Fats Waller Compones ‘5. “Squeeze Me” follows tisame pln, excep hat cach ali bars iasead of 16 bas in eat (Other documents nthe callection corroborate tht this was Waller's ul procedare—t sketch he musi after ead he yes in and. “These documents ncde incomplete sketches fr the music of "You t-Givia" Your Lovia (To Somebody Ese) (documeat 22.1) nd “Gota Get You Off My Mind” ocument3 13), a wellassey- ‘rl pais of documents consisting of complete et ofbandwiten Igri folded nse a see of manuscript paper In sme instances, ‘Wallerhas writen onthe manuscript paper only he song'stie, cle sien andeyskgutre forte st 2S brace, While aoe, he his completed the meld fincas he spit "Mille O* De Read” (Gocumext 11) In three ofthe sketches ~3.1.3, 321, and 32.3—Willer employs ‘is usea shorthand constng of numbers that eferto specie me surest indicts the option of pases nthe 3-tar AABA stu ‘ure. Skstch 322 bears asking resemblance to "Tvana Tax” a 1965 song by Bod Coleman (Ervan , Coleman) recoded by Herb Alpert and The Tijana Bas in 1966, nm, 16 ofthe chores, forexampl, the melodic ine descend rom ‘he dominant trough the peso the Fina ele (CBAC) nm, 23 ofthe chores, te harmony cadences on By minor; ad mam, 25-28 ae cleat lostd in Fino. NOTICE: THIS MATERIAL MAY BE PROTECTED BY COPYRIGHT LAW (Ime 17 US. cove) RHYTHMIC READINGS: IN THELONIOUS MONK Mark S. Haywood ‘This paper adresses an issue which T have termed “shy readings” in Taelomious Monk’ composed malades. cisten suid that is g- inal tes are award isjoited,o complex. What noose ‘ay of understanding how these melodie come to be“ djined” hat 1 wat they ae itis fartermore away of omg 0 Dea Monk's ues (and indeed those of rany other composes) in sch a way that they “ke sen.” "Thee term willbe sed repeatedly in our analysis: “pardiga,” “dsplacement.” and "reading" The meanings ofthese words il be ‘ome apparent from their ase. Homever, in oneal tems, have ino doce teea ofthe “pradign” in de 1 et ome sot of Yanick ‘zai which we can measure Monk's themes. A wil be see, par ‘iam in an infeod model. In ether words i upgents Hl, by one meas or another. a the oxginal (though nonexiten) basic melody which undelete tine as we Know it, "Displacement is the proces ‘whereby th tne as We Know it diverges from th praia by means of displaced notes or phrases. Displacements ether aed oa. in ‘hac notes or pases re epeately played ear rater than tei po- sition inthe paradigm. The result of displacement ofthe paradigm ix ‘what have called nw “eng” of the melody. We Rear the sare ‘tes, bat we now read conte them differently becave We ave pt he melody ia ew ont, the context of he paratgm, We no onge ake the melody “teal” but ater hearin tems of parse ‘igmatic displacement Ta Exsrple [the lower lin ofthe two shows the soon four bas of “Wel, You Need” as compose. The upe line isthe apart pas- ‘igmn whic its based The paradigm Kops a stony rear seme of the 4/4 plse thoughout. The para wil always be beled, the ‘composed melody X.2% ‘Rythme Readings n Thelonious Monk ‘uample 1: Wa, You Node ewe now compare X with P note fr nt, they ze idetical sf bur 7 ut wth hat bar here aiffeence, The bracketed phrase in X as ben advanced by on ea compared with is postion in P Ther is sisplacement of a quer woe, ac in thi cate the displacement 8 foreshonening of the paradigm, ‘We ae now ready to const or new reding of X, We hve said thatthe displacement feeshorensP by a bea nds at P ais 1448 pulse Letus therefore oresorten by abet, aking 34, We ‘an inate this blow X, by making bow tis part of X ean now be sd in 34 ein Example 2 “The ite seis onthe ha ines ofthe 3 bar show the extent of the ‘new reading ad wll o in ll subsequent cases. The 3 