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THE LEFT-HAND STRIDE PIANO TECHNIQUE OF ART TATUM

by

PAUL WILLIAM SHINN

B.M. and B.A., University of Missouri - Kansas City, 2010

M.M., University of North Texas, 2012

A dissertation submitted to the

Faculty of the Graduate School of the

University of Colorado in partial fulfillment

of the requirements for the degree of

Doctor of Musical Arts

College of Music

2016
2016
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U18307 0322090

S55 PROPEFTTV OF' MUSYC lfBRAR'Y

~NJVERSITY OF COLORADO
THE LEFT-HAND STRIDE PIANO TECHNIQUE OF ART TATUM

by

PAUL WILLIAM SHINN

B.M. and B.A., University of Missouri- Kansas City, 2010

M.M., University of North Texas, 2012

A dissertation submitted to the

Faculty of the Graduate School of the

University of Colorado in partial fulfillment

of the requirements for the degree of

Doctor of Musical Arts

College of Music

2016
1
l ii1iiiliiiil
U18307 0322090
PROPERTY OF MUSJC LIBRAA'Y
NlVERSITY OF COLORADO
 This dissertation entitled:
The Left-Hand Stride Piano Technique of Art Tatum
written by Paul William Shinn
has been approved for the College of Music

Dr. John Gunther, Ass ciate ~~f Jazz Studies, committee chair
l

Dr. of Music Theory, committee member

Date

The final copy of this dissertation has been examined by the signatories, and we
find that both the content and the form meet acceptable presentation standards
of scholarly work in the above mentioned discipline.

ll
Shinn, Paul William (D.M.A., College of Music)

The Left-Hand Stride Piano Technique of Art Tatum

Dissertation directed by Associate Professor Dr. John Gunther

Art Tatum is widely regarded as one of the greatest pianists ever. During a career

beginning in the 1920s and spanning more than 30 years, he developed a signature solo piano

style that stood alone as one of the most intricate and virtuosic displays of musicality in the

history of jazz. Recorded primarily in this solo piano setting, Tatum built on the styles of top

contemporary pianists, such as the stride piano techniques of Fats Waller and the more

nuanced swing techniques of Teddy Wilson. Tatum developed a uniquely virtuosic stride left-

hand language that he eloquently used to complement his formidable right· hand playing. In

exploring selected transcriptions of Tatum's playing, this dissertation focuses on Tatum's left-

hand stride piano style to offer a deeper understanding of its exquisite virtuosity, once termed

by jazz pianist Ron Davis as "superstride." Drawing from Waller's striding figures and

walking tenths, Wilson's tenor thumb melodies, and from his own creative repertoire, Art

Tatum fashioned a full and distinctive stride piano left-hand style that continues to be

studied by performers and aficionados of his formidable piano explorations.

ill
 CONTENTS

CHAPTER

I. INTRODUCTION ........................................................ ....... ..... ............... ............. 1

Purpose of the Study ...................................................................................... 3

Scope of the Study ....................... .. .......... ..... .................................................. 5

II. TATUM'S EARLY YEARS AND MUSICAL STYLE .......................................... 6

Biography ....................................................................................................... 6

Tatum's Playing Styles .................................................................................. 8

III. LEFT-HAND TECHNIQUES FROM FATS WALLER ..................................... 13

Brief History of Stride Piano ...... ....... .......................................................... 15

Tenths of deep single bass notes on beats 1 and 3 of each measure .... ....... 19

Added notes to chordal harmonies ori beats 2 and 4 ................................... 19

Passing chords to extend static harmonies ................................................. 20

Walking Tenths .......... ...... ............................... ..... ................. .. .. .. ....... .......... 20

Tenor Melodies ................... ................ .. ........................................................ 23

Large intervallic leaps in stride construction .... .......................................... 23

Greater use of anticipated tenths ..................... ........ ....... .... .......... ... .... ....... 24

More altered chromatic harmonies .............................................................. 24

Beginnings of Tatum walking tenth triads ...................... ..... ............ ...... .... 25

Extended Walking Tenth Triads ....................................... .... ...................... 25

IV. LEFT· HAND TECHNIQUES FROM TEDDY WILSON ...... ..... ......... ...... .. ...... 33

V. CONCLUSIONS ON TATUM'S STRIDE STYLE ... ....... ..................... .. ............ 40

BIBLIOGRAPHY ................................. .. ...... .. ............ .. ................................ .... .... ...... .... ..... 45

