fCr.

FTTTTT

rrrm?

M I r I

i

rprrrrr

Jf

to clavi

f r n w

to claw c

Croc.

fCric.

^ > T r r (• '

clavet

7P

156



Picc,

Rt. 1-2

Ota, 1-2

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

Tpte, 3-4

Hnt, 1-3

Hot. 2-4

Tbnt. 1-2

B.Tbo.

Bac

Tb.

Vib,

Timp,

tecl

tec, 2

Pete.3

157



Picc.

Rt. 1-2

Ota. 1-2

E H o .

Bnt. 1-2

a . i

a t . 2 -3

B.a.

A,

Sax,1-2

TSax 1-2

B.Sax,

Tpte, 1-2

Ttte,3-4

Hnt,

1-3

HiK,2-4

Tbnc. 1-2

B.Tbn.

Bat,

Vib

Timp,

tecl

tec, 2

Pete 3

158



Picc

Rt. 1-2

O t a . 1-2

EHn,

Bnt,

1-2

a.i

at. 2-3

B.a.

A.

Sax.

1-2

T.Sax 1-2

B.Sax.

T))tt, 1-2

T^,3-4

Hnt, 1-3

H K , 2 - 4

Tbne, 1-2

B,Tbo.

Bar

Tb

Vib.

Tunp.

tecl

tec, 2

tec

3

^ i ^ l i g ^

^-U^

7

i X-<l'ii\'<

rm

sr^

r u ' uT

\ M : ^ r: f: •>

rrr^

tr

T

^

159



Picc,

Rt , 1-2

Ota, 1-2

E,Hn.

Bnt. 1-2

a t , 2- 3

B,a.

A ,

S a x,

1-2

TSax 1-2

B.Sax,

T ^ , 1- 2

1^ ,3 -4

Hni. 1-3

Hnt,

2-4

B, Tbn,

Bat,

Tb,

Vib.

Tunp.

tecl

tec 2

tee 3

9'

J ^ 7 7 ])•

\ > \ > ^ c i c

mf-

^

1

(>"a""u>'

^ m

rtrtfT

mf

mf

H—

T^

M r:*

rrF

-^

T

r t m r r

\ 7f f7

rm

^

O M C .

|)''0'' " '

mf

160



Picc,

Rl 1-2

Ota, 1-2

EHn,

Bnt. 1-2

a . i

a t. 2-3

B.a.

A, Sax,1-2

TSax 1-2

B, Sax,

T|)te. 1-2

Tt)te,3-4

Hnc,

1-3

Hnc. 2-4

Tbnc, 1-2

B,Tbn,

Bat,

lb .

Tunp,

tecl

tec 2

tec. 3

161



Picc,

FU, 1-2

Ota, 1-2

E H n ,

Bnc, 1-2

a, 1

ae,2-3

B,

a .

A. Sax.1-2

T. Sax 1-2

B,Sax,

T ^ , 1- 2

Tpte, 3-4

Hnc, 1-3

Hne, 2-4

mm

Tbnc, 1-2

BTbn,

Bac

Tb,

V i b .

Tunp.

tec.l

tee 2

tec 3

^

S

^

£r

fr^

J - hi

J-

; iJ -

U J- .N

mf Croc.

J - iu J- hm h} J. >

mf Croc.

U 4 o o l y

162



Picc.

Rt, 1-2

Ota, 1-2

E H n .

Bot. 1-2

a . 1

a t . 2 - 3

B . a

A, Sax.1-2

T. Sax 1-2

B.Sax.

Tptt. \-2

Tt>te.3-4

H K . 1-3

H»,2-4

Tbnc, 1-2

B.Tbo.

BM.

Tb.

V * .

T- p ,

tecl

tec

2

Pete

3

163



Pioc.

PU. 1-2

Ota. 1-2

EHn.

Bnt, 1-2

a,

1

C3t,2-3

B, a.

A.Sax. 1 2

TSax

1-2

B.Sax.

T>tt. 1-2

T^ .3 -4

Hnt, 1-3

H K . 2 - 4

TbK. 1-2

B.Tbn.

Bac

Tb

Vib

Timp

tec. I

Pete 2

Pete.3

Conbell

mrrr

tucpeoded cymbal

^TTTTTT

mm

srrm

r r r ^

Crete.

u r I V

164



Picc.

Rt. 1-2

Ota. 1-2

EHn.

Bnt. 1-2

a .

a i ,

2-3

B , a ,

A.Sax. 1-2

T. Sax 1-2

B.Sax.

T ^ . 1-2

Tttt.3-4

Hnt, 1-3

Hoi, 2-4

Tbnt. 1-2

B.Tbn.

Bat.

Tb.

Vib.

Tunp.

tecl

tec,

2

Pete 3

^ .

r m ^ i ^ T

rTTTTT

ff

•i>T

I I r

\ > \ \

I I I

^ ^ ^ 1

I I I

mr

fff

mri

clawi

fjff

T-

•

m

T

JJXI

165



Picc.

R t. 1-2

O ta . 1-2

EHn.

Bnt. 1-2

a t , 2-3

B, a .

A. S a x. 1-2

T.Sax 1-2

B.Sax.

T4>te. 1-2

1^.3 -4

Hnt.

1-3

TbH.

1-2

B.Tbo.

Bac

Tb.

V ib .

Timp.

tec.l

tec.

2

tee 3

' b r ' ^ ' r '

vtp

166



Picc

Re.

1-2

Ota. 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

T^.3-4

Hnc. 1-3

Hnc, 2-4

Tbnc, 1-2

B . T b n .

Bat,

Tb.

V i b .

Timp.

tec.l

tec 2

tec 3

0

i: 1 t

"TT

• ^

r' ^

169



Picc

Rt . 1-2

Ota. 1-2

EHn,

Bnt, 1-2

a t . 2-3

B ,a .

A, Sax, 1-2

T, Sax 1-2

B.Sax.

T ^ . 1-2

T^.3 -4

Hnt. 1-3

Hnt. 2-4

1 b » .

1-2

B.Tbn.

Bat,

Tb,

V i b ,

Tunp,

tecl

P erc .2

tec

3

170



Picc,

R l .

1-2

O t a .

1-2

E H n .

Bnt. 1-2

a . i

<3t.2-3

B.a.

A . Sax. 1-2

T. Sax 1-2

B,Sax.

Tptt. 1-2

TVt.3-4

Hnc. 1-3

Hnt. 2-4

Tbnt. 1-2

B.Tbo.

Bat.

Tb,

V i b ,

Tunp,

tecl

tec 2

tec 3

171



Picc.

Rt. 1-2

Ota. 1-2

EHn.

Bnt. 1-2

a . i

O I .

2-3

B.a.

A.Sax. 1-2

T.Sax

1-2

B.Sax.

monk thesis

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