“Well, You Needn’t”: Harmonic Challenges for the Jazz Improviser in Thelonious Monk’s Music

Abstract

Some of Thelonious Monk’s compositions are notoriously problematic for the improviser. His use of unconventional harmonic movements and unique voicings make them difficult to accurately encapsulate in the 32-bar lead sheet format often used in jazz education. This article provides an in-depth study of the harmony in “Well, You Needn’t” and some strategies that jazz masters such as Monk, John Coltrane, Ray Copeland, Gigi Gryce, Coleman Hawkins, Miles Davis, Horace Silver, Wilbur Ware, and Paul Chambers have used to improvise on it with a creative approach. The transcriptions and analyses in this research reveal a pragmatic approach to Monk’s music that provides the improviser with more tools to overcome harmonic challenges.