DISCOGRAPHY .................................................................................................................. 47
lV
APPENDIX ... .... ..... ... .. ........... ............................ ..... ............ ..... .......... ... ..... ..... ... ....... .. ......... 48

A. Oscar Peterson: "Eight Bar Boogie Blues" ..................... .... ............................ ........ . 48

B. Hank Jones: "Please Don't Talk About Me When I'm Gone" ...... ...... ..... ..... ....... ..... 49

C. Bram Wijnands: "Blues My Naughty Sweetie Gives To Me" ...... .... ........ .. ..... ......... 50

D. Stride Left-Hand Tenth Exercises .... .... ..... .... ......... ... .......... .... .... ...... ... .... ....... ....... 51

V
 FIGURES

Figure

1. Scott Joplin: "The Entertainer" ............................................................................... 16

2. Fats Waller: "Ain't Misbehavin"' ............ ............ ....... ........ ... .......... ....... ....... ...... ..... 16

3. Fats Waller: "Handful of Keys" ............................................................................... 18

4. Art Tatum: "Tea For Two" ...... .......... .. ................... ........ .......................................... 22

5. Fats Waller: "Sweet Savannah Sue" (functional harmonies) ................................. 27

6. Fats Waller: "Sweet Savannah Sue" (implied passing harmonies ......................... 28

7. Art Tatum: "Lady Be Good" (functional harmonies) ................... .... ................... ..... 30

8. Art Tatum: "Lady Be Good" (implied passing harmonies ....................................... 32

9. Teddy Wilson: "Rosetta" .. .... .......... ............ ............ ... ........ ...... .......... ...... ...... ..... ...... 37

10. Art Tatum: "Georgia On My Mind" ........ .................... ........... ... ............................... 39

11. Art Tatum: "Humoresque" ............................ ·.......................................................... 41

12. Art Tatum: "Ain't Misbehavin"' ............................................................................... 43

13. Oscar Peterson: "Eight Bar Boogie Blues" ........ .. .... ..... ......... ........ .......... ... ............. 48

14. Hank Jones: "Please Don't Talk About Me When I'm Gone" .................................. 49

15. Bram Wijnands: "Blues My Naughty Sweetie Gives To Me" .................................. 50

16. Stride Left-Hand Tenth Exercises ................. ... .... ... ..... ....... ....... ................... ....... .. 51

--Unless otherwise noted in the accompanying footnotes, all transcriptions were done by the
author.

Vl
 CHAPTER 1

INTRODUCTION

Throughout the history of jazz piano greats, one pianist remains who towers above all

others due to his prodigious technique and harmonically inventive interpretations of popular

songs from the first half of the 20th century. Along with a unique and unmistakable musical

identity that allows for instant recognition among listeners, Art Tatum's name would soon

become synonymous with a style and level of piano playing that has not been truly duplicated

since Tatum's untimely death in 1956. It was this level of universal admiration coupled with

a desire to more greatly understand the exact origins and specific techniques of Tatum's left-

hand stride style that led to this study. In more closely examining portions of transcriptions

in which Tatum played stride piano, it is possible to gain an even more profound level of

admiration and respect for the piano playing of Art Tatum. Evidence of the appreciation of

Tatum's genius are numerous, as he was universally acclaimed during his lifetime by his

fellow musicians and all that heard him play. A striking example, however, of such a tribute

came in 1993 in the field of computational musicology: an MIT graduate student coined a

term, "the Tatum," which is now commonly used in that field to mean "the smallest perpetual

time unit in music." 1

Largely self-taught after a brief period of formal training, the young Art Tatum would

discover some of his first pieces by placing his fingers on the depressed keys of his home's

piano roll player system, often unknowingly learning selections that were recorded as four-

1 John Burnett, "Art Tatum: A Talent Never To Be Duplicated," Published November 5, 2006,
http://www.npr.org/templates/story/story .php ?storyld=6434701.
hand arrangements all by himself1 2 As was certainly the case for many other pianists who

grew up in this era, Tatum's first exposure to learning to play piano began once he was able

to reach the keys and feel how the player system depressed the various notes during the

performance of a roll. The ability to slow down this roll allowed for one of the earliest forms

of musical transcription of a pre-performed work. Since the majority of that piano music

included a stride left-hand construction, stride players (Tatum in particular) would use these

rolls to supplement their earliest studies.

