Thelonious Monk: Life and Work
When analysing the musical style of Thelonious Monk, we observe that many of his compositions, now considered jazz “standards,” form a significant part of contemporary musicians’ repertoire.
The unique and personal sound that the pianist imparted to his pieces and improvisations reminds us of the importance for every musician of seeking their own voice, their own tone, and their own phrasing.
In particular, the roots drawn from stride piano, gospel, boogie-woogie, and blues, combined with idiomatic expressions known as “Monkisms” (use of whole-tone scales, clusters, and polytonality), make Thelonious a musician unlike any other.
The influence of the blues, in particular, led him to write several pieces in this form. In Blue Monk and Straight No Chaser, we can discern some of the main characteristics of Monk’s approach to playing, composing, and improvising: chromatic lines, groups of six to eight eighth notes, accents on weak beats and offbeats, and, above all, rhythmic displacement.
In Blue Monk, the composer executes a phrase suggesting 5/4 over a 4/4 time, while in Straight No Chaser, a repeated phrase is presented across different beats and offbeats of the measure.
Hemiola patterns also appear in Monk’s work, as in the bluesy piece In Walked Bud. In Section B, the accentuation in groups of three notes suggests a 3/4 feel over the underlying 4/4.
Harmonic Labyrinths
Monk’s rhythmic displacement is taken to extremes in Evidence, where the notes seem to be played with rhythmic randomness. In Section B, however, a chromatic melodic ascent culminates on the #11 of the dominant chord, highlighted further by a preceding whole-tone leap that interrupts the half-step cycle.
At the other end of the spectrum, we find the blues piece Misterioso, with a very direct and easily accessible melody. Even so, the simplicity of the theme reveals the development of sixth intervals, as well as chromatic melodic progressions. This concept of intervallic progression—particularly sixths progressing by seconds—is widely explored in contemporary jazz, especially in North America, referring to the motivic development of an interval (or sets of intervals) progressing through leaps of another interval.
In live performances, Monk often used Epistrophy as his “theme song,” and multiple recordings exist. The chromaticism so present throughout his work is harmonically evident, with the progression of the first four bars transposed a whole tone up in the next four bars. Monk plays with the listener’s expectation of hearing a repeat of Section A, opting instead for a less obvious solution by reversing the order of the two phrase groups.
In Well, You Needn’t, Monk employs previously discussed concepts, such as harmonic chromaticism and transposition of melodic motifs a whole tone higher. Here, chords are presented as pure triads rather than dominants, particularly in Section B, which ascends before resolving into a descending chromatic vortex mirroring the upward motion of bar five.
From a harmonic standpoint, Monk makes use of tritone substitution—a concept explored earlier by Duke Ellington (e.g., Prelude to a Kiss)—throughout his work, revealing Ellington’s significant influence on him.
Use of Tritones
In Bemsha Swing, the AABA structure (four bars per section) is exposed through a simple harmonic movement |I|VI|II|V|, but always utilising tritones. Monk transforms all chords into dominants and also employs the progression |I7|VI7|bVI7|bII7|, followed by |I7|bIII7|II7|bII7|.
However, Monk not only substitutes dominant chords tritonally but also uses the augmented fourth as a signature note, present in both dominant and major chords. This occurs in Brilliant Corners, where the melody’s resolution suggests the Lydian-dominant mode as the tonal centre, replacing the expected Bb major (Ionian mode).
Other “Monkisms” appear in works like Monk’s Mood, where early resolution occurs in the first bar, or in II-7 V7 progressions resolved a half-step higher on the bII maj7.
Monk’s progressions, though often subtle, are a constant. He consistently opts for the most unexpected and surprising harmonic solutions. For instance, in Pannonica, the main melodic motif is repeated in descending cycles over contrasting harmonic moments containing unresolved II-7 V7s, interrupted cadences, third-leap substitutions, tritone substitutions, and resolutions on the bII maj7. In this piece, an additional ninth bar is added, highlighting Monk’s irregular metric approach, which peaked when he recorded the same piece in different sessions with non-matching bar counts.
Unique and Inimitable
A crucial aspect of Monk’s distinctive sound is his articulation. He often extended note durations at the end of phrases and applied unique accents. His rhythmic approach remains singular and inimitable. The placement of notes (during improvisation or melody) and the manner in which he accompanied another soloist—or even his own melody—constitute the most idiomatic aspect of his language.
Analysing Monk’s work and legacy also involves two of the most performed jazz tunes ever: Round Midnight and Ruby, My Dear.
In these ballads, we immediately notice Monk’s piano solo introductions. Sometimes he approached the theme with an intro over Section A; on other occasions, he executed the melody’s ending or melodic fragments ascending or descending using the whole-tone scale.
In Round Midnight, the introduction is more elaborate and careful, later interpreted by other musicians as an integral part of the piece. Miles Davis’ interpretation of this score is particularly notable, demonstrating his tribute despite public differences with Monk.
