Analitical encounters with music in diverse cultures. Thelonius Monk‘s sheet music transcriptions are available from our Library.
Thelonious Monk’s Harmony, Rhythm, and pianism (Part 1)
On February 28, 1964, jazz pianist, composer, and group leader Thelonious Monk (1917-1982) graced the cover of Time magazine, then America’s major newsweekly. Coming at the height of the civil rights movement and amid dawn-ing recognition for African Americans’ achievements, it was a true breakthrough into mainstream media for him and for jazz.
The moment was short-lived, with rock-and-roll’s ascendancy to cultural dominance just around the corner, but it was also well-earned: Monk had been producing extraordinary music—often under diﬃcult social and personal circumstances—for almost two decades, and would continue to perform for another nine years.
Gnomic and inscrutable, he also magniﬁed, for better or worse, popular clichés about the jazz artist as insou-ciant, hipster weirdo—aspects played up in Time’ s account, and undoubtedly part of the reason its editors had singled him out, for the moment, as jazz personiﬁed.
Yet despite the typecasting, Monk was actually an unlikely icon, musically and personally. Jazz comprises a cluster of genres bound loosely by a symbiosis of individualism, commercial concerns, and high art leanings, but even given this, Monk’s playing was in many ways too idiosyncratic to ﬁ t in to any niche. His music diﬀered more from his contemporaries than theirs did from each others’. His small hands and distinctive piano technique often gave cause for his very skill and competence to be called into question, sometimes not without reason. Such perplexities complicated Monk’s reputation and that of jazz itself, which he was both part of and apart from.
And as if to enhance this otherworldly aura, after touring and recording almost continually from the late 1940s until the mid-1960s, he simply faded away. He stopped playing piano soon after his last record-ings in 1971 and retired into semi-seclusion for the last decade of his life. Yet both his musical legacy and mythic status have continually strengthened ever since.
Our own lifelong obsessions with Monk’s music started in the 1970s. It was a romance of recordings: the only performances we ever saw were on ﬁ lm, and that was much later. For us back then, “Thelonious Monk” was an outré persona conjured by liner notes and cover art. The cover of one LP— Monk’s Music, from 1955—showed him writing music while perched in a child’s red wagon, donned in hipster’s garb and sunglasses; another— Underground, his last Columbia recording, from 1968—set Monk as WWII French resistance ﬁghter, seated at an upright piano in a barn hideout, with several open bottles of wine, a live cow, weaponry, and a captured Nazi in tow.
These manufactured images suggested ways for the public to digest the music: Monk as idiot-savant, genius-child, rebel-recluse—a collection of quirky, individualistic, American countercultural personas. But, however these images may have hooked us as teenagers, we could not fail to hear his music as indispensable. His deadpan playing, stocked with “scribbled lightning”, and jabbing, stabbing, amazing chords, textures, rhythms, empty spaces, and clus-ters, was riveting, at once instantly recognizable, diverse and unpredictable, and full of the divine laughter that made it both deadly serious and hilariously funny. It invaded our musical selves-in-formation and led to insatiable ﬁ xa-tion. Of course we were among many trying to internalize Monk and make him part of us. This chapter harvests fruits of our Monk incubation, and the friendship built partly from it.
Here we also position Monk to represent the multiplicity of jazz, some-thing for which no one artist or performance is suited, and yet, for the same reasons Time chose him, no one is as well suited as he. Our aim is not so much to depict the dimensions of Monk’s style as it is to show what he was able to achieve on one particular occasion. We consider a renowned April 1957 solo piano recording of “I Should Care” (hereafter ISC) , a song composed around 1944 as a number for the boilerplate Hollywood movie Th rill of a Romance and known to the public through recordings by Jimmy Dorsey, Frank Sinatra, and others. It appeared repeatedly on the 1947 hit parade and was almost imme-diately adopted by Monk, (pianist) Bud Powell, and myriad other players.