Along with this lifelong desire to learn more about the style of early 20th -century jazz

and novelty music, I began studying the works of Scott Joplin and Eubie Blake in an effort

to internalize the feel of ragtime . Then I moved on to study the works of Fats Waller and

James P. Johnson in order to more fully become aware ofragtime's pianistic evolution: stride

piano. Having also grown up in a household containing a player piano system, the sound of

stride piano and the music of the 1920s and 30s has been a part of my life since before I can

even r emember. A well-known 1979 clip of Oscar Peterson appearing on the Dick Cavett

Show saw Peterson giving a demonstration of the various styles of past jazz pianists. 3 When

I recently came across this clip, I was interested in the fact that both Peterson and Cavett

referred to stride piano as the "stride piano of Art Tatum." Oscar would go on to describe the

stride style as, " .. . the ability to play the background for yourself and make it work like a

rhythm section as opposed to when you play with a rhythm section, where you would just

hold the chord, usually ... "4

2 N e w World Encyclopedia, "Art Tatum" Accessed March 4, 2016,

http://www.newencyclopedia.org/entry/Art_Ta tum.
3 Oscar Peterson, "Oscar Peterson Piano Lesson," The Dick Cavett Show, YouTube video,

7:12, posted by "David Funk," June 7 t h , 2009, https://www.youtube.com/watch?v=ec-FrnaUOrs.

4 Peterson, Dick Cavett Show.

2
 This reminder of Tatum's command of a style of music that he is typically not

associated with urged me to watch the only two solo piano video performances of Tatum

widely available today: "Yesterdays" and Dvorak's "Humoresque." While watching these

pieces, I was struck by the same sentiments as jazz pianist Hank Jones:

When [I] finally met him and got a chance to hear him play in person, it seemed as if
he wasn't really exerting much effort, he had an effortless way of playing. It was
deceptive. You'd watch him and you couldn't believe what was coming out, what was
reaching your ears. He didn't have that much motion at the piano. He didn't make a
big show of moving around and waving his hands and going through all sorts of
physical gyrations to produce the music that he produced, so that in itself is amazing.
There had to be intense concentration there, but you couldn't tell by just looking at
him play. 5

Watching a Tatum performance is simply not the visual spectacle that one might come to

expect when listening to the full two-handed approach heard on his recordings. In seeing

these two clips, I was immediately struck with the ease in which Tatum's left hand was

striding back and forth. It simply didn't look like he jumped the same-distance wj_th his left

hand as what it sounded like.

Purpose of This Study

The goal of this study is not merely to present the notes Tatum played, but to examine

the theoretical and ergonomic reasons for these notes. In trying to. gain a deeper

understanding of Tatum's stride style over the years, I've gone through many stride method

books and even casually played through some of the Tatum's existing transcription book

collections. However, it was difficult to gain any sort of organized comprehension of his stride

left-hand techniques without a more thorough analysis, coupled with extended transcribed

examples. I found that when I did come across a transcription I liked, it often contained

notation errors that didn't make sense from a pianistic standpoint or were simply incorrect.

5 Bret Primack, "Art Tatum : No Greater Art," Jazztimes, January/February 1998.

3
Since I actually only focused on learning the left-hand stride portions of Tatum's style, I came

to focus on the inherent ergonomic ease with which Tatum selected the notes of his left-hand

stride sections. The left hand portion of those older recordings was often somewhat unclear
I

due to static so it can be difficult to distinguish all the correct pitches. Aided with technology

that allowed for portions of Tatum's recordings to be slowed down in order to hear all these

correct pitches of his densely voiced left hand, I was able to more accurately come to terms

with the feel and overall motion of Tatum's stride technique.

In studying Tatum's right hand runs, one quickly realizes that, although many of his

devices contained a stylistically unique harmonic basis central to Tatum's sound, many of

these runs were also based on the ergonomics of the piano. In other words, the reason Hank

Jones was so flabbergasted by this 'ease of playing' must be related to the notes that Tatum

selected in his left-hand stride construction, similar to how he ergonomically constructed his

right-hand runs. In watching the two videos in existence of Tatum playing solo piano

("Yesterdays" and "Humoresque"), one cannot help but be struck by the seemingly effortless

lack of motion found in Tatum's body. Superfluous movements do not detract from efficient

playing. In looking just at Tatum's left hand, one is struck by the full sound of his stride

sections despite the fact that his hand seems to move very little horizontally. Tatum's stride

style originated from Fats Waller and Tatum himself is credited with saying, "'Fats', man,

'Fats' is where I come from." 6 Tatum's innovations pushed the stride style into a new realm

of sophistication. Coining a new term for these unprecedented stride capabilities, jazz pianist

Ron Davis observed:

Tatum made much use of the stride style exemplified by Fats Waller and even took it
one step further. Goaded on by the boys who said he had no left hand, Tatum created

6 Joseph Howard, "The Improvisational Techniques of Art Tatum, (Volumes I-III) ," PhD diss.,

Case Western Reserve University, 1978, 7.

