“‘Round Midnight” is Thelonious Monk’s most famous composition, written in the early 1940s and first recorded by Cootie Williams in 1944. It’s one of the most recorded jazz compositions ever, and Miles Davis’s 1956 version, with the dramatic interlude added by Dizzy Gillespie’s arrangement, made it a must-learn ballad.
The form is a 32-bar AABA, usually in Eb minor. The A sections open on Ebm with a descending bass line and then move through chromatic ii-V progressions, including some unexpected chords that are pure Monk. The bridge moves through ii-Vs and dominant chords that climb and fall before the return to Eb minor. Many versions also include an introduction and an interlude based on Gillespie’s arrangement, which you’ll want to know for gigs.
When improvising, respect Monk’s melody. It’s angular, full of space and built from strong harmonic notes, so paraphrasing it in your solo works beautifully. Over the minor chords, Eb melodic minor or Eb Dorian both sound good. Over the ii-V progressions, highlight the altered tensions (flat 9, sharp 9) on the dominants to bring out the dark color Monk loved. Use space; Monk’s own playing was about the notes he left out.
Practice slowly, around 50 to 60 BPM. Learn the melody from Monk’s own solo piano recordings, then compare Miles’s version. Pianists should study Monk’s voicings, which often use clusters and unusual intervals. Horn players should focus on tone and long phrases.
Recordings to study: Monk’s own solo piano versions, Miles Davis’s 1956 ‘Round About Midnight album, and Bud Powell’s trio recordings. Compare how each one handles the introduction and the interlude, because those parts are often what makes a band’s version sound polished and professional on a gig.
Common mistake: playing too many notes. This is a ballad with a haunting melody, so let it breathe. Learn more about the composer on Thelonious Monk’s Wikipedia page, and find more Monk compositions explained on Minedit.