Our choice of a “standard,” rather than one of Monk’s numerous seminal original compositions, is deliberate, allowing us to focus on the deeply symbi-otic relationship between Monk and the jazz mainstream, a microcosm of the relationship between jazz and American popular music as a whole.
Monk’s decision to create a personalized, at least seemingly improvised (though in fact hardly at all) rendition of a popular song is itself “standard” practice for jazz. In general Monk’s taste in standards leaned toward the popular music of his youth, but he seems to have had a particular fascination with ISC: he recorded it at least four times for as many record labels, over a span of twenty years. Our chosen ISC is especially concen-trated and allows us to frame Monk’s idiolect against the background of some of the era’s musical conventions and their milieu.
Jazz, Monk, and Modern Jazz Technique
Jazz and Jazz Analysis
In the United States jazz was long ago pronounced “America’s classical music,” a phrase used so often as to now elude original attribution. Many Americans regard this African-American form as a birthright and know it when they hear it, even if hard pressed to say what it is that makes it “it.” Born in late nineteenth-century New Orleans, it long ago permeated global culture, provoking cultural responses by the 1920s in places as distant as Japan and China.
To have even a passing acquaintance with Western culture is to have some awareness of jazz as an idea involving musical self-expression through improvisa-tion. Beyond the “jazz buﬀs” that live in every country, this awareness can be expressed in indirect, idiosyncratic ways: a “jazzy” turn of phrase in a Bollywood production number, a rural Japanese man belting Sinatra-style while fronting his local high school’s jazz band, or a lip-synching crooner in a Manila transvestite bar. These and thousands of other appropriations attest to jazz’s potency.
Jazz history is often described in terms of a series of fast-morphing eras (until a pluralistic stasis set in after the mid ’70s)—Dixieland, hot jazz, swing, bebop, cool, hard bop, free jazz, fusion, and so on—whose musics evolved but were also retained in coexistence. Th roughout, it has been girded by poly-rhythmic, cyclical, repetitive principles tracing back to the West African music of slave ancestors, the dialects of song and rhythm in earlier African-American music (the blues, spirituals, etc.), the strophic ballad and popular song forms of Anglo-America, and the harmony and instruments of European art music. Jazz digested, synthesized, and transformed all of these.
The bebop style of Monk’s era was typically played by combos of up to six players comprised of piano, stand-up bass, drum trap set, and possibly electric guitar (all comprising the rhythm section ) , fronted by saxophone(s), trumpet(s), or trombone(s). Most performances use the melody or “head’” of a popular song or a newly composed tune to launch solo improvisations stated over the tune’s cyclically repeated harmonies, which are rendered by the rhythm section in constantly changing accompaniment patterns.
Rhythm section members also take solos. Bebop players such as Charlie Parker (saxophone), Dizzy Gil-lespie (trumpet), and Bud Powell (piano) perfected a vocabulary of scales and patterns that brought out the color and quality of the “changes” (the chord sequence) while ﬂ ying far from the original melody.
Jazz is improvisation, and the image of the spontaneously creative soloist, playing instinctually, is powerful. Some players can and do spin oﬀ very diﬀerent solos from take to take and/or from night to night, but most draw from a personal lexicon of phrases, large and small, that constitute a player’s style. The degree to which great improvisers plan their solos varies, and the line between improvisa-tion and composition is ﬂuid. Aﬁ cionados have always known this, but today the ready availability of myriad “alternate takes” by Charlie Parker, Monk, and innumerable others proves that jazz improvisation can be a highly calculated act. The ﬁxed, solo arrangement of ISC we selected is a case in point.
Jazz analysis, like all analysis, begins with listening, and is a multistage process proceeding from general stylistic features to consideration of players’ own styles, and ﬁnally to the details of a performance.