4
 r

superstride, maintaining the note-chord oom-pah execution and introducing therein a

richness of sound not to be found in even the greatest of striders' work. 7

What follows is a musical examination of the origins and trademarks of this

"superstride," highlighting the various aspects that make up Tatum's style. This study

presents a basic understanding of where Tatum's stride style originated and gives some

examples (found in the Appendix) of how this style has lived on past his death. In admiration

of this stride style, the famed classical pianist Vladimir Horowitz found himself "wish[ing] I

had a left hand like Tatum's."8 In combining the most intricate elements of stride and swing

piano styles of the 1920s and 30s, Tatum crafted a left hand so formidable that it was able to

support his virtuosic right hand. Famed jazz historian Gunther Schuller concurred with the

magnitude of Tatum's capabilities and the meteoric heights to which his playing had

ascended, describing any influence upon future generations of jazz pianists as "... usually

indirect and stylistically/technically once removed. In a sense Tatum's art was inimitable-

except by reduction of its very essence, a fact borne out by thousands of imitative cocktail

pianists, playing a much simplified Tatum style." 9

Scope of This Study

This study of Tatum's left-hand stride piano style is selective by design, as I have

decided to primarily study repertory in which Tatum plays a minimum of one full chorus of

relatively uninterrupted stride. In this way, it was possible to find sections of Tatum's playing

that establish a greater sense of continuity within the stride idiom. This initial premise

disqualified a majority of Tatum's recorded catalogue (over 100 sides completed in the last

7 Davis, 2- 3.
8 Anthony Tommasini, "Steven Mayer Channels Art Tatum , but Adds His Own Flourishes at
Keyboard F estival," The New York Times, July 21 , 2006.
9 Gunther Schuller, The Swing Era: The Development of Jazz, 1930-1945 (New York: Oxford

Univer sity Press, 1989), 477.

5
three years before his death) as Tatum rarely played a song, especially in his later years,

with portions of stride that exceeded one full chorus in length. Also, I have chosen to focus

only on the stride aspects of Tatum's left hand simply because the combination of the other

facets of his left-hand style are diverse, widespread, and simply too unique to Tatum's style

itself to warrant examination within this specific study of the stride idiom. Examples of these

types of left· hand techniques would include portions of boogie·woogie patterns, extended

trills, single-note walking bass, up-tempo broken tenths, pedal points, and joining with the

right hand for extended runs - to name a few.

Lastly, I've included exercises and more modern stride transcriptions at the end of the

study so that any players reading this might have an opportunity for more examples and

directions for further study.

CHAPTER2

TATUM'S EARLY YEARS AND BRIEF HISTORY OF STRIDE PIANO

Biography

Born in Toledo, Ohio on October 13, 1909, 10 Art Tatum, Jr. entered the world at a time

when the piano was a common household instrument for all American families who could

afford one. A child with prodigious early musical talents, Tatum had perfect pitch and was

picking out melodies on his family's piano by the time he was just four years old. 11 Ragtime

music maintained its widespread popularity at this point in the early 20th century, as the

advent of jazz was beginning to form in New Orleans. Although there were no recordings

10 James Lester, Too Marvelous for Words: The Life and Gem·us ofArt Tatum (New York:

Oxford University Press, 1994), 15.

11 Ron Davis, "Ars Gratia Tatum ." Accessed March 6, 2016. www.rondavismusic.com/

files/RD%20TATUM%20article.pdf. 2.

6
available at this time, piano rolls played on various player systems allowed for some of the

earliest forms of music reproduction.

