This study compares three recent theories of expressive microtiming in music. While each theory was originally designed to engage a particular musical genre—Anne Danielsen’s beat bins for funk, Neo-Soul, and other contemporary Black musical expressions, Chris Stover’s beat span for “timeline musics” from Africa and the African diaspora, and Mats Johansson’s rhythmic tolerance for Scandinavian fiddle music—we consider how they can productively coexist in a shared music-analytic space, each revealing aspects of musical structure and process in mutually reinforcing ways. In order to explore these possibilities, we bring all three theories to bear on a recording of Thelonious Monk’s “Monk’s Dream,” focusing on Monk’s piano gestures as well as the relationship between saxophonist Charlie Rouse’s improvised solo and Monk’s and bassist John Ore’s accompaniments.