Knowledgeable listeners weigh a critical mass of musical markers including instrumentation, form, harmony, tempo, and rhythmic subdivision to identify and appreciate indi-vidual players. Even should such a listener ﬁ rst hear a recording of ISC “blind-folded”—that is, without being told who is playing—and fail to recognize Monk’s musical signatures, he or she could still place the music at circa 1945-1965. This was an era encompassing related styles (bebop, cool, West Coast, and more) that we refer to for convenience as the era of modern jazz.
The integrity of any durable genre rests on the tensile strength of its basic principles; Monk’s relationship to modern jazz is a characteristic one of testing these strengths. Among the features relevant to this performance are certain types of harmonic and rhythmic complexity seen in relation to musical form, and a range of ways of laying these out on the piano keyboard. To analyze ISC in terms of these features, we will ﬁrst survey their treatment in the genre. Then it can emerge how Monk mobilizes rhythm (especially ﬂ uctuations of tempo) and harmony on the one hand, while retaining form and melody on the other, to create a layered, asymmetrical reading of this standard song.
We later refer to a full transcription ( ﬁgures 4.5 and 4.6 ) through which we can ﬁ x the performance in our minds at a glance. But even though we made every eﬀort to make it accurate in pitch and harmony (though one can never be sure) and urge the reader to play it, not even a note-perfect perfor-mance will make it sound like Monk. This is because he plays with an embod-ied hand and ﬁ nger pianism that even neurological and psychological description could hardly capture, let alone conventional music notation.
Monk’s touch at the keyboard vividly shapes surface rhythm and the envelope of the sound—its attack and decay contour. Playing it is worth doing, how-ever, to encounter the sonic diversity of his style and wealth of unexpected piano sonorities.
Form and Fusion
ISC is composed in one of a small number of easily recognizable thirty-two-measure popular song types of the era (the top staﬀ of ﬁgure 4.1 gives the melody). It consists of two sixteen-measure periods that are parallel, in the sense that the ﬁrst eight measures of each are identical and the second eight diﬀer. This can be thought of formally as ABAC, in which each letter desig-nates eight bars of melody and chords (actually the very ﬁ rst measures of B and C are also the same). Songs of this genre were written to be recorded by professionals and, if successful, were published as sheet music for amateurs.
The sheet music arrangements, distributing the tones of the chords in various ways on the keyboard, were dispensable, but the harmonies were also repre-sented by shorthand chord symbols (about which more below).
A lead sheet consisting of these symbols over a single staﬀ with the notated melody circu-lated among jazz players; a version of this can be seen by combining the top staﬀ of ﬁgure 4.1 with the ﬁrst row of symbols below the second staﬀ. This version is from The Real Book, a latter-day “fake book” (originally a samizdat anthology of lead sheets for standard tunes and modern jazz compositions).
The “double period” form of ISC stems from European models. In non-jazz performances, such as for ﬁ lm or singers’ nightclub acts, the songs last only as long as their words; that is, the music is read oﬀ the arranger or com-poser’s notation and repeated (with preplanned small variants) as many times as necessary to sing the entire lyric. This is as it would be in many a Brahms Lied or an aria da capo in Mozart opera.
But jazz is a deep fusion of European and African music. This integration of independent, but in many ways compatible, musical systems was not only an ingenious cultural project directly contradicting the segregated social real-ities of America, but could be seen as providing that society with a compelling model of how to overcome those diﬃculties.
Jazz harmony has roots in Afri-can melody based on ﬂexible, unstandardized ﬁ ve- or seven-tone scales, but it acquired new depth of ﬁeld (the range of colors and sensations of unique rela-tion to a stabilizing “tonic” center that harmony evokes) by ingesting Europe’s twelve-tone chromatic scale and its system of functional harmonic progres-sions. At a time when European composers largely eschewed it, jazz took up the mantle of enriching functional harmony.
Figure 4.1. Melody and four harmonizations of I Should Care, with chord roots and harmonic functions.
