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Thelonious Monk, who was a jazz pianist and composer, produced a body of work both rooted in the stride-piano tradition of Willie (The Lion) Smith and Duke Ellington, yet in many ways he stood apart from the mainstream jazz repertory.
(A) Thelonious Monk, who was a jazz pianist and composer, produced a body of work both rooted
(B) Thelonious Monk, the jazz pianist and composer, produced a body of work that was rooted both
(C) Jazz pianist and composer Thelonious Monk, who produced a body of work rooted
(D) Jazz pianist and composer Thelonious Monk produced a body of work that was rooted
(E) Jazz pianist and composer Thelonious Monk produced a body of work rooted both
(A) Thelonious Monk, who was a jazz pianist and composer, produced a body of work both rooted
(B) Thelonious Monk, the jazz pianist and composer, produced a body of work that was rooted both
(C) Jazz pianist and composer Thelonious Monk, who produced a body of work rooted
(D) Jazz pianist and composer Thelonious Monk produced a body of work that was rooted
(E) Jazz pianist and composer Thelonious Monk produced a body of work rooted both
https://www.nytimes.com/1982/02/18/obituaries/thelonious-monk-created-wry-jazz-melodies-and-new-harmonies.html
Thelonious Monk, the pianist and composer whose wry, angular melodies and unusual harmonic progressions are among the most striking contributions to the jazz repertory, died yesterday in Englewood Hospital in New Jersey at the age of 64. He had suffered a stroke on Feb. 5.
Although Mr. Monk's music was rooted in the stride-piano tradition of Willie (The Lion) Smith, James P. Johnson and Duke Ellington, it stood apart from the main flow of jazz.
Thelonious Monk, the pianist and composer whose wry, angular melodies and unusual harmonic progressions are among the most striking contributions to the jazz repertory, died yesterday in Englewood Hospital in New Jersey at the age of 64. He had suffered a stroke on Feb. 5.
Although Mr. Monk's music was rooted in the stride-piano tradition of Willie (The Lion) Smith, James P. Johnson and Duke Ellington, it stood apart from the main flow of jazz.
02 Jan 2018, 04:05
Kudos
Bookmarks
This is one of my favorites, just because I see a lot of errors on it – but it’s actually really straightforward, and is easy to solve if you follow a couple of simple rules. And that doesn’t happen as often as we’d like on GMAT SC, unfortunately.
And in this case, we don’t have those parallel elements: “…both rooted… and Duke Ellington…” Nope: “rooted” is an adjective in this situation, and “Duke Ellington” definitely is not. So we can eliminate (A).
(And for anybody who was paying extremely close attention in our YouTube webinar on parallelism and meaning: when I mentioned “special parallel triggers”, this both/and construction is one of the most important examples I had in mind.)
The more important thing is the parallelism again: “…both in the stride-piano tradition… and Duke Ellington…”
Nope, that’s definitely not parallel, either. (B) is out.
But now there’s a more subtle problem: this thing isn’t a legitimate sentence anymore, because the presumed subject of the sentence (“Jazz pianist and composer Thelonious Monk”) never actually “performs” a main verb. I think we can agree that the part beginning with “who” is just modifying Thelonious Monk, so let’s strip that out for just a moment to see what we have: “Jazz pianist and composer Thelonious Monk,… yet in many ways he stood apart from the mainstream jazz repertory.”
Huh? That makes no sense. Basically, the sentence is structured as a noun, followed by a modifier, followed by a dependent clause. That’s not a sentence. So (C) is out.
So let’s keep (D).
Quote:
OK, the thing that should jump out at us is the word “both.” In this case, “both” is paired with the word “and” – and this is a very strict parallelism “trigger”. The word “both” and the word “and” must be followed by two parallel elements.
And in this case, we don’t have those parallel elements: “…both rooted… and Duke Ellington…” Nope: “rooted” is an adjective in this situation, and “Duke Ellington” definitely is not. So we can eliminate (A).
(And for anybody who was paying extremely close attention in our YouTube webinar on parallelism and meaning: when I mentioned “special parallel triggers”, this both/and construction is one of the most important examples I had in mind.)
Quote:
I’m OK with the use of “that” here: “that was rooted” just modifies the “body of work.” You could probably argue that the words “that was” aren’t strictly necessary, but they also aren’t doing any harm at all.
The more important thing is the parallelism again: “…both in the stride-piano tradition… and Duke Ellington…”
Nope, that’s definitely not parallel, either. (B) is out.
Quote:
Hm, no more “both”! That’s cool. Now the parallelism isn’t a problem at all: Willie (The Lion) Smith and Duke Ellington are parallel to each other in the non-underlined portion.
But now there’s a more subtle problem: this thing isn’t a legitimate sentence anymore, because the presumed subject of the sentence (“Jazz pianist and composer Thelonious Monk”) never actually “performs” a main verb. I think we can agree that the part beginning with “who” is just modifying Thelonious Monk, so let’s strip that out for just a moment to see what we have: “Jazz pianist and composer Thelonious Monk,… yet in many ways he stood apart from the mainstream jazz repertory.”
Huh? That makes no sense. Basically, the sentence is structured as a noun, followed by a modifier, followed by a dependent clause. That’s not a sentence. So (C) is out.
Quote:
As in (C), we don’t have any parallelism issues here, since “both” has been removed. But unlike (C), (D) is actually a real sentence, since it starts with a nice, independent clause: “…Thelonious Monk produced a body of work…”
So let’s keep (D).
Quote:
And we’re right back to the same parallelism problem as in (B): “…both in the stride-piano tradition… and Duke Ellington…” That’s just plain wrong, and we’re left with (D) as the correct answer.
27 Dec 2013, 00:22
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siddhans
Because we use idiom "both X and Y" too often, so when we see the idiom we will pick options having this idiom intuitively. GMAT, however, prefers standard idioms. In this question,
"both X and Y" must be used precisely, otherwise it's going wrong.
Note: Both X and Y <== X and Y MUST be parallel in meaning and grammar.
OG questions seem to be easy, but they have more sophisticated traps than we thought.
a) Thelonious Monk, who was a jazz pianist and composer, produced a body of work both rooted
Wrong. Parallelism problem: both rooted in the stride-piano tradition of Willie (The Lion) Smith and Duke Ellington,
- "rooted" is verb, "Duke Ellington" is noun <-- cannot parallel.
b) Thelonious Monk, the jazz pianist and composer, produced a body of work that was rooted both
Wrong. Parallelism problem: rooted both in the stride-piano tradition of Willie (The Lion) Smith and Duke Ellington,
- The stride-piano tradition AND Duke Ellington are not parallel.
c) Jazz pianist and composer Thelonious Monk, who produced a body of work rooted
Wrong. Modifier problem. The clause "who....." has a comma before it. Technically, the clause is NON-essential. It means we can omit the clause without any meaning change. But that's wrong. The clause is ESSENTIAL. We can't omit it.
d) Jazz pianist and composer Thelonious Monk produced a body of work that was rooted
Correct. parallelism: rooted in the stride-piano tradition of X and Y.
e) Jazz pianist and composer Thelonious Monk produced a body of work rooted both
Wrong. Parallelism problem: rooted both in the stride-piano tradition of Willie (The Lion) Smith and Duke Ellington,
- The stride-piano tradition AND Duke Ellington are not parallel.
Hope it helps.