Given the varying accounts as to the timing and extent of the onset of Tatum's

blindness, most recollections seem to agree that Tatum had completely lost vision in one eye

while retaining very little vision (10-20%) in the other by the time he was about three years

old. 13 That being said, the young Tatum apparently did not allow this handicap to impede his

musical progress, as he would come to rely solely on his ear to inform his playing. After

enrolling in various schools for the blind in Toledo and Columbus, Tatum eventually dropped

out of school around the age of 17 to focus solely on his aspiring musical career. Although

Tatum grew up with a love for Classical music, he had realized from an early age that a

career as a black concert pianist would simply not have been possible during this era and

that jazz was his best shot at professional success. 14

By the age of 18, Tatum had his own 15-minute slot on Toledo NBC-affiliated radio

station WSPD as a result of winning a talent competition. 15 This exposure led to the building

of a national reputation at an early age, a reputation which was bolstered by the anecdotal

recollections passed on by other jazz pianists who toured through town during this time.

Sometime between the years 1930 and 1932, Tatum began to play and tour with Adelaide

Hall, playing blues piano, allowing him his first touring experience as well as his first

recording sessions. 16 Furthermore, this association allowed Tatum to move to New York City,

as Hall hired him for an extended engagement there in 1932. This association with Hall was

13 Lester, 21-26.
14 Davis, 2.
15 Lester, 52 .
16 Lester, 68.

7
instrumental for Tatum's early career, and he was soon performing extensively in his favorite

format of solo piano. By March of 1933, he had secured his first recording session. 17

Tatum's Playing Styles

Already with these first recordings, Tatum revealed a fully-developed mature style

that would be his hallmark for the rest of his career. Although Tatum's style did not change

measurably throughout his career, there were different periods of Tatum's life where he had

distinct musical emphases. In his well-known book series on jazz improvisation, John

Mehegan's third volume (entitled Swing and Early Progressive Piano Styles) features a

profile dividing Tatum's career into the following three distinct musical time frames: 1)

ragtime-stride period 1930-36, 2) Solo and Swing period 1936-42, and 3) Trio period 1943-

56:18 These divisions serve as a useful way of taking in Tatum's different musical periods of

his life, but two clarifications help in fully understanding these periodic divisions.

First, the clarification made here between the first and second periods draws a

somewhat arbitrary line during the year 1936, in which Tatum switched from playing

stride/novelty pieces to maturing into what would become his signature solo piano style of

playing a song in a rubato-stride-rubato form, inspired by novelty pianist Lee Sims and more

akin to the Swing pianists of the 30s.19 However, the earliest Tatum recordings show the

already fully-formed aspects of Tatum's left-hand which was to become his trademark stride

style. The 1936 delineation marks how his more Swing-inspired recordings produced during

17 Lester , 80.
18 John Mehegan, Swing and Early Progressive Piano Styles (Jazz Improvisation 3) (New
York: Wa tson-Guptill Publications, 1964), 56.
19 F elicity Howlett and J . Bradford Robinson, "Tatum , Art," in Grove Music Online: Oxford

Music Onhne, Oxford University Press. http://O-www.oxfordmusiconline.com .libraries.colorado.edu/

subscriber/a rticle/grove/music/27553 .

8
this second period attained a higher level of rhythmic and melodic freedom than those of the

first period.

Secondly, labelling Tatum's final period as simply a period of trio playing is somewhat

misleading. Although this is certainly true for the most part, the bulk of Tatum's recorded

solo work was made in the years 1953-54. Norman Granz arranged for these marathon
<,

recording sessions in which Tatum finished 124 sides! 20 Mehegan's categories do help

delineate this final period of Tatum's playing career as a time when Tatum's propensity for

extravagant flourishes and intricate reharmonizations was at its zenith. For that reason, this

document will study recordings from the first two periods of Tatum's career. Simply stated,

the music from Tatum's later career did not contain as many extended portions ofleft-hand

stride to consider for inclusion in this analytical discussion.

Aside from these useful musical categories, it would also be helpful to briefly discuss

the highly competitive environment Tatum stumbled upon when he moved to New York.

Starting as early as the 1920s and continuing into the 30s, the stride pianists of New York

(for the most part based in Harlem) would organize rent parties. These rent parties were

essentially cutting contests where each pianist would attempt to outplay the preceding

pianist, all the while hoping to receive monetary compensation in order to pay rent. 21 This ,

environment encouraged pianists to constantly come up with creative and innovative ideas

in order to show up the other pianists. It is largely reported that James P. Johnson, the

progenitor of stride piano, was the first reigning pianist. His piece "Carolina Shout" was

deemed by most pianists as too difficult of a "test piece." By the time of the late 20s, the

undisputed king of Harlem stride was Johnson's protege Fats Waller. 22 Waller combined an

20 Lester, 204-5 .
21 Gunther Schuller, Early Jazz: Its Roots and Musical Development (New York: Oxford
University Press, 1968), 219.
22 Schuller, Early Jazz, 223 .