Figure 4.1 (continued)
Jazz form evolved to become a cycle of harmonies reminiscent of analo-gous (though briefer) cycles in much African music, as well as in circular Euro-pean forms based on a repeating bass line, such as the passacaglia. African cycles are conﬁ gured with rhythmic and melodic patterns. These are given multiple, varied repetition, with the patterns locked in and aligned with the unchanging cyclic structure. Such isoperiodicity also deﬁ nes most jazz, with regularly recurring chord progressions (“changes”) instead of rhythms or mel-odies.
Variation may last for as many cycles (isoperiods) as the soloist per-forms, organized by the harmonies linked to the cycle. Cycle and progression, seemingly as contradictory as circle and line, thus reconcile.
So that Monk’s style can soon be broached, let us pause to clarify our usage of three terms already in play:
• Harmony: one of three essential functions of motion or rest perceived from pitch combinations at a given place in the form. These are the stable tonic (T) and the unstable dominant (D; leading to a tonic) or subdominant (S; leading to a dominant).
• Chord: speciﬁc root (fundamental tone) and quality (interval structure and sound) of a harmony speciﬁ ed by the lead sheet.
• Voicing: the speciﬁc, registrated pitches used to realize a chord.
Harmonic progression in European art music evolved from a conception of counterpoint that wove the simultaneous tones of concurrent melodies into a few stable chordal structures while retaining nuances like anticipation, sus-pension, and other kinds of melodic dissonances—tones that do not belong to a stable chord and that must resolve to those that do, else the tone combi-nation parses as unstable. Stable chords contain only three tones in European practice. Such triads come in and out of focus when the music’s polyphonic strands either line up or diverge.
Counterpoint oversees the management of dissonance, and this process, at various orders of magnitude, generates both harmony and form in great variety. Western music’s variation forms, similar to jazz in some ways, act to restrain this tendency. But more culturally signiﬁ cant and musically distinctive is the fact that counterpoint, with its prolongation of dissonance and harmonic progression, historically urged Western music in extremis to long operas, symphonies, and other noncyclical structures.
In jazz, counterpoint and dissonance shape melodic lines and chord pro-gressions, but cyclic structure prevails.
The role of harmony is to identify, with particular colors (i.e., chords and voicings), the region of the cycle through which one is passing. Jazz harmonies are glued to their positions; nothing can dislodge them. It is not the chords themselves that are glued there, but their harmonic functions, and this allows (as we shall see) for many ways to substitute diﬀerent chords of equivalent function, or to severely alter chords so long as their function is preserved. The functions have such a forceful progressive logic that the practiced ear can distinguish which of the many tones that may be sounding are operative in establishing the harmony, and which are more or less ornamental.
Even if crucial tones are absent, expert listeners can infer harmonic function from the context.
What identiﬁes harmonies and how they are realized in sound must thus not be thought of as the same thing; indeed, the two can vary seemingly to the point of severing their relationship—but not quite.
Harmonic Principles and Chords
Songs like ISC are composed in the tonality of one of the twelve equal- tempered chromatic notes, and end with tonic harmony, though some, like ISC, do not begin with it. The tonality, which may be major or minor in quality, shifts ﬂ uidly and temporarily at many points in the cycle. We restrict discussion to ISC ’s home key of D major for illustration; ﬁgure 4.2a shows the root-position triads (major, minor, or diminished ) in open note heads with roman numerals, indicating the scale tone that is the root of the chord, on the ﬁrst line below the staff.
The second line below the staff labels each with tonic (T), dominant (D), or subdominant (S) function. With rare exceptions, a jazz chord has a harmonic meaning only if it can be conﬁ dently heard as having one of these three functions. Thus III and VII chords are rare in jazz major keys because the former is function-ally ambiguous and the role of the latter is understood as a weak version of V.
In fact, each of the S, T, and D functions is normally linked to a single chord, which progresses to one of the others strongly because their roots are a ﬁfth apart: II for S, V for D, and I for T. IV and VI chords are very often heard as equivalent to ii (note that the roots of ii, IV, and VI together form a II triad). The constituent tones of III, IV, VI, and vii chords may appear as voicings of other chords, or the chords may function in other keys where they play the roles of II, V, or I.