ie so Bane so ao alow he bracketes phrase in X to occapy the poston ‘ha it occupies in the pracgm. This is cial concept Now tat we eet part of X as being 3/4, weca el more comfortable with the music, bese sands ike the prigm, whichis the simple ‘model on which on which the “awkward” melody was oxgnally bused Toes not mater tha hte vet be ve Bets leftover a the end of X after the bso 3, Te timing has indeed Been how tO ‘Rythme Readings a Thelonious Mook n but weave achieved a ew reading of the “awkward” bit the melody ‘Thisreting may welbe hard to sar with our orga tral ea ing bot bth are defintely operating at the te, We can chose wich sway tert or even ry to bear bt simultane. This fet is wae Timean by “understanding how te melody is jointed” ae eating ‘anew vey ‘There ae plenty of exmples in Monk's composed melodies of jut the same dsplacerent as Wehae just witnessed Exaile isthe ope ing phrase of "Monks Mood.” One again the paradigm is the smpiest od fr thie prase, sticking rig 4, The bracketed phrase in X is oe beat ahead of is posiuon i hence a quarter. note foreshore ing and once again a posible reading so ao plc the ket phase ia X atts pion in Pathe art of br Ala We en up th ‘0 posible readings, te rl one andthe aew oe, The a Ones ‘asic o hear beast follows he padigm, Agu tve los heals te over afer the 3/4 bar ‘et ws ow suggest someting else The two mos igor oes in the pase areits "peaks." By and, We might suggest in Example slleraive paradigr,one which gives pominecce to these notes ete there is an upbeat in Penang the Bnd toa tong beats. Xs again writen beneath and we ca now ee hat the whole of X isa sleplacerent guns P this time being aquare nota. We now have Example Well, You Nett ‘¢ Example Mok's Mondsane Mes Mood lengthening ofa quarter ote, Our new reading mus ake hs ino a aunt; we 6 this by building in oe beat so that once again oar X can fin aett“in phe” with Weed up suggesting thatthe sto notes ‘of X form an upbeat fllowed by afl 4 bar. Out new reading isin fact decal oP. This “ote 48" version is hard to hese simultane ‘sy with ur itral(X) ean, etalon with oe previously disused 3i¢readng However allen togetherinhs simple phrase Byte wy, theft i ening nets how te second bar iedivis he whole roteia X “Hackensack” (Example i another tine showing simple 34 vad ings emerging fom yma ‘OnenblyPand X soem to be very fret, bain fot they ar 1 “The basic model fr the fist ik bar is ix simple whole nies. X gow. aly at elsorates these whole notes oye: the fist our ots ink rect one whole wee in P th four ane notes nba wo of X ‘ea upbeat tothe ar ee wholeness bar ve of the sae ‘Rhythne Readings in Thelonious Monk » happens asin bar one. What interests ss the dplacement extibied by X asin P. The brackets show ho is osu sa they ar comes 54, and.c The quarter noe mared ain X matches up othe whole oe mated ain P andthe same matching occ beeen 9 an and between cand. Inall ates the displacement isa foreshorening of ne ‘eat and once again ti leds to readings of X iavaving 34, sind ‘ted below the Xin. pai, the gaps crete (ive Bets twee each ‘bar oto be considered a problem an ould have been mid vith 54 ime signature have noticed thi because these a {es consequence of our 4 rating. What wo ae schemaiang blow Xs the nw reading sl, whih solely the 4 elect. Theft fo ‘hus of X match thas of abd oe a almost ele tne pick ope mentum at the whole thing simplifies nt, Can you es he oi ‘itera reading a the sre Une a5 the new reading based 0 ‘olay Buesis antes meresting se, After very ead ight bars sn set 4 we meet Example 6. ‘The puadigm is lays the spe! ogc mode in i, Pras in Xs one beat ahead of in Ps pre bin Xi two bets bead in, ‘Again 3% can lust