Bemsha Swing

Society for Music Theory
"Bemsha Swing": The Transformation of a Bebop Classic to Free Jazz

Author(s): Steven Block
Source: Music Theory Spectrum, Vol. 19, No. 2 (Autumn, 1997), pp. 206-231
Published by: {oupl} on behalf of the Society for Music Theory
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"Bemsha
"BemshaSwing":
Swing":TheThe
Transformation
Transformation
of a Bebop Classic to Free Jazz
Steven Block
INTRODUCTION Isolating these qualities, unfortunately, freezes the style into

a finished product which the early innovative works "prom-
Free jazz achieved maturity in the 1960s through the
ised" butwork
did not yet fully possess. It also promotes a false
of Cecil Taylor, Ornette Coleman, and John Coltrane. Jazz
sense of free jazz disconnected from its blues and bebop
historians point out that when Coleman's landmark album,
roots.3 As early as the 1950s, Cecil Taylor's jazz standards
"Free Jazz," was released in 1960, it had been preceded bymany free jazz characteristics.
were exhibiting
a number of experiments in the medium by Charles Mingus,
Taylor's performance of "Bemsha Swing" provides an ex-
Cecil Taylor, and others, making it clear that the origins
ample of
of a transformed Bebop classic. "Bemsha Swing" is a
free jazz predate Coleman's album.' Ekkehard Jost sees the
jazz standard, a well-known melodic line with specific chord
contribution of Charles Mingus, for instance, as changes.
"essential to
Comparing composer Thelonious Monk's version of
the evolution of free jazz" while "not quite belonging to free
the same piece to Taylor's, recorded early in Taylor's career,
jazz."2 What qualities does the mature form of free jazz pos-
demonstrates not only two very different contemporaneous
sess? Which of those qualities appear in earlierinterpretations
innovativeof the same theme, but shows how Taylor
works?
innovatively worked with traditions to branch out into what
Past descriptions of free jazz include: would soon become known as "free jazz." This article argues
improvisation without any preset structure, that:
improvisation in which the performers play "outside" of 1) Many of the techniques of pitch-class set manipulation
the chord changes of the theme, ascribed to free jazz are found in this early style.4 Jazz his-
improvisation based on graphic or other nonmusical in- torians often cite Taylor's compositional style in the 50s as
spiration, and
improvisation dominated by textural considerations. 3In an earlier article, "Pitch-Class Transformation in Free Jazz" (Music
Theory Spectrum 12 [1990]: 181-202), I discuss how general descriptions of
free jazz as "avoiding traditional jazz idioms" or as "avoiding associations with
'E.g., Paul O. W. Tanner, David W. Megill, and Maurice Gerow, Jazz, traditional harmony" sometimes obscure important musical roots, such as the
7th ed. (Dubuque: Wm. C. Brown, 1992), 131. blues, lying below the surface of free jazz composition.
2Ekkehard Jost, Free Jazz (Vienna: Universal Editions, 1974), 11. 4Block, "Pitch-Class Transformation in Free Jazz."
"Bemsha Swing": The Transformation of a Bebop Classic to Free Jazz 207
being
beingessentially
essentially
tonaltonal
(if eccentric).5
(if eccentric).5
However,However,
Taylor's To
To appreciate
Taylor's appreciatethese
these
elements
elements
fully
fully
in Taylor's
in Taylor's
and Monk's
and Mon
cover
coverofof
"Bemsha
"Bemsha
Swing"
Swing"
features
features
motivic motivic
development
development
that work,
work,ititisisnecessary
that necessaryto to
useuse
the the
analytic
analytic
method
method
whichwhich
can best
can
is
is associated
associatedwith
with
free free
jazz. jazz. observe them. I have found set-theoretic tools and nomen-
2)
2) Variations
Variationswhich
which
emphasize
emphasize
texture-chord
texture-chord clature exceptionally successful for uncovering the structural
clusters, inclusters, in
particular-in
particular-in Taylor's
Taylor's
musicmusic
have anhave
underlying
an underlying beauty
structural structural of these works that other methods of analysis have
and referential function. missed. Further, these tools reveal that a number of major
3) Pitch-class transformation is often central to improvi- assumptions that have been made in the historical and an
sational structure when dealing with music based on chord alytical literature, both about the style of free jazz and about
changes. Even where standard jazz and blues riffs can be the manner in which it departs from bebop, are either facile
heard within a predominantly tonal language, these same riffs or incorrect.
may also function as the structural foundation for improvi-

sations that are not themselves rooted in standard jazz and
"BEMSHA SWINGS -MONK'S VERSION
blues idioms.
4) Free jazz is not revolutionary in the mere sense of
Thelonious Monk's and Denzil Best's classic bebop com-
breaking with past jazz music. Its novelty lies in a greater
position, "Bemsha Swing," is written in a 16-bar blues form.
emphasis on motivic relations, which, in turn, produces in-
The theme is repeated in the first, second, and fourth phrases
tervallic invariances within an improvisation.6 The variation
above tonic harmony, and is transposed in the third phrase
technique utilized in free jazz may or may not include the use
with supporting predominant and dominant harmonies.
of chord changes. In Taylor's "Bemsha Swing," for example,
Aside from mere repetition, deeper connections of motive
one finds a variation technique that simultaneously serves the
also exist in this version by the composer, and some of the
underlying chordal structure while supporting other struc-
same motivic connections which unify Monk's performance
tural emphases such as pitch-class transformation and tex-
of "Bemsha Swing" are, in turn, utilized by Cecil Taylor in
ture. Other structural features in this performance derive
his own free jazz version of this standard.7
from Monk's style, such as where Monk's use of chromaticism
or whole-tone ideas may replace the importance of chordal
structure. 7Taylor performs Monk's "Bemsha Swing" on an album recorded in De-
cember, 1955, the year he left New England Conservatory (reissued as Cecil
5E.g., Mark Gridley writes that "During the late 1950s, Taylor basedTaylor,
his "In Transition" [Blue Note, BN-LA458-H2]). The transcriptions of
improvisations on tunes and chord changes and employed conventional the hardtheme of "Bemsha Swing" in Example 1 and of Thelonious Monk's solo
in Example 3 are based on a live recording of a performance at the Village
bop bassists and drummers" (Jazz Styles, 3rd ed. [Englewood Cliffs: Prentice
Hall, 1988], 237). John Litweiler writes that "In his early albums, in Gate
thein August, 1958 ("Thelonious Monk," [Columbia, CS 9216]). Both the
company of bop musicians, Taylor deserves his reputation for playing farlive recording and the early 1955 recording of Taylor are of somewhat poor
out;
quality, the bass being especially difficult to hear in the Taylor performance.
his chords and his willingness to let his lines lead him often make his tonality
Thus, the transcriptions are highly fallible and should be questioned by serious
ambiguous" (The Freedom Principle [New York: Da Capo Press, 1984], 203).
listeners. In the case of piano chords and clusters, there may be more notes
6This situation is analogous to the manner in which twentieth-century
present in the left-hand chords, for instance, which are difficult to distinguish
Western concert music sometimes appears on the surface to depart radically
(it is sometimes questionable whether one is hearing the overtones or the
from earlier concert music but does not generally break with the deepest
actual notes). Similarly, there may be several places where the bass passage
traditions and the philosophy of music making which mark that earlier music.
208 Music Theory Spectrum
The
TheC-major
C-major theme
theme
of Monk's
of Monk's
"Bemsha
"Bemsha
Swing" (shown
Swing" (shownMonk's
Monk'simprovisations,
improvisations,primarily
primarily
melodic,
melodic,
work work
withinwithi
a
in
in Example
Example1) features
1) features
a sparse
a sparse
4-bar melody
4-bar set
melody
withinset
a within a
standard
standard bebop
beboplanguage
languageof extended
of extended
tonality.8
tonality.8
That frame-
That fram
16-bar
16-barblues
blues
AABA,
AABA,and preceded
and preceded
by a four-bar
by a four-bar
introduc- introduc-
work
work features
featuresa free
a free
exchange
exchange
of blues
of blues
notesnotes
such as
such
raised
as rais
tion.
tion.The
TheB section
B sectionis a literal
is a literal
transposition
transposition
of the melody
of the to melodyand
and
to flat
flatseventh,
seventh,raised
raised
andand
natural
natural
fourth,
fourth,
and flat
andand
flat
nat-
and n
the
thesubdominant
subdominant withwith
supportsupport
of subdominant
of subdominant
and dominantand dominant
ural
ural third.
third.The
Thefour-bar
four-bar melodic
melodic
themetheme
can becan
thought
be thought
of as o
harmonies.
harmonies. Apart
Apartfromfrom
scattered
scattered
harmonicharmonic
support, the
support,
mel- set-class
set-class7-38
the mel- 7-38[0,11,10,8,7,5,4],
[0,11,10,8,7,5,4],whichwhich
is notisitself
not itself
a tonala t
ody
odyitself
itself
is aissimple
a simple
four-measure
four-measure
unit which
unit
is which
repeatedisand
repeated and
collection
collectionbutbut
whose
whose hexachordal
hexachordal
beginning
beginning
and ending
and ending
sets, s
transposed
transposed throughout
throughout the opening
the opening
choruseschoruses
of this version
of this version6-Z24
6-Z24[4,5,7,8,10,0]
[4,5,7,8,10,0] andand
6-19
6-19
[4,5,7,8,11,0]
[4,5,7,8,11,0]
are subsets
are subset
of
and
andforms
forms thetheprimary
primarybasis for
basisimprovisation
for improvisation
within thewithin
har- 7-32
7-32 [0,1,3,4,6,8,9],
the har- [0,1,3,4,6,8,9],thethe
harmonic-minor
harmonic-minor scale scale
(as shown
(as show
in
monic framework of the blues. This version of "Bemsha Example
Example2).