Jazz chords and voicings were inﬂ uenced both by the tonal language of other African-American forms such as the blues, and by the sonorities of early twentieth-century French composers like Debussy and Ravel.
Evolving style came to allow sevenths (tones that are the interval of a seventh above the root; shown with black note heads) not to be considered dissonant, and to inhere to virtually all chords.
This is also true of many other nontriad tones ( ﬁgures 4.2b and 4.3 ), but sevenths are essential and assumed. Adding them to triads pro-duces seventh chords of various distinctive qualities depending on the type of the triad and the size of the seventh. The major seventh chord (labeled M7) has a major triad plus major seventh. The dominant seventh chord (labeled 7) is the same but with a minor seventh. The minor seventh chord (m7) has a minor triad plus minor seventh, and in the half-diminished seventh chord (m7b5) the minor seventh is joined to a diminished triad.
These are labeled in the fourth line below the main staﬀ of ﬁgure 4.2a.
Mention of the half-diminished seventh chord occasions a brief diversion into the role of major and minor tonalities in jazz. The exact nature of this relationship is multifarious, varying from era to era and player to player, and intertwined with devices absorbed from other practices such as the blues. As with much European tonality, the distinction between major and minor modes is retained as an overall aﬀect—in other words, tunes are one or the other—but in actual practice the two freely commingle. In essence, this comes down to the unique case of the half-diminished seventh chord, built on the second degree of the minor scale.
Consider that in D major in jazz, one may often encounter an E-rooted seventh chord that uses Bb, from D minor, instead of B, making the chord a half-diminished seventh rather than a minor seventh. Also, as shown above the staﬀ in ﬁgure 4.2a , the VII chord in D major has the same root and half- diminished-seventh quality of the II7 chord in B minor, so it can be used to temporarily change to that key, or even to B major. And by playing a half- diminished seventh when a tonic function is expected, jazz musicians can create a chain of II–V progressions. This is our ﬁrst example of “chord substitution,” a principle of harmonic modularity at the core of jazz practice (see “Chords and Voicings” below).
In jazz, motion from S to D to T functions usually reﬂ ects root motion by ﬁ fth, as in the iconic ii–V–I progression. Mastery of jazz harmony involves the ability to manipulate ii–V–I in all keys and combinations. In D major, II–V–I is most simply expressed as Em7–A7–DM7, which occurs twice right at the beginning of ISC, but the same functional progression, transposed and with substitutions, occurs in many places throughout the song. In the fake book (the lead sheet) version shown in the second staﬀ of ﬁgure 4.1, the vocabulary is varied, close to what an accomplished player might actually play, and the progression is sometimes interrupted. For example, the II–V in mm. 8 and 24 suggest that a richly chromatic F major is coming, but the progression is not allowed to complete.
Measures 17-20 bring a dovetailed chain of II–V motions, each one leading to the next, as the arrows show. All staves of ﬁgure 4.1 and all harmony in ISC can be explained in II–V–I terms.
Dominant function chords contain the crucial interval of the diminished ﬁ fth (also known as the tritone) between the third and seventh. In the A7 chord, this means C#7 and G. The tritone’s distinctive sound is absent from major and minor seventh chords, but their occasional substitutes, the bor-rowed half-diminished seventh and the dominant seventh sonority itself—which does double duty as tonic in blues forms—include it. The interval impels forward motion in II–V–I progressions, which sometimes concatenate and elide into strings of descending tritones in inner voices, creating, if art-fully done, a spinning vortex of dominant resolutions. The approach to and departure from the tritone is more expansive in the music of Monk’s era—and certainly to an even greater degree in Monk’s own music—than it is in classical music; it is without question the most important source of the feeling of harmonic progression in the music.
The tritone is the structural hub orienting and ordering the tremendous vocabulary of idiomatic chord voicings.
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