is: below X the bare Of 34 ae shown hat wil barby bar, oesboen 4 by a eat, a snd in eer fox pases 8 ana bin Xo resume the positon they aecpy in . Phrase cis one teal ahead ofits counterpart in PT reset spire onthe fir eat ‘hac oezapes in. our eading bls in 24 ar afer the thir 4b, Butthere it another rblem, Lets imagine differnt pds forthe Into bars oF (Example 7). Here ia simple cae of oresortening from 410344 because the B, in Xis displaced frward one Beat agaist atin P. The dot is tat Evang: Hackensack Example 6 Haar Ble» Rhythmic Readings in Thelonious Monk sane 7 Rola Bt ‘hisceading doe notes syne with the previous ane dieused. Even ‘hough in ot eadigs te Boal B ocus on ft bean stead ing the previo Ewa rived at on best hee of 34 br, wheres in the second reading is onthe fst bat of 43 bar. Sop il he at two bars we fad wo simelancou edi ceding Ou tale); inthe let two buts we have Ce readings In "Brians Comers" here ss cse of sugmectaton, or engthening of X gait paradigm (Example 8 “The paradge forthe enolate bar is balanced, symmetcal phate witht conclaing note on he sb! fhe ast a. Xby con frst ses qurer-ote wiles ths dsturbing te Syme an pad tly offecting itl agsnt Pn onder to place the noes Xia De ‘ign postions in P we can sec pa reding where he notes of X ‘se heard eighth es. This eases hatte al Ecc on a ist teat What happens if we adoe thie readng i tha the melody seo 0 low down becuse the nots played fe ay thy are igh notes, —— a ‘Rhythmic Reading in Thelonious Monk 3 sre insiower tempo tan te eighth ates ofthe previous hr. We ts ing tha it els sf a seis of eighth nove hs suddenly sowed down tothe quires ofits rgnal pe. This lw 4/4 readings much sin ler thaa any ate wo augment he tine signature of X50 a place ‘ih plete in i pragmatic pon oo 0 would involve 8 ‘parte eng foreach pet note and soch reading could aver ae Alay be head. Te sain proposed beret indeed hea: we feel the ‘neldy suddenly slow down a tis post, purely because a he contn- ting eighth notes of our mental paratigm and the displacement of Xin Two diferem displacements occur in the mln theme of Monk's Dream (Exar). Phrase is vance by an eighth not, suggesting a possible 8 bar whore be sevens beard tv pls or. In ths Way the A esis on ‘hepenoimate quate ot beat ab, whih’sthe postion appears aia Panis therfore it "ntra” herd pion. Prae bisa bya quae note, converting to 34S as to enabe CF a eect on ahesbeat aX. asiaP These wo ending te ol comtguos, this tie interfere with each ther afer the 7 bar we sense an extra eighth nete before th 314 bar begins. This felt as aKnd ofl” asia V8 ‘ar exis between 78 ad 314. But ofcourse, the Ieral i seading is sho posible thoughout However, the econ br of X cou be readin ‘moder way aswel if we inane another paradigm (Exam 10). Tn Pee an By upbeat the ast phrase In X tsi nw delayed by an eighth not, soto reposition the phrase in X whee ities in the a cig, we adopt a eaing wher the Fin X forms an ups t a ara in P- Our new seating of he pre then becomes the ste 2 is foand nA consequence of using the Fn X as an opbeat ht the = ica eae ce Example Mos reaExample 10 Monk's ream previous bar is lengthened by this hth note The st ba could have teen masked 8/4 bart elect hs, but ths 4 eflet the coo- sequence of ur now reading the new ending itl ithe placement of| the inal four-nte prise, with ils est nee 2 an uphet and its soy "his eadig that nad beneath the X line ‘The net few examples fuse at ea that we have touched on al ready — the en that although ever reading an sles exit thay canbe ifn to recone wih each ter, dfcul to hear smal ‘incon. Example 11 he opening of "Bye-Vs" In the at wo bars ‘how, the nal wo Bs ate anced relation the