2).The
Theintroduction's
introduction's
stacked-fourth
stacked-fourth
chord chord
(left (
Swing" has the following form: hand,
hand,m.
m.3)3)strengthens
strengthens
thethe
relationship
relationship
to thetoharmonic
the harmonic
mi-
nor
nor scale
mm. 1-4: Introduction; melody concluded with domi- scaleby
byadding
adding
D, D,
to the
to the
notes
notes
present,
present,
creating
creating
8-18
[1,0,11,10,8,7,5,4],
[1,0,11,10,8,7,5,4],
nant sonority: "stacked fourth chord" [0,1,7] a superset
a superset
of theof harmonic
the harmonic
minorminor
scale. scal
built on flat second scale-degree The
The architecture
architecture of of
thethe
melody
melodyclarifies
clarifies
the centricity
the centricity
of C o
mm. 5-20: Theme; 16-bar blues major.
major. Though
Though the
thetotal
total
pitch-class
pitch-class
content
content
of this
ofscale
thiswould
scale w
mm. 21-36: Second chorus; virtual repeat of theme yield
yield an
anF-harmonic
F-harmonic minor
minor
scale
scale
(with(with
an additional
an additional
t4 scale
t4 sc
degree),
degree),the
mm. 37-100: Choruses 3-6; tenor sax solo featuring Char- themelody
melodyopens
opens
with
with
scalescale
degrees
degrees
5-i twice
5-i be-
twice
lie Rouse fore
fore moving
movingthrough
through
thethe
important
important
5-3-15-3-1
scale degrees
scale degrees
on o
mm. 101-48: Choruses 7-9; piano solo featuring Theloni-
ous Monk 8This
8Thisharmonic
harmoniclanguage
language
features
features
a chromatic
a chromatic
extension
extension
of tonality
of ton
(major/natural
(major/natural minor,
minor,harmonic
harmonic
minor,
minor,
and melodic
and melodic
minor minor
scales) and
scales)
thoseand th
mm. 149-64: Chorus 10; return of theme in canon with
scales
scaleswhich
whichmay
maysubstitute
substitute
or add
or add
"blues
"blues
notes"notes"
to theto
essential
the essential
structure
structu
of
Monk as the "comes" and Rouse as the "dux"
the
the major-minor
major-minor scale.
scale.
TheThe
term
term
diatonic
diatonic
is defined
is defined
in thisin
article
this as
article
the as
set-class
set-class7-357-35"white-note"
"white-note" collection,
collection,
including
including
any permutation,
any permutation,
transpo-tra
sition,
sition,andandinversion
inversion of of
thatthat
collection.
collection.
A tonal
A tonal
collection
collection
is defined
is defined
as any a
subset
subsetor or(embellished)
(embellished) eight
eight
or nine
or nine
pitch-class
pitch-class
superset
superset
of the following
of the follo
is transcribed in the wrong octave. On the whole, however, where I deem collections:
the accuracy of a pitch to be questionable, I avoid analytical generalizations. a) Set-class 7-35 [0,1,3,5,6,8,10], which can be viewed as the majo
The difficulty in determining bass pitches (though I feel that there still is natural
a minor scale (as well as a major scale with a p4 scale-degree subs
high degree of accuracy) was in part responsible for primarily limiting this tution);
study to a comparison of Monk's and Taylor's own piano improvisation. While b) Set-class 7-32 [0,1,3,4,6,8,9], which can be viewed as the harmonic
there were numerous other performances of "Bemsha Swing" by Monk which minor scale; or
I could have selected, I prefer this performance to a number of others par- c) Set-class 7-34 [0,1,3,4,6,8,10], which can be viewed as the ascending
ticularly because of the "live" aspect in which Monk improvises and because melodic minor scale. Therefore, for instance, set-class 8-25 [0,1,2,4,6,7,8,10]
can be constructed as a major scale with an added b3 scale degree and could
the texture of the trio is present in this version. As in many jazz transcriptions,
the element of swing is not provided by the notation. In the transcription thus
of be considered a tonal collection. Also, the diatonic collection and its
Taylor's version, it is often noted in the score itself (to be published later) subsets and supersets constitute only one of several tonal collections. "Bemsha
when Taylor's individual playing features a rubato bending of the tempo Swing" features such scales as counterpoint to an essential tonal-centered
working against a rhythm section which maintains the constant pulse. melodic vocabulary.
Example 1. Thelonious Monk's "Bemsha Swing": theme (score in C; bass sounds octave lower). BEMSHA SWING by Thelonious Monk
and Denzil Best ? 1952, renewed 1980, this arrangement C 1997 Second Floor Music. Used by permission. All rights reserved.
Introduction Theme: A
Tenor Sax
Piano
Drum set
Bass
6 A
(s _ z rl"5 4^ - - J ?
, y
r b i^
f^ Ixr
Ir r r 1^
ir f I,.
f Ir T .1 L
rI] f If Irr I r I
I
Q t
--
--I
c 61.
41C- 1x
.l
x-
MI IX IN
_C_
L
l--
a !- _r_
L
oI _
Lb
;6
Z,
e
C _
o? -
04
X
Example 2.
Example
Theme of "Bemsha Swing": opening and closing Monk's
Monk'ssolo,
solo,metric
metricemphasis
emphasis
is still
is still
givengiven
to important 2
to important
scale s
hexachords and
and chord
chordtones
tones
i-3-5.
i-3-5.
TheThe
third
third
and fourth
and fourth
phrasesphrases
return retur
6-Z24 to
to the
thetheme.
theme.The
The
fourth
fourth
phrase
phrase
opensopens
in a manner
in a manner
which iswhich
A P-
analogous
analogoustoto
the
the
fourth
fourth
phrase
phrase
in the
in previous
the previous
chorus.chorus.
It then It t
W> E E II - I '-E n J I j I concludes with clusters that lead back to the tonic via the final
repetition of C-B-C-C, also revisiting the repeated-note

' 6-Z19
motive of this chorus.

the strong beats and concl
The third chorus of the solo (mm. 133-48, chorus 9) com-
supports C major during the
bines qualities of both earlier choruses. The sound is mor
the melodic theme. Most ph
sparse, however, as Monk avoids chordal texture. Like the
measure units, primarily tet
a resolution opening phrase
to C of theon
solo (mm. 101-4),
the the first phrase
do of
this chorus (mm. 133-36) opens with a subphrase motion
permeasure" two-measure
from C to A and concludes on b 2. Like the previous chorus,
17-20 of Example 1).
this phrase also utilizes repeated notes. The second phras
(mm. 137-40) is similar to the first except that the secon
MONK'S SOLO closes on the tonic in m. 139. Both of these phrases iterate
important scale and chord tones. The final phrase returns to
The three choruses of Monk's solo (shown in Example 3) the opening theme.
decorate an essential C-major tonality, albeit with a faster This analytic account adequately describes a unified tonal
rate of embellishment than that of the previous solo (by Char- landscape. Further comments could specify which embellish-
lie Rouse, tenor saxophonist) or the group improvisation ments are being used by Monk and, perhaps, why. A ful
elsewhere in this performance. In addition to being derived appreciation of Monk's unity of style and content, however,
from the theme, Monk's solo is based on a small number of requires an examination of the contiguous pitch-class sets
motivic cells. The opening chorus of the solo (mm. 101-16, delineated in his solo. Analyzing the larger sets of cardinal-
chorus 7), especially its first, second, and fourth phrases, is ities 5-8 shows that Monk utilizes a small number of these
firmly planted in C major. C major is supported by Monk's set-classes repeatedly. All of them have clear references e
left hand, which features planed chords (parallel chordal mo- ther as newly developed material within the solo and/or
tion) moving to the dominant-seventh within each phrase. the original set-classes of the theme.9 More important, t
The melody, replete with Monk's trademark tritones and operations that allow movement between these sets (tr
whole-tone motivic units, always outlines the tonic (and sub- position, inversion, multiplication) are relatively few in nu
dominant in phrase 3) with supporting metric weight. ber.10 Out of forty eight possible operations relating sets,
The second chorus of the solo (mm. 117-32, chorus 8)
features an underlying repeated-note motive in the first two
9In order to avoid contention about the basis of segmentation, this ana
phrases, as Monk reiterates C and B in the first phrase and is solely based on sets outlined by contiguous pitches within phrase un
more subtly reiterates the flatted third scale degree in the 10Operations in this article refer to the standard twelve-tone operati
second phrase. Nonetheless, as occurs in the first chorus of as enumerated by Daniel Starr, "Sets, Invariance, and Partitions," Jou
eleven are needed to describe motivic relations in Monk's theme form 6-24. Transformations of this hexachord occur
solo. Of these operations, only six are themselves repeated.
within two recurrent operations: T3/T9 (transposition by m
These six operations account for the majority of transfor-nor third/major sixth) and T4MI/T8MI (inversion, followed
mation of pitch-class material in Monk's solo. There is byanmultiplication, followed by transposition up 4 or 8 semi
extraordinary unity of method and similarity of operationstones).12 The T3/T9 operations link the opening six pitches
applied to various musical material in Monk's style. The blues
with the final six pitches of the third phrase of the first chor
framework and the reiteration of the primary melodic themeof Monk's solo beginning with the second note of m. 11
account for some of this unity, especially since muchInof the opening of the theme, the hexachord unfolds as a scal
Monk's solo features the remnants of the melodic theme. pattern after the first G (0-10-8-7-5-4). But the end o
Example 4 shows operations which occur multiple times,phrase 3 of Monk's solo features no such scale. Instead, the
relating many of the important sets which are outlinedhexachord
in in m. 112 features a motivic fragmentation of th
Monk's theme and solo.11 The set complex repeated most scale into two trichords. This conclusion of phrase 3 relates
often involves members of the set-class family 6-Z10, 6-Z39,
to the opening of the same phrase (beginning with the picku
6-Z24, and 6-Z46. (6-Z10 is z-related to 6-Z39 and to mm. 109-10) by T4MI/T8MI, which is a 6-Z39 hexachord
M-related to 6-Z46. 6-Z24 is M-related to 6-Z39 and is [9,11,0,1,2,5]. The repeated gesture in the third phrase, tri
z-related to 6-Z46.) The opening six pitches of the chord melodic[7,8,10], can be heard as directly mapped into the [5-
2-5] trichord, isolated from the 6-Z39 hexachord as a result
of the octave transfer.
of Music Theory 22 (1978): 1-42, and Robert Morris, Composition with Pitch-
Classes: A Theory of Compositional Design (New Haven: Yale University The theme of "Bemsha Swing" pervades each phrase o
the
Press, 1987). Other operations such as rotation are not the subject of16-bar
this blues. It should not be surprising, therefore, tha
its influence is particularly felt in Monk's solo even though
article, but clearly play some importance in jazz improvisations, especially
those by Taylor, which are built on motivic cells. the solo is played at some distance from the opening theme
The multiplicative operation (multiplication times 5) maps a chromatic
A free variation style which includes the art of long-range
scale into a downward circle of fifths (or upward circle of fourths):
0 1 2 3 4 5 6 7 8 9 10 11 connection predicates many jazz improvisations.