9
even more prodigious and cleaner technique than Johnson with an unbridled sense of joy that

often saw him singing and telling jokes while playing the most intricate virtuosic stride piano

at the same time. Tatum would develop his own unique style from Waller's techniques.

Although Tatum's playing style should probably most accurately be placed in a

category all on its own, in its most basic sense, Tatum's style combined the left hand

techniques of Fats Waller and Teddy Wilson with the right hand techniques of Swing Era

pianists Earl Hines and others. This comparison is admittedly simplistic, as Tatum's style of

reharmonizations and dazzling flurries of sixteenth note runs combined multiple musical

styles: stride, swing, boogie and classical music. The different influences from Waller and

Wilson will be examined in greater depth in later chapters.

Having already established his virtuosic playing style from the time of his first solo

recordings in 1933, Tatum would go on to play primarily in the solo setting until he formed

his trio in 1943, the format he would go on to perform in until his death in 1957.23 Begun

largely due to Tatum's inability to find adequate employment as a solo act, the Art Tatum

Trio was formed with the additions of Slam Stewart on bass and Tiny Grimes on guitar. The

piano-guitar-bass format most likely stemmed from the lineup of the Nat King Cole Trio and

would later be adopted by one of Tatum's most devoted disciples, Oscar Peterson. Although

the trio had arrangements and alternated solos throughout the engagements, Tatum tended

to dominate the trio with his lavish style of playing. Furthermore, Tatum would often create

modulations and reharmonizations that the two band members would have to follow on the

spot. The trio format allowed for Tatum to gain better working conditions during this time.

Yet the music they produced-although impressive in its own right, without a doubt-paled in

comparison to the sounds Tatum produced in the solo setting. Despite not focusing completely

23 Lester, 147.

10
on solo performances, Tatum still recorded the aforementioned 124 sides on sessions led by

Norman Granz in 1953-54. These final recordings would serve as Tatum's lifetime

achievement. Recorded with a far superior sound quality given the advanced technology of

the time, Tatum's notes ring clean and his arrangements demonstrate a pianist at his

absolute peak. By this later point of his playing career, Tatum rarely employed stride

elements for more than 8 or 16 uninterrupted measures. He simply had too many variations

and tricks to draw from to remain in any one playing style for too long, hence there are no

recordings from this las_t period of Tatum's life included in this study.

Art Tatum passed away on November 5, 1956, due to complications from uremia, "a

toxic blood condition resulting from severe kidney disease ."24 Just three months earlier,

Tatum had played in front of his largest crowd of 19,000 at the Hollywood Bowl for one of

Norman Granz's "Jazz At The Philharmonic" concert events. Norman Granz had organized a

solo tour for Tatum in concert halls where he had always envisioned himself of performing,

billed simply as "Tatum." Alas, Tatum's fast-living lifestyle of late nights and excessive

alcoholic consumption caught up with him in what should have been his moment of greatest

triumph. His funeral was held in Los Angeles with several jazz icons in attendance: Oscar

Peterson, Dizzy Gillespie, Sarah Vaughan, Ella Fitzgerald, Billy Taylor, Erroll Garner, Ben

Webster, and Benny Carter.25

There is some debate in musical circles concerning the extent to which Tatum's

selections were arranged versus improvised and how this affects his standing as a "jazz"

pianist. Given that the hallmark of jazz music is improvisation, the fact that his repertory

included so many songs from the Great American Songbook, which became the standard

vehicle of improvisation during the Swing and su.bsequent Bebop Eras, certainly lends

24 Lester, 216.
25 Lest er , 219.

11
credence to his inclusion as a pianist within the jazz canon. Furthermore, his harmonic and

melodic styles, whether completely improvised or not, both stem from the traditions of jazz.

Overall, Tatum created a style of playing that defies more precise categorization. Although
Tatum was never considered by some critics to be much of a melodic improviser in the sense

of Louis Armstrong or even Earl Hines, 26 his style of piano has been unmatched in the sixty

years since his passing with regards to the rhythmic and harmonic complexities that were a

staple of his work.