An additional harmonic colour above the main melody is present in this theme, written a minor third above the melody, removing it from the chord. Such stylistic devices later influenced Charles Mingus, showing significant aesthetic impact on the bassist’s work.
Recurring Voicings
The development of Monk’s harmonic voicings is especially notable in Ruby, My Dear, both for chromatic rises in the harmony—sometimes executed as eighth notes—and for note choices. Frequently, open voicings (1,3,7,8) are used, or only the root and minor seventh of the dominant chord. Other recurrent voicings include doubling the fifth across two octaves with the sixth near the major seventh, fundamental, b7, b9 in open voicing, or fundamental, 5th, 6th, and 3rd (sixth chords).
In Ruby, My Dear, Monk explores two idiomatic voicings, unusual and avant-garde for the period. He uses both the minor and major seventh of a C minor chord and employs a peculiar E11 chord (1,3,7,9,3,11) combining the 3rd and 11th to add tension.
Monk pioneered harmonic colouring using clusters, approaching chord tones from above or below and superimposing extensions. A similar approach can be heard today in musicians far removed from Monk in style, instrument, or approach, such as John Scofield and, notably, Bill Frisell. Frisell often ornaments his tonal, diatonic language with chromatic approaches to chord tones, adding colour, dissonance, and ambiguity.
Monk and Standards
Monk’s approach to interpreting standards reflects the idiosyncrasies of his language. His ability to absorb and transform another composer’s theme into something uniquely his own is striking.
Everything Happens to Me demonstrates this: dissonant harmonies, melodic twists, an unorthodox piano approach filled with percussive attacks, sudden hesitations, pauses, and breaths. Voicings, clusters, harmonic approximations, arpeggios, octave shifts, rhythmic variety, whole-tone scale usage, and stride-piano roots all contribute to his singular voice.
Throughout the performance, Monk maintains a characteristic improvisational approach, never straying unnecessarily from the main theme. His constant reference to motivic ideas and the use of interwoven harmonic concepts generate tension, surprise, and novelty.
The Legacy of Thelonious Monk
At a time when music was designed to please listeners, original compositions invited audiences to attend concerts and buy albums. Monk became a transitional figure for bebop, where individualism prevailed as an unprejudiced form of self-expression.
Even alongside bebop giants like Charlie Parker and Dizzy Gillespie, Monk carved his own path, moving away from Bud Powell’s virtuosic, rapid melodic lines. Monk combined both hands as a single voice, using the entire keyboard range.
Monk was the quintessential bebop pianist, contributing rhythmically and harmonically to the style. While others explored new melodic lines over popular progressions, Monk developed original harmonic paths intertwined with rhythm and melody. Everything he played was different: melody, harmony, structure—interdependent aspects that made sense only within context.
A significant legacy he left for future musicians is the concept of a “musical idea.” Monk created new ideas and suggested their development. Even 50 years later, these ideas still offer musical possibilities awaiting exploration.
Clusters (see works of Bill Evans and John Scofield), rhythmic displacement (e.g., Donna Lee), II-7 V7 inversions (Wayne Shorter), third-leap progressions (Coltrane Changes), and intervallic developments (Kurt Rosenwinkel’s style) all trace back to Monk, inspiring those who played with him and those who heard him.
Monk revolutionised not only instrumental approach but also the very style of music-making through his compositions. His musical legacy is undeniable, as is his humour—unprejudiced, relaxed, and deeply personal. Monk left us his vision and understanding of music, and perhaps something more. His legacy embodies confidence and certainty in a musician’s unique musical impression, voice, and characteristic gesture, however strange or absurd it may seem.
Critics said Monk played the right note in the wrong place… if he had believed them, he would never have played “wrong notes” in the right place.
Bibliography
- Sickler, Don: Thelonious Monk Fake Book (Hal Leonard Corporation, 2002)
- New Groove Dictionary of Music – Thelonious “Sphere” Monk
- Eastwood, Clint: Thelonious Monk – Straight No Chaser (documentary)
- Wikipedia: www.wikipedia.org/wiki/Thelonious_Monk
Discography Analysed
Monk’s Mood in Genius of Modern Music – Vol. 1
Bemsha Swing in Brilliant Corners
Brilliant Corners in Brilliant Corners
Evidence in Art Blakey & Thelonious Monk
In Walked Bud in Art Blakey’s Jazz Messengers with Thelonious Monk
Blue Monk in Art Blakey’s Jazz Messengers with Thelonious Monk
Straight No Chaser in Genius of Modern Music – Vol. 1
Epistrophy in Monk’s Music
Pannonica in Monk and Brilliant Corners
Round Midnight in Thelonious Himself and Genius of Modern Music – Vol. 1
Ruby My Dear in Genius of Modern Music – Vol. 1
Well You Needn’t in Genius of Modern Music – Vol. 1
Off Minor in Genius of Modern Music – Vol. 1