0 5 10 3 8 1 6 11 4 8 2 7 The idea of a long-range connection below the musica
Aurally, this would be equivalent to playingsurface, that is, a connection
an ascending aggregatebased(all
on intervallic
twelve content or
notes) by using a scale of equidistant intervals either
on similar by semitone
pitch-class ornot
operations, has thebeen commonl
perfect fourth. The multiplicative operation is heard in tonal jazz when har-
identified in jazz. In the example cited above, the analyst may
monic motion from scale degrees Ib-i and 5-i are heard as functionally
prefer caution and suggest that the T4MI/T8MI connection
equivalent movements from dominant to tonic.
Introductions to the M-operation, with of 6-Z24 to 6-Z39
specific is dubious since
applications inno jazz,
other features
ap- such
pear in Henry J. Martin, "Jazz Harmony," as contour
Annualor common
Reviewtones link
ofthese
Jazztwo Studies
instances. In the
4 (1988): 9-30, and Block, "Pitch-Class Transformations."
narrowly defined context, In addition,
however, of thea segmentation ba
Z-relation, though not an operation, may involve sets that do not map onto
each other under any serial operation but which have the same interval-class
content, thereby illuminating another manner 12The
innotations
which T3/T9 and
setsT4MI/T8MI
may are be
abbreviations
related. for "T3 and its
1Musical passages which utilize the identity

inverse operation (TO),
operator T9" and "T4MI and which often
its inverse operator T8MI," respectively
This notation
amounts to simple repetition, have not been indicates in
included inverse operator
this pairs throughout this article.
example.
"Bemsha
"Bemsha
Swing": The Transformation of a Bebop Classic
Swin
to Free Jazz 213
Example
Example
3. "Bemsha Swing": Monk's solo, choruses 7-93.
(score in C; bass
"Bemsha
sounds octave lower) Swi
Chorus 7
A 101 1_
1zflzzzt6 i-. I - I
Piano
I/ri
j 7-7j " j 7
Drum set
It 1i |1 |S 4 J X
Bass
~ :i r I , l- r IFr r r r J r r r r r b rF
,D
I,i F: d i (
r- r r |r rr .r1 I 1' f f
214
214Music
MusicTheory
Theory
Spectrum
Spectrum
Example
Example 3. (continued)
3. (continued)
110
110
;o 1 7 1 _ ,._.. __ r -b
7j .7 J-7 "
Jt r
r3 J>
r r-Ij r
r~3 'r
j7 > -
J 3.1L_r
3r p3
^t-r 'r-1 Ir ir- r ^-'-rr

115 Chor,us 8
.o^r-J ,^j~^^^aTo,
): - I- - . . . .7 Zr -F ?
"W3r i , , .i ir M
t): r ] r Ir i?- r r , _ ? "1'r I' ~' r r 'r-
125 3
(
- - i 'j: i- l _ - f I
. -' r rir , r . 1 IFr
Example
Example3. (continued) 3. (continued)
Chorus 9
130
130
A ^ ^-^ b0 - k
(, -p- ^^ 4 8- - F
ytp - A??T r r r rr r ~r-r -

(7:: - f 77r -
IJ J r I r-r Ir i r r 2J^ 7 I P k^^ , r
(-- - r r r . _ V/ r -
J >rlx X j j n j r. > j >j s~ j 1IT r^

~t' i F J J. i iv' r i triangle beater edge o
9F tr 77r r lr
f ~~~~~~~~~~~~~~~~~ r 2r-!-
rrr r r ~~~~~~~~~~~~~~~~~~~~~~~~~~~tL bkr
-~~~~~~~~~~~bl b~~~~~~~~~~~~~~r
~~~~~f 1
"Bemsha
"Bemsha Swing":
Swing":
The Transformation
The Transformation
of a Bebopof
Classic
a Bebop
to FreeClassic
Jazz 217to Free
Example
3. (continued)
140
140
j> ?2'i
r r r- r -r'
r f 5W r i "
" ? JJ r J r T ' r r- r * r b-r r

br i j jIC i Ibrr I' J 'r I
144
return of theme in ca
L #x. x x x7J ? j -j saxophone:

3"~~~ r' 3'r' rrr 3r' 3 3 3 .
3 3 3 3 3 3
^ rrb--r- rIJ i J r I,, - r----i - rr ir J J Jt
Example
Example4. "Bemsha Swing,"
4. "Bemsha
Monk's solo: operations
Swing," Example
used mul- Monk's 4b. T9I and
solo: operations T4MI/T8M
used mul-
tiple times 6-31 14,3,0,11,9,7]
a. T3/T9 and T4MI/T8MI
Monk's solo, mm. 100-101
6-z24 [4,5,7,8,10,0]
Theme, mm. 2-3

A r-_ .- 4-
T3/T9I
T9I 1
6-z24 [7,8,10,11,1,3]
Monk's solo, m. 112 6-31
6-31 [5,6,9,10,0,21
[5,6,9,10,0,21
v? ^ \,r^ \9'IJ I LTI '~~--~-1
T4MI/T8MI
T4MI/T8MI
I I T4MI/T8MI
6-z39 6-z39
[9,11,0,1,2,5] [9,11,0,1,2,5]
6-15
6-15 [1,0,11,9,8,5]
[1,0,11,9,8,5]
Monk's solo, mm. 108-10 T Monk's
Monk's solo,
solo,mm.
mm.109-11
109-11
A I
I, 1 _ ft t 7 I 1i
A I IJ I I I IJti <*
"I- ^1 i ^ ^J^_OVW_-4- -"
on phrase, there are relatively fewstructure

pitch-class operations
of Thelonious Monk's work, it isor immaterial
larger pitch-class sets found in Monk's
whether solo.
he "heard"The
or was quantity
conscious of theseof
connections.
T4MI/T8MI operations (and otherThe operations
fact is that as an listed in these
artist he used Ex- connections, pe
ample 4) indicate that the use of such an operation is more
haps, in part, as a result of recurrent finger patterns, and t
than a random occurrence. This is all the
they more
therefore plausible
do form given
the structure of his music.14
the prominence of "tritone-substitution" in any jazz impro-
visor's vocabulary.13 For the purpose of applies
This substitution determining
to any extension (9ths, the
llths, etc.) of the domina
as well. The operation involved in this substitution is T6MI. Robert Mo
convincingly
13In jazz, dominant-seventh chords with chordal argues for
roots the efficacy apart
a tritone of multiplicative
are transformation in s
music
functional substitutes for one another (because in hisshare
they review ofa John
commonRahn's Basic Atonal Theory in Music The
tritone).
These chords may resolve to either of two Spectrum
common 4 (1982): 152-54. Further explanation
destinations: a chordof thisatransformation fr
fifth below, a traditional resolution, or a chord a semitone
a jazz perspective below.
appears in Henry For "Jazz
J. Martin, ex- Harmony" (Ph.D. d
ample, an incomplete dominant seventh on Princeton
G (G-B-F) University, 1980), 15-21.
is functionally equiv-
alent to an incomplete dominant seventh built 14It above
would also D,
be insignificant
(Db -F-Cb whether
), such connections were obviou
shares
two common tones, and, in jazz, can resolve to a chord
the listener. built
In fact, such on Cabout
presumptions or the
Gb.
composer's or improvis
Example
Example4c. T4MI/T8MI 4c.
T4MI/T8MI
The
The opening
openinghexachord
hexachord
of Monk's
of Monk's
solo solo
features
features
a vertical-
a verti
8-18
8-18
[1,0,11,10,8,7,5,4]
[1,0,11,10,8,7,5,4]
ization
ization(and
(andoctave
octave
duplication)
duplication)
of pitch-classes
of pitch-classes
A and AG and
Introduction,
Introduction,
mm. 1-3 mm. 1-3
which
whichmapmapinto
into(under
(underT4MI/T8MI)
T4MI/T8MI)pitch-classes
pitch-classes
B and B A and
in A
the
the closing
closingofofthe
thethird
thirdphrase.
phrase.
TheseThese
pitches
pitches
are emphasized
are emphas
within
withinthethehexachord
hexachord by by
repetition
repetition
and octave
and octave
duplication.
duplication
I r- Finally,
Finally,one
onecancanseesee
andandhear
hear
a relation
a relation
between
between
the total
the tot
harmonic
harmoniccontent
content of of
thethe
introduction
introduction
of this
of piece,
this piece,
set-class
set-c
i SI- - 8-18,
8-18, with
shown
withthe
shownin
the
opening
inExample
opening
Example4c.4c.
of the
TheThe
of the
eighth
T4MI/T8MI
eighth
T4MI/T8MI
chorus
chorus
(m. 117),
operation
operation
(m. as
117),
again con-
again c
nects
nects these
thesesets.
sets.
The
The
important
important
sets sets
shownshown
in Example
in Example
4 are 4
T4MI/T8MI
primarily
primarilyderived,
derived,in in
this
this
improvisation,
improvisation,
fromfrom
tonal collec-
tonal colle
8-18 [9,8,7,6,4,3,1,0]
[9,8,7,6,4,3,1,0]
tions.
tions.However,
However,one
one possible
possible
function
function
of anofM-relation
an M-relation
can
be
be the
themapping
mappingofofdiatonic
diatonic
setssets
to chromatic
to chromatic
ones (the
ones (t
M-relation
M-relationmaps
mapsthe
thechromatic
chromatic
septachord
septachord
onto the
onto diatonic
the diato
white-note
white-notescale).
scale).
ThisThis
becomes
becomesimportant
important
whenwhen
tryingtryin
to
understand
understandhowhowCecil
CecilTaylor
Taylor
adapts
adapts
Monk's
Monk's
themetheme
to his to
own his
language.