paratign,thefst byam eighth aoe, the second bya quer note. Monk x nsing” he fst. tes rishing the second even mores comparison with te par ‘igi which sbased one hts othe irs fours. To patie fs [Be marked mits paradigmatic past emphasid asthe frst beat ‘of he Ba), we ea ro 78 foreshotening of the i. To put he se ‘nd masked ints prdigmatcpsison onthe ir ith ote ‘fhe bar, we need foreshoren 44 By afro eight not, cren| 1.3 bar This rps empha on the hgh , so atthe EB pase ‘Xfi the mythic role that te peelimate note in P ule: beat followed by a eighth noc rest followed by parase "Thee noone reading that can pat both of the Bs on their aad. ric poston because Moak has closed the gap Between the (rom fhe eighth notes 9). The to readgs ten each enable ws 0 ‘ake seaeof oe ofthe two Bs: in ther wer, recone wih he ‘araipm which sour base malo he oe. ‘One coal however argue tht we have in fact missed a tage in his analysis an that our inl paradigm was wrong: Note how thee 2 "ycopated yt in bars two, four and st, We might prefer amare Fansmentlpradigm withoot he syeopaio Example 12) ample Bee Nom there is placsment in Xin zs wo a our a well as inthe lust two tar, Foreshortening of X—plvase c—epainst the sight ‘hth of Pleads to a7 arin which the it four eighth notes of 48 ave Been eto treet athe sven ee as tes pls Fur. in he last two bar we 00% Bd tht pase ai advanced by one ‘iit note guint the paradigm sic asin Example 11, bat pase b snow tre eiphth ous ahead of is mode. Asin Example 11,878 bar ‘ers for pa , puting bck a the stat of bar, But we now also needto ear 8 bar (one eighth note shone than 3/4) if weare thea pau bn ts new paracgratic posion. onthe hid beat of the Bt "The sytem of Example 12 exit wit tof Example 1, bat how Example 12 Be Yau Rhythmic Readings in Thelonious Mook mac ofthis we can bear skrutaneousy i another mater! That tbe ‘hllenge of listening to Monk similar example canbe fund in “I Mean You" Example 13). Monk augments his fil phate aginst the paradigm. The pradis: smaie gorse is purely sige ipod version of the previous pase, {CompringX with Pin the nl vo ars, Dyis i te soe position: ‘neigh ote lat, marked ate second Dye nents ote ot reected in Pande iethrceiphh oles ate, marked There ar therefore t¥0 ferent amourts of delay at work here and hey can each be compen Sate by separate reading ase show The Eres an extension of | {Sto 14s tht occupies ts place ia the puraign.Flly che FP need Si ha 0 8 to acer om the it bea of he folowing ba “The reais in ths example oneay each ter ins way hal he vay weet the tune wll depend ery mach cn ou "Teas while Lis tering eit on terol of he D, th Fhe final FT We coal focus tm any ofthe and her any of he relevant eins by subsonsias!y ‘ening the pa ofthe ryt tha we ze oeasing on othe paradigm Example te “ag” which Monk se the beaming and end of "Mean Yo” at pent very cneplex example in rms fo tena rythm eadings. Two phases have been bracketed P and X td remarked and h The pram el i very regular 48 Tne ‘terete verond nobis itor the ett in melodic contour Phase inxs advanced by one beat This phrase he same pase asthe one that bin the ag. lthough «curled version (he CB, are ‘ot epi sit wasn the opening). To account forthe shoring ‘Rythale Readings in Thelonious Monk 3B Pataby atest, we read 34 bar which pts pase in X back onthe fin eat of the following ba. Pirse bis litle mor involve, Ican be seen tht bin Xinotiden tical to in, in tat he ft two nes differ. However, the frst t40 ne of bin Xen be thought of "standing othe sto aes of bins ey equate in dat sa bath Pan Xb bepns with aso four ‘nega wach leas upto the Dy Give this statin, bin X can be ent he two bese ahead of in P, To aceous fr thi sso half 