In seeking to learn more about the many facets of Art Tatum's techniques from

existing literature, there are a few, but not many, transcription books, along with a handful

of method books that shed light on the different facets of Tatum's style. One book, The Right

Hand According To Tatum, stands out as an extensive study of his right hand style with

plenty of transcribed examples. Three other method books in particular-the aforementioned

John Mehegan's Swing and Early Progressive Piano Styles, Steinway and Son's The Left

Hand by Riccardo Scivales and the John Valerio text Stride and Swing Piano-all contain

portions dedicated to Tatum's stride piano left hand techniques. Although portions within

each of these method books provide a fair amount of examples of Tatum's overall left-hand

style, this study will more closely examine longer Tatum transcriptions with the intention of

highlighting specific left hand stride techniques only. The aim is to gain a deeper

understanding of the origins of Tatum's methods and investigate his own stylistic

innovations.

26 Schuller, Swing Era, 502-505.

12
 CHAPTER3

LEFT-HAND TECHNIQUES FROM FATS WALLER

Influential musical chronology can be a tricky subject, as it is often left to the

researcher to prove which different influences were transmitted from one musician .to the

next. To represent Waller's overall impact on stride and how it acted as a platform for Tatum,

perhaps it is best to read the following words from noted jazz historian Gunther Schuller:

Waller's role was that of a transitional figure linking James P. [Johnson] to the
"modern" pianists of the late thirties, like Teddy Wilson and Art Tatum. His real
service lay in taking the still somewhat disjunct elements of Johnson's style and
unifying them into a single, cohesive jazz conception in which ragtime was still
discernible underneath the surface as a source, but no longer overtly active .as a
separate formative element. In this, Waller, despite Johnson's influence, moved much
closer to the pure jazz direction Hines had by then also evolved out of Armstrong's
influence. 27

This useful analysis attempts to clear the murky waters of musical influence during this era.

In categorizing Waller's role as essentially the ultimate assimilator of the stride piano era,

Schuller points towards the direction in which Tatum would eventually head. Through

examining in more detail the stride stylings of Fats Waller in direct comparison to that of

Tatum's, it is possible to see the genesis of a complex system built upon the clear and

systematic foundations of Waller's stride playing.

A notable aspect of Art Tatum's solo piano playing is the overall general form he

employed for virtually all of his arrangements (with the exception of a few of his earliest

recordings). This was a large-scale ternary form, beginning his rendition with a statement of

the melodic material in a highly embellished rubato manner. Most likely this type of large·

scale arrangements was derived from the piano stylings of Lee Sims, an influence Tatum

cites as one of his most prominent. 28 Each 2-, 4- or 8-bar phrase of the melody typically

27 Schuller, Early Jazz, 224·5.

28
Howlett and Robinson, Oxford Music Onhne.

13
punctuates a mesmerizing run or set of moving harmonies where the time extended and

stretched until the next phrase was set to begin. This relaxed rubato tempo allows for Tatum

to deftly craft his arrangements in a way where his extended reharmonizations can be most

clearly heard. The contrasting middle section of the work usually contains a portion of at

least one or two choruses of in-tempo playing that typically relied heavily on a stride left

hand. Although these portions of Tatum's arrangements would not always contain extended

portions of left-hand stride, it seems as if stride was always the most widely-used

accompaniment foundation for these in-tempo passages.

Aside from stride piano during these in-tempo sections, Tatum also uses a variety of

other left-hand techniques: extended trills on a pedal tone, joining in to finish a descending

right-hand run, joining the right-hand in an ascending run, boogie-woogie figures, blues bass

figures, sustained tenths to delineate harmony, and open sevenths and tenths to convey ii-V

movement. Following this in-tempo middle section, Tatum presents a recapitulation of the

melody in a return to his rubato style to end the piece. Other stride pianists used this type of

overall rubato-stride-rubato ternary form; however, Tatum made this form the foundation of

his solo repertoire. To summarize Tatum's overall large-scale approach in the midst of so

much attention to the smaller details, Felicity Howlett writes: "Working in layers of thought,

he was able to retain large frameworks while manipulating small details and/or

simultaneously reworking larger phrases or sections." 29

The Tatum selections chosen for this study are all examples from Tatum's recorded

output that most clearly demonstrate the left-hand stride techniques discussed throughout

the analysis. Generally speaking, although Tatum certainly played many of his selections at

incredibly fast speeds, the selections for this project range from metronome markings of 135

29
Lester, 131.

14
to 220 beats per minute (with one Fats Waller selection at 265 beats per minute). Whenever

possible, the primary objective was to include selections that had at least one full chorus of

stride playing in order to present a more complete picture of Tatum's stride techniques over

a longer period of playing. At these moderate tempos, it is possible to hear all the intricacies

that Tatum introduced into his own unique stride playing. In listening to his selections

performed at extreme tempos (300 bpm or more), Tatum's technique and left-hand stride

portions are certainly clean and operate quite functionally for his desired effect. However,

Tatum would employ simpler stride figures (much like the tradition of the early stride

practitioners) that would not have included his typical intricate passages of walking tenths

and tenor line thumb melodies found in his playing at moderate tempos.