(9 r - i
CECIL TAYLOR'S VERSION OF "BEMSHA SWING"
The
The
T9I (inversion T9I
and transposition
(inversion
up a major sixth) and and transpo
In 1955, Cecil Taylor covered "Bemsha Swing" in such an
T4MI/T8MI
T4MI/T8MIoperations link two other M-related operations
sets, 6-15 link t
unusual way that his performance features the most impor-
and
and
6-31 in Monk's6-31
solo (as shown in in
Example 4b).
Monk's
The solo (as s
tant qualities of free jazz. Rather than basing his improvi-
opening
openingmelodic notes of the solo (m.
melodic
101) form a 6-31 notes of th
sation on the chord changes of "Bemsha Swing," Taylor pre-
hexachord
hexachord
[4,3,0,11,9,7] that relates the concluding
[4,3,0,11,9,7]
pitches that
serves C major as the harmonic center, the blues form, and
ofof
the penultimate
the phrase ofpenultimate
Monk's solo (m. 144) by T9I. phrase of
the feeling, while exploiting other aspects of Monk's theme.
These
These opening notes also see opening
their transformation by T4MI/ notes also see th
Monk's use of clusters becomes explosive in Taylor's hands.
T8MI
T8MI in the final notes in of the opening
the of the third final
phrase. notes of the
Taylor uses the cluster texture as a chromatic means of cen-
artart
might be considered
might close to the line of
bea prejudicial
considered
tering on the tonicclose
judgment on the part
and dominant functions.
to
There
the
is also alin
ofof
the analyst.
the
We often make analyst.
such common assertions about Wesimilarly direct mapping of motives,
ab-often makeoften within a cluster
such texture, c
stract
stract
connections in Western
connections where
Music (for instance, the relationship of thein
use motives that fall easily within CMusic
Western major are transformed (f
ofof
musical keys
musical
to the pitch-classes of the opening
keys themes of Schubert's
to intothe
chromatic pitch-classes
ideas. The blues form of "Bemsha Swing" o
"Erlk6nig"
"Erlk6nig"
or Mozart's Fantasy in C minor, K.or475). Moreover,
Mozart's
those who Fantasy in C
allows Taylor to emphasize "blue notes" in the foreground
cite
cite
the "Grundgestalt"
the as a means"Grundgestalt"
for analyzing structural connections make as a means for
similar
similar
claims of connection to claims
a usually compact motive.of ofishis predominantly chromatic transformations.
The real issue
connection to a Taylor
usu
not so much whether a listener can "hear" an abstract connection or not but builds his performance from chorus to chorus where the ref-
whether a listener can learn to hear such connections. erences he makes may be to the intervallic structure of the
220
220Music
MusicTheory
Theory
Spectrum
Spectrum
Example
Example5. 5.
"Bemsha
"Bemsha
Swing"
Swing"
in Taylor's
in Taylor's
version: version:
the function
theof
function
cluster passages
of cluster passages
a. Chorus 10
153
1 -? *' bTtj i ?.lF ,,,"T > - iJlnSy ? ^ n r

A I A- .-11
^ L^ g W $tmlll j ?tl - - -tl 1 < - mr- I I f ^ -

158
i r Lr , i r r.i r. r r r r f
:r 1 f #p t f t i _f t 1f r . t. T , ,.
original
originaltune
tuneor or
to his
to his
ownown
extemporaneous
extemporaneous
development
development
of of
changes often occur at a rapid rate of every eight measu
pitch
pitchmaterial,
material,
sometimes
sometimes
reintroducing
reintroducing
motives
motives
that were
that
(half awere
chorus).1 A descriptive gestural analysis of this co
abandoned several choruses earlier. position can be posited, but such descriptions, howev
On the surface, the form of Taylor's version of "Bemsha should be viewed with some reservation since the analysi
Swing" is a strict rendering of a 16-bar blues theme followed
primarily narrative and cannot address many questions, s
by eighteen 16-bar choruses of variation (all following an
eight-measure introduction). It is more accurate, however, to
describe this work as through-composed. Taylor constantly 15Taylor moves swiftly from one keyboard texture to another, altho
transcends the formal strictures of jazz tradition. For deeper

one pitch and rhythmic motives may still link these textures. For exam
Taylor freely shifts from planed-chord textures to textures of chromatic
thing, the 16-bar groupings are often conveniences which the
clusters to textures of chromatic clusters against a melodic line (some
doublebass primarily delineates. Taylor projects a "contin-
tonal, sometimes chromatic, sometimes octatonic) to textures of diffe
uous variation" style above the nineteen choruses. Textural
melodic counterpoint (note-against-note, two-part florid).
Example 5b. Chorus 16, mm. 254-58 Example 5c. Chorus 19, mm. 310-11
254 310
310
: - - (V
(V
:ipr "r
~ ~ IF.-R
k- "
at- bi
IF~ iaa
:"'~~~~~~~~~~~ p p7
The first passage, in Example 5a, is the complete ten

257 tr 1 .V __. ^ chorus, interesting because of the manner in which the mu
flows from a cluster texture (in mm. 153-55) to two-pa
fr
_
r
-v
ostinato (in mm. 156-60) to blues melody and accompan
ment (in mm. 161-64) to interlocking chromatic lines c
iZ3: ,3 'I'
minating in a return to a cluster texture (in mm. 164-67). T
v v L
ostensible function of the opening cluster passage is rhythm
as long-range
as connections
long-range
and deeper structural transforma- conn
However, there is a sense of C major that results from th
tions.16
tions.16
highest register notes or highest points of the right-hand l
Taylor's
Taylor's
use of texture. Example 5 features three passagesemphasizing
use of
C (either C-B or C-Db). The tex
two lowest poin
fromfrom
Taylor's version of "Bemsha Swing" Taylor's
which utilize one similarly center around the dominantvers(G-FO). These cluster
of Taylor's
of trademarks,Taylor's
a prolific use of tone clusters. A com- tradema
thus preserve the structural points of Monk's original 4-b
monly
monly
accepted description of Taylor's style invokes
accepted melody (G-C-G, B-C) within the context of
the idea de a condens
thatthat
textures are more important to textures
Taylor than specific
chromatic harmonic "implosion." are
pitches.17
pitches.17
However, all three passages quoted in Example 5 Conversely,Howeve
the second phrase ostinato passage (mm. 156
involve
involve
music in which these textures either form pitch music
ref-60) features a contrasting expansionin w
of a cluster into a me
erences
erences
to chromaticism or to the original tune, or serve to tolodic line as chromat
the left hand horizontally explores a chromati
provide
provide
a harmonic ground. The fact that these passages a dra-
trichordharmoni
and the right hand moves in and out of closed po
matically
matically
move in an organic way from non-cluster passages move
sition using the pitches Eb, F, and Gk. This inphrase, in turn
to cluster
to passages andcluster
then return is also an indication thatevolves into passages
a blues melody based on the repetition, in t
clusters
clusters
may be used less as an "effect" or as a general texture may be
same register, of the previous El in the rightuse
hand and D
thanthan
as an integral part of the structural as design. an integral
the left hand. The fourth phrase (mm. 165-67) begins with
interlocking chromatic blues motives in each hand and clos
16David
16David
Lewin addresses this issue in the appendix to chapter
Lewin 2 of Musical addresse
with a set of five two-note clusters. Also, there is a surfac
FormForm
and Transformation: 4 Analytic Essays
and(New Haven: Yale University
Transformat
Press,
Press,
1993), 53-67. 1993), transformation in this final phrase in which the left hand
53-67.
17Mark
17Mark
Gridley's standard text, Jazz Styles, states on p. 237 that "Taylorclearly enunciates in mm. 165-66 stand
Gridley's both a melodic decoration
doesdoes
not play with modern jazz swing
not feeling and he emphasizes
play musicalof Eb -F (previously
with appearing in the second
mo and thir
textures rather than musical lines."
phrases) followed by dyad clusters as the final two-note Eb
cluster moves through several dyad clusters concluding with tonality

tonality and
and the
theoriginal
originalchord
chordchanges
changesofof"Bemsha
"Bemsha Swing"
Swing"
B-C. The clusters, developed in these ways, emphasize pitch- make
make such
such aa double-function
double-functionfor
forclusters,
clusters,
both
both
as textural
as textural
andand
centricity (B-C), and are transformed into melodic units structural
structural entities,
entities,more
moreobvious
obvioustoto
the
the
listener.
listener.
TheThe
move-
move-
which in turn re-emerge as clusters. ment
ment from
from aatonal
tonalsurface
surfaceofofa theme
a theme that
thatemphasizes
emphasizes scalescale
The sixteenth chorus is analogous to the tenth. The first degrees
degrees 11 and
and55totoa aseries
seriesofofclusters
clustersthat
that
alsoalso
center
center
on onscalescale
half of the chorus explores rhythms using a cluster texture degrees
degrees 11 and
and55isismore
moreaccessible
accessible than
thanmovement,
movement, say,
say,
con- con-
which evolve in the second half to a texture of punctuated necting
necting three
threedifferent
differenttrichordal
trichordal sets.19
sets.19
Nevertheless,
Nevertheless, it must
it must
chords in the right hand versus a trill in the left-hand. Ex- be considered
consideredwhether
whetherlater,
later,less
lesstonal,
tonal,
works
works bybyTaylor
Taylor
like-like-
ample 5b shows mm. 254-58, the end of the second phrase wise
wise utilize
utilize clusters
clustersandandtextural
textural passages
passagesas as
integral
integral
struc-
struc-
and opening of the third phrase. Again, these clusters clearly tural
tural components,
components,both bothpitch
pitchandand rhythmic,
rhythmic, of of
thethe
improvi-
improvi-
center around the tonic C. Taylor clarifies this function in m. sation.