2 thr, we could tnd 2/4 bac which would them place the bepnning oF {nX onthe third bet of te following ba, iP ower if we look at the overall corour ofthe melody ofX te a see thar cold be red in 32 time: reading from the fit ba, he st tte balnoe phases ae reflected bythe second hes. Inher wos the whe taco be read ae tote of 72 and pace would then bln onthe socond half note of bar it desi Pi then matches ‘nnn hve which bgins onthe second alfrote of the est 32 ba This 172 eaing preferable tothe 24 one, becmoe theater dos 0 respect the overall syed of the ine ‘Bat we could imagine ferent paradigm altogethe: one which is idemical tothe one which we have zn using bat which places the em posi half ber ltr throughout (Example 15), TathiscasePstusses the C-B-C.B, phrase each ime tocar, raherRhythmic Readings in Thelonious Monk ‘Rhythm Readings in Thelosious Monk ” ‘ample 51 Mean You than te ys in oar previous paradigm, This slernatve paradigm i Jntas goo if mo bee, than he her ve Tn act esopget tse the etre paragm when the ta spayed after the AABA theme of| the ung, because Monk shortens the very last bar a the AABA from {44 to 24 an then goes straight nto de tag as in X, We ate til inks ing in 4 ant ear the E-F-G-B the tart of X asthe lal ‘Of a bar athe sta OF spot br fer Mark's 24 ending ofthe ‘rain heme ™ If we now compare X, the composed melody, with our pew Fs che “nhol of X sof course ot of pase with Py bali bar, before we can ‘ren comider looking at pews aan We ean put X Back phase Shih Py sting up readings where te C-B,-C-B, phrase is back on he That bea si shown below X. Tis a effect means that ou readings trib wey sar ote now B. We so owt achive reatigs of X Uthick were Went wih me eae of "Monk's Mood” (he read Inu) and"Meats Des (gam the reading) Now hat we have set Uprendings which offer Xby bai bart puttin phase wit , wean “pyeoch pes «and bine same way as we dd with rit par: ‘Bm, Phase asp ns paradigmatic poston by us of 3 ara then acts a earup phrase os aa CB, which, ain also he fst best ofthe next bz Past bispiced onthe bgining of bar win by ws of bar rhe A? velingSncused above, Api, the 2 version is preferable aa 16 Raytrning ‘nha the balance between to ses ft ball ates i preserved the fst runing fom the rial ofthe it (4) bar of Xt he en ofthe ‘second bac the Second beginning wih phrse bts. ‘nr final and perhaps most complex example of hyn readings of de kind we are dscosing comes rom "Rhyth-ning” Example 16), ‘We wil appre or analysis ofthis tune in wo stages, because there a (wo separate eels at which Moak achieves new rythm readings. “Te ist line elle Pans he most bse parade fr ne ne isl says firmly in 4a the Tost four bas contain wo two-bar pases (with upbeat) which balance eich her. IF we lien tothe ‘ely of "Raytnng” we become aware of an otra polyehtim inthe second our bars: Mon diverges fom the ule at Sem wo stop iffeen asc pater, The line marked (X) shows this) 1s lot the melody as played bt tis smplied version showing the» Rhythmic Readings n Thelonious Monk basi hy of he melody witout the further complications which we sell nd in Xl, we compare (3) with Pl, we se tit he answering phrase of the second ba of Puke a--has Been advanced by to Best in) We nov ve te same sittin tht we met in“ Mean You" we cou compenste by nrodsing 224 bar which pus heist Lin b bak ob the fat beat the bar as a PI. tis peefeable however. conser a 52 reading, a inal shown, because tis expense base tect two pee, each of th hee lf oes, win the In foe ba of | (00, Weta effesivelsbonened two bars of 4 (equivalent 042) 10 13/2 bar The A-Feighthvote gue now occurs on st beat, bath mest appears, just it desi the paradigm. ‘What we now dois regard or ne eading as ane puadlgm init sal becaus there is noe level of displacement X ht we ae not Yet adesed We hve setup good reaing in 372, andthe ine marked 2 wees out bow tis reaing woud look notatcaly. 