00:00  Notice the simple beginning motive and how it begins to be transformed. Each of the the choruses uses the blues harmonic progression
00:18  Second chorus--motive becomes more angular
00:37  Third chorus--motive takes a new shape that is maintained throughout the chorus with scattered chordal support in the left hand
00:50  Notice the dissonant intervals used as part of the melody
00:55  Fourth chorus--motive takes on a harmonic shape developed from the chordal shapes used in the previous chorus
01:15  Fourth chorus--very open melody with a lot of silence between the short motivic statements. He begins to introduce some dissonant notes as part of the motive
01:33  Fifth chorus--sparse melodic approach continues with the use of unexpected ending notes in the motive that proves to be very dramatic
01:51  Sixth chorus--dissonant intervals (two notes very close together) to accent the motivic statements. This type of melodic activity became a trademark of Monk's style
02:10  Seventh chorus--the motive is reduced even further in size
02:29  Eighth chorus--very simple chord punctuations that are separated by a lot of silence; notice the open quality of the chords and how sparsely they are voiced
02:49  End