257, where C is used as a pedal point and the other pitches Taylor's riffs as pitch-class sets. Ingrid Monson explains
of the major triad built on C are likewise embellished. how techniques of jazz parody may mask serious means
Example 5c features two measures from the conclusion of of musical expression. "Recognition of familiar ideas-
"Bemsha Swing." The first of these measures presents a series rhythmic, melodic, harmonic, textural, or gestural-
of thick cluster chords which evolves to the final chord in m. underlies a social process of developing musical ideas."20 In
311, a C7 with both flat and raised ninths. The transformation Monson's words, "intermusical relationships" are "aurally
from one chord to another is clear, as Taylor maintains the perceptible musical relationships that are heard in the context
register from one chord to another as well as the important of particular musical traditions."21 In other words, jazz par-
lower and upper notes (C-D#). In addition to Taylor's use ody technique may involve musical ideas which take on dual
of a subtle change of the inner notes within constant outer meanings. One might rearrange a melodic line of a standard
voices, the lowest notes of the chord in m. 310 form a whole- so that it becomes a blues cliche, for instance. During the
tone scale, a sure allusion to Monk's language and the original performance of such a melodic line, a knowledgeable audi-
composition from which Taylor's improvisation is derived. ence would appreciate both the reference to the cliche and
It would be difficult to argue that Taylor does not intend
any of the references above. The prevailing idea that texture 19See, for instance, Example Ic in Block, "Pitch-Class Transformation in
Free Jazz," 184.
is the overriding concern of Taylor as posited by numerous
2?Monson, Ingrid, "Doubleness and Jazz Improvisation: Irony, Parody,
texts about jazz and jazz styles becomes suspect.'8 This is an and Ethnomusicology," Critical Inquiry 20 (1994): 309. Monson quotes jazz
early improvisation of Taylor's and vestiges of functional jazz artist Jaki Byard in support of her argument that a musical gesture might carry
more than one meaning, both musical (structural) and referential: "[M]y
'8Taylor's use of texture was and continues to be wholly original and fresh. music is serious. I might do it with humor, but it's still serious because I know
However, many jazz historians describe Taylor's use of chord clusters as a what I'm doing." Monson continues: "To laugh at a musical reference during
textural device, often ignoring the fact that, for Taylor, this is at least another a jazz improvisation is a token of admiration, not scorn. The laugh acknowl-
means of chord substitution. A. B. Spellman writes that "clusters replace edges the cleverness of the musical moment or reference and draws attention
chords built on thirds" in Four Lives in the Bebop Business, 3rd ed. (New to the fact that the listener has understood the musical argument in the context
York: Limelight Editions, 1985), 38. In addition, what is being shown here of the jazz tradition" (303).
is that Taylor uses such clusters at a deeper structural level as well. 21Ibid., 307.
the
the manner
mannerinin
which
which
thethe
performer
performer
was able
was to
able
develop
to develop
the the inclusion
inclusion factor
factorisismore
moresignificant
significantsince
since
five
five
ofof
thethe
seven
seven
musical material. possible
possible hexachordal
hexachordalsubsets
subsetsofof7-29
7-29are
areneither
neither6-Z25
6-Z25
nor
nor 6-Z47.)
When Taylor utilizes recognizable phrases or riffs in his 6-Z47.) Thus,
Thus,this
thisset
setclass
classfamily
familyis is
present
present
in in
every
every
improvisations, it does not preclude these same ideas fromchorus.23
being important generators on a deeper structural level. In It is important to understand the origins of these sets in
this improvisation on "Bemsha Swing," Taylor utilizes pitch- traditional jazz idioms. Of the four set-classes in this family,
class sets which serve the double function of operating on the only 6-Z25 [0,1,3,5,6,8] is diatonic since it can be construed
surface as recognizable jazz/blues riffs while being trans-as a major scale rising from scale-degree 7 through scale
formed, elsewhere, into sounds that are not common jazz degree 5. As a diatonic set one would assume that it would
entities. This expansive improvisation utilizes a much greater easily lend itself to improvisation based on chord changes.
number of sets and operations than that of Monk's version. However, Taylor utilizes 6-Z25 the least of the four members
Nevertheless, a relatively small number of sets still account of this family. While 6-Z36 [0,1,2,3,4,7] features the longest
chromatic scale segment (0,1,2,3,4) of this family of hexa-
for many of the pitches in Taylor's cover of "Bemsha Swing,"
chords, it nonetheless still offers possibilities for embellish-
with the largest role played by the family of set-classes in-
cluding 6-Z3, 6-Z36, 6-Z25, and 6-Z47.22 Even in choruses ing a blues figure (1, 2, 3, 5 plus #2/b 3 and b 2 as embellishing
11 and 12, where a member of this set-class family is not tones). Two possibilities for deriving 6-Z3 [0,1,2,3,5,6]
clearly articulated within a phrase segmentation, family- from traditional blues figures are relevant. A standard tech-
member hexachords are still present as part of the overallnique of planed dominant sevenths with missing thirds yields
melodic flow, either as contiguous sets within a longer me- 6-Z3, as shown in Example 6a. This set could also be derived
lodic line or connecting two differing melodic units within a from the standard blues riff shown in Example 6a. 6-47
phrase. Choruses 7 and 16, which do not feature members [0,1,2,4,7,9] can also easily be heard as a decoration of a
of this family, nonetheless primarily utilize trichords and tet- standard pattern with b2_ or can be constructed as a blues
rachords some of which are subsets of hexachords from this pattern, as shown in Example 6b. Taylor's use of these sets
family. (However, such inclusion is not significant by itself, as structural material also makes sense from the standpoint
since this hexachordal family contains every trichordal set- that these sets can be developed as blues material.
class save 3-12 and most of the tetrachordal set-classes.) Cho-
rus 2 features an unsegmented superset, 7-29, as the entire
23Additional examples of the use of long-range connections in other Taylor
fourth phrase, this set literally including 6-Z25. (Here, the
compositions using different related sets, complexes, and subsets, are dis-
cussed in Block, "Pitch-Class Transformation in Free Jazz," 182-88, espe-
226-Z3 is z-related to 6-Z36 and M-related to 6-Z25; 6-Z25 is z-related cially Examples 2 and 3.
to 6-Z47 and 6-Z36 is M-related to 6-Z47. In one sense, one can ascribe It should be reiterated that there is a problem in trying to make the above
the greatest importance to the chromatic set-classes in this work (4-1, 5-1, claims when scores are not readily available. I have transcribed and analyzed
6-1), but these sets often result from other considerations such as clusters the complete recording of Taylor's version of "Bemsha Swing" as well as other
and scalar runs which are of an ornamental nature. When one considers sets entire compositions by Taylor and other free jazz artists. Some of these
that make up the primary surface of Taylor's version, 6-1, while still im- transcriptions may appear as part of a book in progress. At the very least,
portant, is secondary in its usage by comparison with the family of sets listed such a publication would bring some of this music to a larger theoretical
here. audience and allow for a greater scrutiny of the arguments proposed here.
Example 6. tonal references and chromaticism intertwine. The final two

a. 6-Z3 arising from planed dominant sevenths and used in a measures form another 6-Z3 set, bringing about the ton
typical blues figure resolution to the contraction cited above, concluding with th
third moving down to the second scale degree (implying
4-1t ! II l r I tonic ninth chord).
Example 7b shows the third phrase of the theme which,
in this blues composition, occurs on the subdominant. Th
b. Diatonic background of 6-Z47 (inverted)
6-Z47 set forms [7,6,5,3,0,11
the blues riff illustrated in Example 6b trans
used in a blues figure posed to F.
In Example 7c, a portion of a phrase in the third chorus
1o - b.- br-
. . lilt b opens with a 6-Z36 hexachord and closes with a 6-Z3.24
Neither hexachord is formed as a result of standard melodic
motion in a blues setting.

A compilation of semitone dyads forms the 6-Z3
These
Thesesets are
sets
used both
are to refer
used clearly
bothto theto andhexachord
bluesrefer in Exampleto
clearly 7d. The
the hexachord
blues doesand
not result
in
ina manner
a manner
that seems to
that
depend seems
solely on the
to from an emphasis
intervallic
depend solely on blues
on scale-degrees.
the intervallic
structure
structureof these sets.
of The
these
blues reference
sets.mayThe
not be aurally The
blues melody in mm. 161-64
reference may (the not
third phrase
be of the tenth
aurally
obvious
obviousto most to
listeners.
most According
listeners. chorus, shown in
to Taylor, improvisa-
According toExample 5a) forms a improvisa-
Taylor, 6-Z36 set. Here this
tions
tionsmay be
may
realizedbe
as a result
realized
of "constructionist
as a resultprinci-chromatic hexachord is derived as a result of a more
of "constructionist common
princi-
ples."
ples."Nevertheless,
Nevertheless,
the identity of melodic
theideasidentity blues riff.of melodic ideas based on
based on
intervallic
intervallicconstructionconstruction
rather than on underlying
ratherchord Example
than on two
7e features underlying chord
contrasting melodic ideas, both
changes
changes does notdoes
negate the
notexplicit
negate
referencesthe asresulting
to jazz explicit
a in 6-Z3references
hexachords, which soundto at the openingas
jazz of a
genre.
genre. A dual Arelationship
dual can relationship
certainly exist. canthecertainly
fourteenth and fifteenth choruses. The first musical idea
exist.
Example
Example 7 illustrates
7 illustrates
how this same family how of 6-Z3,
this
is akin tosame family
that of Example 7d, where of 6-Z3,
chromatic units are more
6-Z36,
6-Z36, 6-Z25, 6-Z25,
and 6-Z47 set-classes
and 6-Z47is explored set-classes
in Taylor'simportant than a blues reference to
is explored in theTaylor's
derivation of the
version
version of "Bemsha
of Swing."
"BemshaExample 7aSwing."
shows the opening
Example 7a shows
hexachord. The second the but
idea is a chromatic opening
lyrical opening
measures
measures of the piece
offeaturing
the piece
two 6-Z3 sonorities.
featuring of
The first the chorus.
two 6-Z3 Neither melody is a resultThe
sonorities. of C-major
firstblues,
instance
instance is a figure
iswhich
a figure
contracts from
which tenth tobut
a minor contracts a both melodic
from unitsaclearly
minorreinforce the centricity
tenth to ofaC
tritone.
tritone. The tonic The
and thetonic
third of and
C majorthe
would bethird
the
throughof C major
repetition and rhythmic would
placement. be the
logical
logicalconclusion
conclusion
of this contraction.
ofThis
thistwo-measure unit Example 7f This
contraction. shows an two-measure
instance of 6-Z25 in the final
unit phrase
acts
actsas a large-scale
as a large-scale
expression of an upbeat
expression
on the dominant of the
of anseventeenth
upbeat chorus.
on While
thethe right hand clearly fea-
dominant
function.
function. The pitches,
The however,
pitches,
form a 6-Z3 however,
set which has form a 6-Z3 set which has
no
nospecial
special
relationship
relationship
to the home key other
to than
thethat home
de- key other than that de-
24Example 7c is the second half of a sequential unit, starting at the point
tailed above. The next two measures are a variation of the
where the essential sequential rhythm (two eighth-notes followed by
same contracting figure, but these form a six-note chromatic
quarter-note) begins to be embellished. The segmentation here is based on
set, not 6-Z3. This sets the stage for the entire work in which
the beginning and ending hexachordal sets of the overall melody.