2 is jst the trierout veron of one 97 reading of). "We then add X, te acta tune of "Rnythm ning.” below P2, and ‘compere, Four pases te ented as ering (we wil legate Slgh ferences in the second bar an atthe Sart ofthe fourth br). Pres and in X are behind hei courtesans in Py an eight not band d by a quarter nl Thi can be esas by counting along P tnd X eighth noe hy eighth oe, ciargang the ft that they ae os ‘wren nde tine slazaures, Ths extra suggests te aera tivereaings ove which ess fora sade, the oer fr abd. The fs reading asin neighth note, creating «48 br the second ain ‘quarter ote, cating 9 5/4 bar Tht bar succeeds inplacing phases {Land ¢ in their ater paradigmatic (P2) positon with hit Aon the fist bext each ine the een reading pcs pres band in heir nat ba prema ostons, with ter the hd quae note beat tech time. For bh vedings, he 37 ume signature resumes afer the {itor 54 bar in order exprest the balance between the two pases that hen occupy & 32 ba each This balance exis whicever of cur readings we conse tohear(P self ote ow readings of X which re tase on comparison with 2), Bu we most ot ore tat th whole of this 3/2 system, comple aie with te mulperewngs, self e- ‘eloped from Pi, and we should Weefce hea "Rlyhs-ng™ in ‘So fare have been considering the typeof alteratve hh read ngs which can be represent by alternative time sigratures Lets now Rhythmic Readings in Thelonious Mook » look a nother manifestation ofthe phenomenon fn Monk's composed rela, one which operates at more general structural evel, Wel, You Neen” the opening ote brie of the tne is basee ver clsly gn endoftiemain (A heme * Example 1 shows the i {BAB sections of is AABA rod sto bao the fina ston. Becae the bridge begins at ba 7, we expt to ear bars 17-24 as sole ny in tel However, because of the way in whic picks tp the end ofthe presis melody Cars 15-16) we can ea hs en tte patngediferemy. Nonna in usc, when we Rear a parse hice closely bard on the pate manediely before it either Pte Incl or melody. they frm theft and second halves of stale Dlrase iti oer words quesionny phase and is answering plas, Leu ini then ht Drs 15-16 (marked A fora the gus toning prise and ars 17-18 (cased A2) form ts answer. This makes 15-18 complete four-bar pase and tan easly be ard sch. Ewe are ain the musi in ths Wa), We wll ear a 19-20 B1) asthe opening question ina new four-bar prea the ster this ‘oertion ie spp by bars 21-22 (82), even though the hy speeds pin thee eno bas Bare 20-24 ae thon let stranded atthe end the bridge unis we bea them bw question answered by the Bs two bas ofthe reso the man theme (brs 5-26), which sulky snc the ‘pie nodes a citi mend” Rhythm Reudngs in Thelonious Monk CCenainl around ie sea the stat fhe bridge ther is this poten ta alteratve eating wih the pases displaced by two hrs co parson withthe rormal, expected reading. ‘very similar thing happens drag "Kbyte ing foc the sane son (Example 8). ‘Agsin te mile AB par of the AABA tunes show, plas some of. the nl section. AS with “Wel, You Need't the bepnning ofthe bridge develops the ed ofthe A section. In"Wal, You Neda the li ‘roar phase ofthe msi home was picked up by thot 9 bars oF the badge, evan a four bar heard phase and sein op a series of fourbar pases which were two Burs ou of phuse with «wor ea Ing Inthe case of "Rhyun-aning.” however, the lst for bas ofthe ‘aia theme (AI) reechoedby the fist fourofthe bridge (42), and these form th qoestioning and answering prs ofan eighbar phrase, Tas leaves the ls four brs of the bridge stranded as ote question with o coneapondng answer ness we ean bea the ist four bas ot ‘he fn epi of be main theme as its aeswer Which Very ub becaeitismelodialy so disialr, Tnboth of thes song hen, asocondry html reading the strc ‘url evel canbe herd above and beyond the expected ecing which treats the four sections ofthe song (AABA) as complet nd indepen ent units. When we consider that hese new readings sof coe 3 ‘iso al hat we hive sid erie bout hee two songs inte of time signature-based readings it canbe ten ow mull challenging wichappens a Rhythmic Readings ia Thelonious Monk sample 1: ve Speer Example 9st meloyof“Fve Spot Blues” ands ged soy hasten do ect changes. The normal eading Sr the tune mold be wo bear te changer in he Sumdara Way EnvmuVitvi/VAVA. However th oy tt Monks witen over these changes suggest iferen reading, ce agin de {Uae ytimitacod ele of gosboning a ans pres. ery ccuenc oth pe the et ar sounds ike x uestons every encuen a te pein he second br uns ef ase ‘Tepe in bar 9 con sbi for tbat 2(V subsites fr 'V {Dcchondnelegvrlatofo bel chard, We cold erefore waite ‘une melody sin any 20, compat I don io wobt fhrses (one Bur goon, one Dar ans an liming the cise fre basin te eri "We hun nt sy ofthe rig tine ere: we hae merely com> eon ino loa sees questioning nd aewering pas Out ordacquence Snow aplesare IVARVANILA Wenow have site Fp io Se iw ie FE rte = ee Example 2 Five Spr Bes2 ‘Rhythmic Readings n Thelonious Mosk, sccopablealerative melody, but above alii ne which tn ataly Suggest ise mtr When we listen tthe orginal tne! lt ve compare our ne reading ith the melody a compsed, wend that heres gracualy increasing diplicement between te two Each ‘ars ee ther rginal postion, but be Soft eign soe ba ater than nour new reading (now ocepie er 4 Bar is two ars ltr ine eiginal and bare 9-11 wets ar later tis obvious thatthe lst two bar of our new eng, wich athe same a bars 10-1 ofthe egal, involve aay diplcemet of “heir 1) phrase by two bets. Such a placement sab exe leon sleratve tie signature spe reading suchas toe disuse ‘lier, apd i analyzed in Example 2, using 5 paradigm based on he inal phrase ‘ur ns example, “OX Min,” combines alleraive tine sige readings with an aterative structural reading "Tit isthe main heme andthe dislocation ofthe phrases marked a,b ‘tnd ccan be seen by comparing with is paradigm. Te praigm ce ‘ures tht 2 note eins on theft best of tars 67, an 8 3038 0b ance the melody of the fs four bars X delays pes a and by one ‘bea but Keeps peas nis parade poston. Tis implis unex tension 4/410 5/4foraande, asis shown, We have not batted with the sigh atcipated st beat of br 5 (itis gven a feat of Pas ell 88 of 30, although we cold hive argued 8 forshorened (1/8) fourth bar in X. ha P shown the note G as commencing on, nd 0 be forthe ist at of bar 8 ‘ample 21 Fe Sp Ble ‘ample 22: OFF Moo Let ws now tr wo the bide of Of Minor” (Example 2) Here again here i an aici ft beat, ht fle hid bar ofthe wide, ad again we wll not concer ourselves wth his, Towards the cdf be bridge however, four phrases (abc and dare displced i= Iain i P. The melody of Phere i, as alan, the most peal ne ‘based on the avalible ores in X Temphaszes the highD and high (he peaks othe line) and aio te two long Gs, sine being blsnced yeah the they suggest themscives as tong bal. ‘Looking the displacement of Xapainst Phere, ais advanced by ove ‘wat by two Beat, Thie lead oan alterntive reading oft fore shortened (3) bar the atcatrng forth vance poison prac ‘the seco or tha of pra b. Pease cs also advanced by two bes, Scra0 new une signature is equed to acount for st Pase d however ‘nthe at ahea oft postomin