Example
Example7.7.Some
Someof of
Taylor's
Taylor's
uses uses
of theof6-Z3,
the 6-Z36,
6-Z3, 6-Z25,
6-Z36, 6-Z25, tures
turesthe
thepitch
pitchclasses
classes
supporting
supporting
C major
C major
(scale-degrees
(scale-d
and
and 6-Z47
6-Z47family
familyof of
related
related
set-classes
set-classes
in "Bemsha
in "Bemsha
Swing" Swing" ascending
ascendingthrough
through 5), 5),
thethe
tonal
tonal
center
center
is obscured
is obscured
by a strong
by
a. Two 6-Z3 sets in the introduction emphasis
emphasison onF.F.
In In
this
thismanner,
manner,
a clearly
a clearly
diatonic
diatonic
hexachord
hexa
appears
appearstonally
tonally vaguer,
vaguer, eschewing
eschewing
tonaltonal
direction
direction
whereaswhin
other
otherportions
portions ofofthis
thisimprovisation
improvisation
chromatic
chromatic
hexachords
hexac
have clear tonal direction.
Taylor utilizes the sets in this family in varying ways, pr
jecting musical references to the blues genre. Taylor utiliz
specific hexachords in a manner that not only evokes the bl
but also reinterprets these hexachordal units. He preser
b. Blues-generated
Blues-generated6-Z47
6-Z47set,
set,
theme,
theme,
phrase
phrase
3 3 the intervallic structure in a manner which obscures the still-
present jazz reference while emphasizing intervallic struc-
X I - l rt r Ir I J I J II ture.
One can certainly discover the richness of Monk's impro-

c. Two
c.z-related sets, Two visation solely from a tonal (in the jazz sense) perspective
melodically generated outside of blues
z-related
genre,
genre,
third chorus But this is not possible in Taylor's work.
third One can find such
cho
tonal perspectives here, but the idea of tonal centricity is not
A . .
explicitly present on the surface. The surface chromaticism
__~ay
is so dense that past critics and analysts who have not been
aware of the underlying pitch structure have incorrectly as
6-Z36 [2,1,0,11,10,7]
6-Z3 [5,6,7,8, 10,
serted that Taylor completely dismantles 11
traditional harmony
d. 6-Z3 orset
allows texture to drive hisappe
improvisations.
Taylor's relationship to jazz tradition has sometimes been
disputed, particularly by those wishing to denigrate his mu
fil: . -tL3 7 Vft
sical credentials, even forty years - 1
later. Taylor 7
has made it
clear, over and over again, in various interviews, that he is
e. Two
e.6-Z3 sets in successive
Two choruses (14 and 15), melodically
6-Z3
completely cognizant of the musical sets connections he make
generated
generated
and tonally centered and
and that he is insulted to
by those who claim otherwise: "Cecil
A
considers his music 'constructivist' ... [:] Additive tech-
k; hl
-9 ,7 W. _r-f NI I- I- nique, extended phrases, slowing down of harmonic motion,
diads, clusters replace chords built on thirds. Rhythmic pos
f. 6-Z25 diatonic set, chorus 17 sibilities are expanded, and knowledge of given time is un-
derstood . . . Of course, I know the key to European mus
3 3
is construction, like that's what you listen to more than any-
'7 ^j^j ^ imjT E= IE= 1 ^I thing else in European music-form, shape. But for me,
have to take into account the literature of jazz as I've heard
it .. .. .. [Ellington]
[Ellington]did didmore
moreinin utilizing
utilizing thethe
different
different instru-
instru- one must understand the manner in which Monk's theme is
ments
ments in in his
hisband
bandininmore
moredifferent
different ways
waysthanthan
anyone.
anyone. He He not overtly present for most of Taylor's improvisation but
could
could play playaablues,
blues,but
butman,
man, thetheway waythethe
thing
thingwaswaslaid laid
out out rather is hinted at with subtle allusions. Taylor bases his im
it transcended
transcendedthe thesingle
singleidea
ideaofof thethe
blues.
blues.
I'mI'mstillstill
tryingtrying
to to provisation on the structural implications of Monk's com
come
come to to grips
gripswith
withthat."25
that."25 position while avoiding the more overt, observable reference
A fewfew descriptions
descriptionsofofTaylor's
Taylor's rehearsal
rehearsal techniques
techniques during
during which would be expected of the Hard Bop style (variatio
the
the 1950s
1950s and and1960s
1960sarearerevealing
revealing in in
thethe
waywaytheythey
suggest
suggesthowhow based on the chord changes, returning to the tune) whic
the
the motivic
motivicconnections
connectionsbeingbeing asserted
asserted here
here
could
couldcome come
aboutabout dominated new jazz works of this period.27 In addition, be-
as aa result
resultof ofthe
theprocess
processofof rehearsal:
rehearsal: "According
"According to Archie
to Archie cause Taylor's version utilizes a rhythm section which
Shepp,
Shepp, who whoplayed
playedtenor
tenorsaxophone
saxophone with
withCecil
Cecil
in 1959,
in 1959,'Cecil
'Cecil grounded in tonality, Taylor is left free either to confirm o
has
has returned
returnedtotonaturalnaturalmusic.
music. AtAt that
that
point,
point,
CecilCecil
stopped
stopped deny C major, sometimes using the same pitch-class sets to
writing
writing his hismusic
musicoutoutandandstarted
started to to
teach
teach
thethecatscats
the thetunestunes do so.28
by
by ear.
ear. He Hewould
wouldplay
playthe theline,
line,and andwewewould
wouldrepeat
repeatit. That
it. That Since the original Monk theme presents an opening rep-
way
way we we got gotaamore
morenatural
naturalfeeling
feeling forfor
thethe
tunetuneandandwe gotwe got resentative of set-class 6-Z24 [0,1,3,4,6,8] with the entire
to understand
understandwhat
whatCecil
Cecilwanted'
wanted'
. . .. .Jimmy
. JimmyLyons,
Lyons,
whowho phrase encompassing set-class 7-Z38 [0,1,2,4,5,7,8], one
replaced
replaced Shepp
SheppininCecil's
Cecil'squintet
quintet
hadhadmuchmuchthethe
same
same
expe-
expe- might expect Taylor's work to build upon these motives. Ex-
rience:
rience: 'Sometimes
'SometimesCecil
Cecilwrites
writeshishis
charts
charts
out,out,
sometimes
sometimes
not.not. ample 8 shows Taylor's transformation of the melodic theme
I dig
dig it
it more
morewhen
whenhehedoesn't.
doesn't.I don't
I don't
know
know
howhow
to say
to say
this,this, itself into a more chromatic unit. In Taylor's version, the tonic
but
but we
we get
getlike
likea asinging
singingthing
thing
going
going
when
when
he he
teaches
teaches
us tunes
us tunes
off
off the
the piano.
piano.ItIthas
hastotododowith
withthethe
waywayCecil
Cecil
accompanies.
accompanies. 27While the terms "Bebop" and "Hard Bop" are sometimes used syn-
He
He has
has scales,
scales,patterns,
patterns,and andtunes
tuneshe he
uses,
uses,
andand
thethe
soloist
soloist
is is onymously by jazz historians, many distinguish between the two. Thus, Bebop
supposed
supposed to touse
usethese
thesethings.'
things.'"26"26 is a genre of the 1940s which is exemplified by such performers as Charlie
Parker, Dizzy Gillespie, and Thelonious Monk, while Hard Bop is the style
In addition,
addition,when
whenI Iwas
wasananundergraduate
undergraduate at Antioch
at AntiochCol-Col-
which developed from Bebop influences in the 1950s and'which predates Free
lege,
lege, II witnessed
witnessedrehearsals
rehearsalsininwhich
which Taylor
Taylor
distributed
distributed
(and(and Jazz in a line of evolution. Hard Bop generally takes the hard-driving and
at the
the end
endofofthe
therehearsal
rehearsalcollected
collectedback)
back)
parts
parts
which
which
con-con- darker aspects of Bebop as the point of departure for improvisation, with
tained
tained pitch-class
pitch-classmotives
motiveswritten
written outout
in in
letter
letter
notation
notation
(such(such Clifford Brown, Horace Silver, and Sonny Rollins among its more famous
as "B
"B ,-A-Db
,-A-Db-C").
-C").Taylor
Taylordirected
directed
how
how
these
these
parts
parts
fit fit
to- to- representatives. Thus, it might be assumed that Cecil Taylor, in this 1955
improvisation, would work within the then current Hard Bop style. For fur-
gether
gether and
andonly
onlyTaylor
Taylorknew
knew(whether
(whetherin in
a written
a written
out out
score
score
ther explanation see Paul Berliner, Thinking In Jazz (Chicago: University of
or aa "score
"scoreof
ofthe
themind")
mind")the
the
total
total
musical
musical
picture
picture
he desired.
he desired. Chicago Press, 1994), 122, and Mark Gridley, Jazz Styles, 191-206.
Transformation
TransformationofofMonk's
Monk'stheme.
theme.ToTofully
fully
appreciate
appreciate
howhow 28The relationship between Taylor's playing outside of the chord changes
Taylor
Taylor transforms
transformsMonk's
Monk'soriginal
original
ideas
ideas
in "Bemsha
in "BemshaSwing,"
Swing," and the comparatively staid drums and double bass supporting the chord
changes sometimes gives one the feeling of eccentricity or "far out" playing
(as discussed by Litweiler in The Freedom Principle, 203) in this early per-
25Spellman,
25Spellman,Four
FourLives
Livesininthe
the
Bebop
Bebop
Business,
Business,
38-39.
38-39.
See See
also also
TomTom formance. Taylor often superimposes musical material which contradicts a
Darter,
Darter, "Piano
"PianoGiants
GiantsofofJazz:
Jazz:Cecil
Cecil
Taylor,"
Taylor,"
Contemporary
Contemporary
Keyboard
Keyboard
(1981):
(1981): standard tonal bass line but at the same time never quite loses the feeling that
56. he is reinterpreting a standard which somehow remains recognizable as "Bem-
26Spellman, Four Lives in the Bebop Business, 43-44. sha Swing."