soaker foreskortning kes ‘auc of that Note how the gp betwen he second ad ide OF new p 8 ae SEG Ie = PES oe ‘Baaple 8 OF Minar“ ‘Rhythmic Readings n Thelonious Monk 234 bars stands 244 unt. Listening othe melody in hs way can in ‘eed reveal thes dentine spats, aerating teen and 44 ‘So much fortis type of aerative reading. The brige of “OM Mi or” does however aio contain trict dplacemet sila to those encountered in “Well, You Noon’ "Rhythvening aod Five Spo Bhoes" As was he cake With ose tne, the rot dpe de epi onthe ies of questioning and answering pes. The passage marked Alin the beg of “OM Minor” sounds he 3 shoe pas ia its own nah, even though tis neni he ed fone ‘las und th eof rote, This besa he Bin bt which ce ‘nelly ends the preiousprase, competed ough by Monk tothe Intur wich begins the eat pre I we ear Al as awe pase it an sound ike question, and he answer msthen espe bye ext twobars, marked A2 Our pases renow oe br ou tp with te nr rl prase vision ofthe ridge, ands he nl bat of te tei ie Stranded by ou ew reading. We coald couple with he ft aro the reprise of th pening there create ander pase, maybe a question ‘ng paseo be answered by he ext Wo bas bul his would st ou ‘owes fisting oo mac, because the queso and anser Wool net "amor esch ther closely enough eit ehythmialy or locally. We have seen how the approach called rhythms readings” ca offer usnew ways steniag to Monk's meloes and of couse athe muse 2 well By following our analyse inthis way. we tocome incesingly aware of he rhytme complexity and mlvainsy of many of Monk tunes Sometimes this complet eu that one iB well ask ques tions suchas "ean anyone i fc "hear 34/4 bat alone esr it tte Sametime shearing 1 Shar” Example |3 preset swith hip ticular challenge, Bot oor examples were sinly compat. The nswertothe questo s probably tat we canot ear ch things athe Sense of couting time whilst Hrtening, What i east by suggesting ‘hese Mytie readings, however, eat ou seme of tng isn fac sistored by Monk's reiodies so ht in hs case bo a sal dition (amet note) and ager oe (hee eghh nots) have been made 0 the 44 pulse We can here these tion fe choose 0 whether | not wecn fel 248 o 54 pe, The range ine signa, ust ike {he altematve src readings that we have sso discussed, merely efine with pewsion What is expeenced asa multilayered tampering ‘Rhythm Reudingsn Thelonious Monk 6 sith the melody. This tampering anes self asthe unig pecuia- fay of Monk's ye NOTES 1. Alle examples ite are given in ime, although strictly they Should be alla Breve (27) 44 hasbeen used nore to ae a0) sents o ear o follow, such forshotning to 318 21d and expansion toto 2. Lawrence Rach, “Teelonius Mak: Composiional Techigues” Annual Reves of Je Sates 2 (1983 76 stately averse, “The know It does, however, make the coda sound lke an extension of| the tone” Or new P presents the cee as jst sch an extension, ‘sth he tary tr (iP) pases inning fro What in X isn arto mis-bar This practice enmbles hat ofthe ld gave, where pases ended oben on the hid beat in 44 and Were teeore tuto phase with the besser by hall = ae Koch ("Thelonious Monk. TIM) notes Monk's o:csionalprac- tice of hing his brides 6 the end of his ain section and ees “Well You Need” and "Riyeim-a-zing” as examples, both of| ‘which support ou present nays, a ell as“1 Mean You,” which spyears 08 i teresting that he ite “ance” hat Monk sometines used dbo while note player was soloing does ox oscsin show him ap paren “Yong” the muse visiety of tne sgnturen A good {xampe can be sen in he fm of "Bolivar Bibs,” performed in Span in 1963, During the rst par of hs dance he hres on he Folloming beats n the i temp this suezsting thems w be fest teas: LLLLI2 12a