Example
Example 8. "Bemsha
8. "Bemsha
Swing" in Cecil
Swing"
Taylor'sin
version:
Cecil theme
Taylor's version: theme
set-class can be realized as the first six notes of the "Bemsha
Swing" theme, as scale-degrees 7 ascending through 5 of the
I - J J . .J= j r harmonic or melodic minor scale. In the first instance in Ex-

ample 9a, this tonal reference is somewhat obscured. This is
part of a cluster passage, but C still functions as a tonal center.
9y. 4 i The second instance in Example 9a, however, has no tonal

function in the context of the second phrase. (B b minor might
be implied here.) Yet the concluding notes, moving from A
to C (which will lead into the opening of the third phrase as
A-C becomes F-A-C), barely hint at the overall centricity
C is paired with D (forming a tonic ninth or ofaC-major.
whole-tone-
(The motion from C dropping down to A echoes
dyad cluster) and a grace-note decorates the the third
same scale de-motion used by Monk in the opening
pitch-class
gree. The theme is still quite recognizable, butphrases
the transfor-
of his improvised choruses.) Thus, Taylor exploits
mation, even within the straightforward opening theme
two very different manners of using this set, one supporting
presented by Taylor, presages future events. Chromatic
and one subvertingem-tonality.
bellishment is at the heart of Taylor's improvisation. Monk's
Two instances of 6-Z46 appear in Example 9b. Both occur
theme undergoes a transformation based on its structural
within as-of different choruses, phrases which cen-
third phrases
ter on the subdominant
pects. Taylor uses these transformations as springboards for F. The first instance reveals its dia-
his own interpretation of "Bemsha Swing." While tonic the
originblues
as a dominant-seventh built on F. The third, A,
framework drives the overall composition, Taylor freely
is inflected ex-at the conclusion of the fragment. The
to Ab
plores and renews Monk's language. He asserts second
different
instanceim-shows a quite different arrangement. While
plications of various aspects of the original tune: Monk's
F is still the noteme-
on which this opening is based, it is not quite
lodic line, rhythm, clusters, use of the tritone,clear
and in use of theand, if anything, the F-B tritone implies
its function
whole-tone scale. Taylor's improvisation is stilla dominant
firmlyratherrootedthan subdominant function.
in Monk's theme, but Taylor chooses to vary elements which
Two instances of the 6-Z10 hexachord, again illustrating
had previously been largely ignored in jazz improvisation.
different functions, appear in Example 9c. While the first
The 6-Z24 set, which has so much significance in Monk's
hexachord is superficially chromatic, its voice-leading implies
improvisation, is of minor importance in Taylor's
motion toversion.
the tonic from below ((Ab)-BI,-B-C) and above
(El,-D-C). The6-Z24
However, the set-class family of 6-Z10 [0,1,3,4,5,7], second 6-Z10 hexachord utilizes the same
[0,1,3,4,6,8], 6-Z39 [0,2,3,4,5,8], and 6-Z46 pitch
[0,1,2,4,6,9]
classes, yet it is not as tonally directed because of the
still figures in some interesting passages of Taylor's
emphasis impro-
on dyad clusters and the concluding motion of the
visation. (Monk's version, shown in Example 4, references
phrase. This last excerpt illustrates the dual function involved
this same family.) Once again, it is important
even into
thesee jazz
use of the same set of pitch-classes. In one case,
derivations where they exist and understand when explicit
tonal function is implied by the voice-leading while, in a sec-
jazz references are not present. Example 9a ond
shows two
instance, in-
intervallic structure (chromatic dyads) becomes
stances of the 6-Z24 set from Taylor's performance.
a more prevalentThis
aural characteristic.
Example
Example9.9.Some
Someofof
Taylor's
Taylor's
usesuses
of the
of set-class
the set-class
familyfamily
6-Z10, 6-Z10, The
Theprimary
primary appearances
appearances
of this family
of thisof family
hexachords
of hexachord
6-Z39, 6-Z24, 6-Z46 (6-Z10,
(6-Z10, 6-Z39,
6-Z39,
6-Z24,
6-Z24,
and 6-Z46)
andare6-Z46)
in contiguous
are in sec-
contiguous sec-
a. Two instances of 6-Z24 (opening six notes of Monk's theme): tions,
tions, choruses
choruses13-1513-15
and 17.andThis 17.
supports
Thisthesupports
position that
the position tha
fourth chorus, opening phrase, and fifteenth chorus, second Taylor
Taylor improvised
improvisedintervallic
intervallic
ideas, as promoted
ideas, asbypromoted
the usage by the usage
phrase of
ofthese
these sets,
sets,
within
within
a definable,
a definable,
finite, andfinite,
small passage
and ofsmall passage o
musical
musical time
timeand not
andmerely
not merely
randomly.randomly.
Taylor's use of
Taylor's
the use of the
same
samesets,sets,
as shown
as shown
in Example
in Example
9, suggests9,clear
suggests
knowledge
clear knowledge
of abstract intervallic structure to determine or undermine
tonal direction.
TRANSFORMATIONAL OPERATIONS
Taylor's
Taylor's improvisation
improvisation
on "Bemshaon "Bemsha
Swing" features
Swing"large-features lar
Q rfC ^ nu r h scale
scaleuseuse
this
of pitch-class
of pitch-class
thiscomposition.
composition.
operations,
Fewer Fewer
operations,
than halfthan
linking various
of thehalf
linking
sections
48 twelve-tone
of the 48
various
of section
op-twelve-tone
erations
erations
b. Two instances of 6-Z46 fulfilling the subdominant appear
appear
with any
with
function frequency.
any
of frequency.
Taylor relatesTaylor
these sets
relates these
third phrase of each chorus: fourth chorus,byby means
means of aof
thirteenth limited
a limited
numbernumber
chorus of transformations
of transformations
rather than rather
randomly
randomly moving
moving
from set
fromto set.
setExamples
to set.10-12
Examples
trace some 10-12 trace so
I .b -0,'
t_. i. fI T usages
usages of of
important
important
pitch-class
pitch-class
operations operations
in Taylor's impro-in Taylor's im
gm
-w-y -- -m I i I I
visation.
visation. TwoTwoof the
ofoperations
the operations
which occur which
with great
occurfre-with great f
quency
quency andand
whichwhich
are detailed
are detailed
here, T3/T9 here,
and T4MI/T8MI,
T3/T9 and T4MI/T8M
c. Two instances of 6-Z10 in which are are
theoperations
operations
same whichwhich
Monk alsoMonk
pitch-classes explores
alsowith
explores
similar
fulfill fre-
with similar
different tonal functions: fourteenth quency
quency in in
his own
chorus,his improvisation.
own improvisation.
third This isphrase,
further
Thisevidence
is further
that
and evidence
seventeenth chorus, first phrase. Taylor
Taylor bases
bases
his improvisation
his improvisation
not merelynot on the
merely
surfaceon char-
the surface c
acteristics
acteristics of the
of tune
the and
tune
its changes
and itsbut changes
on the structural
but on the struct
implications
implications and transformations
and transformations
that are part that
of Monk's
are part
own of Monk's
language.
I, c fI Example 10 illustrates two passages in which transposition

up or down a minor third (T3/T9) links expressions of a set
in passages in contiguous choruses. Two 5-19 sets [0,1,3,6,7]
appear, first as a melodic unit in the second phrase of the
ninth chorus (m. 141) and later as dyad clusters at the con-
L_
6 ',.-I a . I .. r . .
I_
clusion of the fourth phrase in the following chorus. Two 5-6

-.:',-u" t I L- I I I,--, I .I. sets [0,1,2,5,6] appear in different pitch contexts in Example
lOb, the first overtly unrelated to blues or jazz, the second
a typical blues riff.
Example 10. "Bemsha Swing" in Taylor's improvisation: two Example 11. "Bemsha Swing" in Taylor's improvisation: the
uses of the T3/T9 operation T3M/T9M operation
a. Two statements of 5-19 sets: ninth chorus, second phrase, and a. Diatonic and chromatic passages relating 6-Z25 [11,0,2,4,5,7]
tenth chorus, fourth phrase to 6-Z3 [10,9,8,7,5,4]: seventeenth chorus and ninth chorus
3 3 3
LioLbIjr
tr -tr- i1 I J I,I --1 &-i 1 h = I L7 J I = Ii hI El i I
b.b.
Non-tonal
Non-tonal
and blues-derived 5-Z6 sets related
and by T3/T9:
blues-derived
eigh- 5-Z6 set
teenth and nineteenth choruses
0 tY
.~~~~~~~~~~~ 7 T ir
m # I :,l l__ --J
(7 r p Er r b. Harmonic and melodic use of two related 6-22 hexachords:

fifth chorus, third phrase, and seventeenth chorus, opening
While
While it
it is
is not
not surprising
surprisingthat
thattransposition
transpositionoperations
operations areare
important
important in in jazz,
jazz,the
themore
moreunusual
unusual multiplicative
multiplicativeoperations
operations
(operations
(operations which
whichcan canbe
bethought
thoughtofof asas
mapping
mapping diatonic
diatonicto to
chromatic
chromatic sets
sets and/or
and/orpreserving
preservingcontour
contourwhile
while
changing
changing spe-
spe-
cific
cific intervallic
intervalliccontent)
content)also
alsoplay
playanan
important
important role
role
in in
Tay-Tay-
lor's
lor's improvisation,
improvisation,asasshown
shownininExample
Example11.11.
Example
Example
lla lla
shows
shows the
the link
link between
betweena adiatonic
diatonicpassage
passageinin
the
the
seventeenth
seventeenth
chorus
chorus (mm.
(mm. 278-80)
278-80)with
witha amore
morechromatic
chromaticpassage
passage
in in
thethe
ninth
ninth chorus
chorus (mm.
(mm.146-47).
146-47).The
Theleft
left
hand
hand
inin
the
the
ninth
ninth
chorus
chorus
features
features an
an ostinato
ostinatoF-G
F-Gdyad
dyadwithin
withinthe
the
hexachord.
hexachord.
The
The
S? ,a)ia)
~~, IJ JJ
M .M
J I.i_II1
.? ..i0 I.
IV :bJ .J1
I "[,
I-.i
'bJ
i :I Ib
I
!,a1.
"[,
_ I,hjff.~
J ' iI I
-v W
!,a1
"
seventeenth chorus features an alternation of E-F within the
hexachord. These emphasized dyads are mapped into each

other within the M-related hexachords under the T3M/T9M augmented triad in the first hexachord to Ab-C-E in
operation. Example lib links the harmony of the opening ofsecond hexachord. Again, the emphasized pitch classe
the third phrase of the fifth chorus with an entire melodicwithin the hexachord map to each other.
passage at the opening of the seventeenth chorus. The op- Example 12 traces the use of the T4MI/T8MI operati
eration here can either be T3/T9 or T3M/T9M. Under either
one of the ten most common operations found in th
operation, the important mapping is that of the D b-F-A composition. Example 12a relates two 6-17 hexachord
Example
Example12.12.
"Bemsha
"Bemsha
Swing"
Swing"
in Taylor's
in Taylor's
improvisation:
improvisation:
two two knowledge of intervallic structure (and intervallic "cha
instances
instancesofof
thethe
T4MI/T8MI
T4MI/T8MI
operation
operation if you will). The limited space available here is pro
a. Harmonic and melodic use of two related 6-Z17 hexachords: insufficient to convince skeptical analysts who are u
fourth chorus and concluding section vinced by seemingly isolated instances. At the same time
sheer profusion of such operations as T3/T9 and T4MI/
y r r I I $J i (a quantity which cannot be directly shown here) within
composition should not simply be set aside as rando
currences, particularly because of the small number of r
I~~rrr-F- harmonic and melodic sets. The fact that these relation
are present should take precedence over whether the
b. Harmonic and melodic use of two related 6-27 hexachords: "heard" or not at a first or even fifteenth hearing.
third chorus, first phrase, and last chord Cecil Taylor speaks directly to the issue of such long-r
connections: "I've had musicologists ask me for a score
i^-ujjitfJjj jJ i-n ^ the pedal point in the beginning of that piece ["No
Blues"]. They wanted to see it down on paper to figure
its structure, its whole, but at that point I had stopped w
A ., I
my scores out . . . And the musicologists found that ha
lot tb ' believe, since on that tune one section just flows right
the next. That gives the lie to the idea that the only stru
/ Lo- *4 -
\ b) music possible is that music which is written. Which is
denial of the whole of human expression."29
CONCLUSION
[0,1,2,4,7,8],
[0,1,2,4,7,8], thethe
firstfirst
occurring
occurring
in the in
leftthe
hand
left
in the
handfourth
in the fourth
chorus
chorusasas partpart
of aofnote-against-note
a note-against-note
counterpoint
counterpoint
and the and the
second,
second,the the harmonic
harmonic content
content
of a measure
of a measure
toward the end the endThe above examples illustrate that even for an e
toward
Taylor recording, and even for his performa
of the work. Example 12b links two 6-27 hexachords
standard, an analysis of Taylor's improvisatio
[0,1,3,4,6,9], the first appearing as the melodic content of the
theoretic tools and nomenclature is extremely re
first phrase of the third chorus, the second the final chord of
productive. The present article shows that Tay
the composition.
visation is free of preset chord progressions a
The audibility of the transformations in these last exam-
conception of melody, that it utilizes textural
ples, particularly over large time spans, may well be open to
controlled and referential way, and that it utiliz
question. It is unlikely that any free jazz artist consciously
pitch manipulation. All of these attributes are asc
utilized multiplicative operations; the assertion being made
here is that such operations account for a transformation of
pitch-class sets simply based on an improvisor's practical 29Spellman, Four Lives in the Bebop Business, 70, 71.
jazz.
jazz.While
WhileTaylor's
Taylor'sversion
version
of "Bemsha
of "Bemsha
Swing" features
Swing" a features a
ments
ments ofof Taylor's
Taylor'simprovisation
improvisation
are apparent
are apparent
in this
Bebop
Beboprhythm
rhythm section,
section,
Taylor's
Taylor's
piano improvisation
piano improvisation
is an iswork,
an
work, ititis is
likely
likely
that
that
his more
his more
mature
mature
works, works,
those wht
early
earlyform
formof of
freefree
jazz. More
jazz. importantly,
More importantly,
this study this
also study have
also often
have often been
been
deprecated
deprecated
as having
as having
nothing
nothing
whatever w
shows
showsthat
thatTaylor's
Taylor's
musical
musical
outlookoutlook
is strongly
is strongly
rooted, in this
rooted, in this
with
withjazz,
jazz,have
have
similar
similar
strong
strong
and rooted
and rooted
connections
connec
to
composition,
composition, in the
in the
bluesblues
tradition.
tradition.
In fact, Taylor's
In fact,take
Taylor's
on take ther
thera apopular
on popular conception
conception
of jazz
oftradition
jazz tradition
or to elem
or
Monk's
Monk's"Bemsha
"Bemsha Swing"
Swing"
is alsois
strongly
also strongly
grounded grounded
in the in which
the are
which arebeing
being
defined
defined
by Taylor
by Taylor
as traditional.
as traditiona
Too na
elements
elements of of
Monk's
Monk's
musicmusic
that Taylor
that chooses
Taylortochooses theselect as aathe
select as to focus
focusononEllington's
Ellington'smelodies,
melodies,
for instance,
for instance,
or the c
basis
basisofof
hishis
ownownimprovisation.
improvisation.
The choice
Theis choice
not a traditional
is not a traditionalchanges
changesinin Monk's
Monk's
compositions
compositions
may cause
may one
cause
to miss
one ot
one
onesince
sincehe he
doesdoes
not improvise
not improviseon chordonchanges
chordorchanges
even or even
salient
salientcharacteristics
characteristicsof their
of their
work work
such assuch
Ellington's
as Ellin
us
the
thetune
tune
in in
thethe
conventional
conventional
manner. manner.
What is revolutionary
What is revolutionary timbre
timbreoror Monk's
Monk'suse use
of chromaticism.
of chromaticism.
Cecil Taylor's
Cecil
about
aboutTaylor's
Taylor'sstyle
style
here,here,
though,though,
is not only
is not
that only
he breaks
that he breaks formance
formance ofofthe
the
jazzjazz
standard
standard
"Bemsha
"Bemsha
Swing" Swing
draws
with tradition but that he chooses to define tradition differ- tention
tentiontoto
several
several
elements
elements
of improvisation
of improvisation
which were
wh
ently. Thus, Monk's blues scheme, Monk's clusters, Monk'sstandard
standardinin
the
the
1950s:
1950s:
texture,
texture,
chromaticism,
chromaticism,
and pitch-
an
use of the whole-tone scale, and even, as shown above, transformation in a realization that reflects his own remark-
Monk's pitch-class transformations and the operations that able, comprehensible, and structurally explicit technique.
link pitch-class sets become the important precedents that
Taylor defines in this work as being passed down to him.
ABSTRACT
Taylor neither avoids tradition in this composition nor pur-
This study compares two performances of Thelonious
sues a "sweeping liberation of dissonance," since some of the
sha Swing," now a jazz standard. One improvisation
most dissonant elements naturally evolve from the material poser himself and the other by Cecil Taylor recorde
he is working with, Monk's "Bemsha Swing."30 Taylor avoids 1950s before the free jazz style developed. A numbe
neither tonality nor blues references but integrates these el- sumptions made both about the style of free jazz and e
ements with pitch and rhythmic dissonance. Taylor's version nature of its origins in bebop are either facile or in
of "Bemsha Swing" is simultaneously free jazz and a bebop where common jazz and blues riffs can be heard wit
take on the blues. inantly tonal language, these same riffs may also fu
structural foundation for improvisations that may n
It becomes important, in the light of this analysis, to view
Taylor's other compositions, particularly those establishedrooted
as in standard jazz and blues idioms. Techniqu
sociated with free jazz (motivic development, text
free jazz, from a different perspective. If the free jazz ele-
which also may imply structural connections, and pit
formation) exist in the early works of Cecil Taylor a
30Jost, Free Jazz, 97. extent, in Monk's own Bebop rendition of "Bemsh

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What is the article comparing?

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What qualities of free jazz are discussed?

What qualities of free jazz are discussed?

Society for Music Theory

"Bemsha Swing": The Transformation of a Bebop Classic to Free Jazz

INTRODUCTION Isolating these qualities, unfortunately, freezes the style into

may also function as the structural foundation for improvi-

repetition of C-B-C-C, also revisiting the repeated-note

motive of this chorus.

1Musical passages which utilize the identity

^t-r 'r-1 Ir ir- r ^-'-rr

ytp - A??T r r r rr r ~r-r -

IJ J r I r-r Ir i r r 2J^ 7 I P k^^ , r

J >rlx X j j n j r. > j >j s~ j 1IT r^

" ? JJ r J r T ' r r- r * r b-r r

L #x. x x x7J ? j -j saxophone:

^ rrb--r- rIJ i J r I,, - r----i - rr ir J J Jt

Theme, mm. 2-3

Monk's solo, mm. 143-44

v? ^ \,r^ \9'IJ I LTI '~~--~-1

"I- ^1 i ^ ^J^_OVW_-4- -"

on phrase, there are relatively fewstructure

1 -? *' bTtj i ?.lF ,,,"T > - iJlnSy ? ^ n r

^ L^ g W $tmlll j ?tl - - -tl 1 < - mr- I I f ^ -

transcends the formal strictures of jazz tradition. For deeper

The first passage, in Example 5a, is the complete ten

cluster moves through several dyad clusters concluding with tonality

Example 6. tonal references and chromaticism intertwine. The final two

motion in a blues setting.

One can certainly discover the richness of Monk's impro-

I - J J . .J= j r harmonic or melodic minor scale. In the first instance in Ex-

9y. 4 i The second instance in Example 9a, however, has no tonal

I, c fI Example 10 illustrates two passages in which transposition

clusion of the fourth phrase in the following chorus. Two 5-6

(7 r p Er r b. Harmonic and melodic use of two related 6-22 hexachords:

hexachord. These emphasized dyads are mapped into each

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