Brief History of Stride Piano

Although the focus of this chapter is to hone in on the specific commonalities between

the left-hand stride styles of Tatum and Fats Waller, a quick-and by no means exhaustive-

summary of stride piano techniques up until the time of Tatum would be appropriate. The

origin of stride piano resides in the ragtime piano styles of the early 20 th century. These pieces

featured melodies that were triadic in nature and did not feature any portions of

improvisation. The meter of these pieces was a 2/4 march style featuring subdivisions of

straight sixteenth notes. The first four measures of Scott Joplin's "The Entertainer" is

depicted in Fig. 1 with the left hand only. 30

so Scott Joplin, "The Entertainer," Complete Piano Rags, Mineola: Dover Publications, 1988.

15
Fig. 1 - Scott Joplin: "The Entertainer"

C c1 F
_, C/G Q7 C G7

u EJ
C(E

!Ji CJi
EJ I I
i
tJ EJ
- :;I
I CJ
i
f -t
j 11

A march feel is maintained through the 2/4 meter and simple left-hand oom·pah

accompaniment. In this example, note the use of primarily triadic harmonies as well as the

limited range of the lower (downbeat) notes. An E below the bass staff is the lowest note to

open the piece . .

A contrast to this small sample would be the opening six measures of Fats Waller's

1929 Victor Records recording of his composition "Ain't Misbehavin"'.31

Fig. 2 - Fats Waller: "Ain't Misbehavin"'

11

Although this was recorded nearly 30 years after "The Entertainer" was published, it is still

most certainly possible to identify some of the key links and differences between these two

examples. First, Waller's stride version of the oom ·pah bass pattern is felt in a more relaxed

4/4 meter. This allows for the eighth note pickup note shown in the first measure of this

excerpt to communicate the inherent swing feel that forms the foundation of stride piano.

Secondly, the range of the left-hand is greatly increased. The downbeat bass notes go lower

on the keyboard (note the Gin the second and sixth measures) while the chords on beats 2

and 4 extend into a higher part of the piano's harmonic range. Thirdly, Waller makes

extensive use of tenths on the downbeats in almost every measure. Introduced by Waller's

31 Fats Waller , "Ain't Misbehavin," Turn on the Heat, Bluebird 2482·2-RB, 1991, CD.

16
mentor James P. Johnson, tenths created a new harmonic avenue of possibility that Tatum

would explore to its fullest capabilities. Lastly, although this excerpt is relatively basic as far

as the stride left-hand is concerned (in the sense that later stride would see more rhythmic

patterns deviating from this standard oom ·pah pattern such as walking tenths and more

eighth note pickups), the amount of harmonic variation and richness in just these six

measures contrasts sharply with the basic I·V·I movement of the earlier ragtime selection

from Joplin. Featuring notes extending beyond the simple triadic chordal nature of ragtime,

Waller employs more varied chord structures that allow for expanded chromatic voice·

leading, evidenced by the chromatic notes present in the E 7 chord as well as the F minor

chord in the following measure. Further examination and comparison of Waller and Tatum's

stride styles reveals a number of distinct commonalities as well as some key differences.

In presenting this first pair of transcribed stride excerpts-Waller's "Handful of Keys"

and Tatum's "Tea For Two"-the aim is to showcase how the basic feel and technique of

Waller's stride can be found in Tatum's own stride. Recorded in 1929 and widely considered

one of Waller's signature piano compositions, "Handful of Keys" presents a relatively simple

overall harmonic structure.32 Employing a 32-measure AABA structure, this tune contains

simple I·V·I·type harmonic movements during the A sections with a typical "rhythm changes"

bridge consisting of dominant chord movement in the cycle of fifths III7-VI7-II7-V7, with

each chord being played for two measures. During the A sections, the basic harmonic

structure features tonic harmonies for two bars, dominant harmonies for four bars, then tonic

harmonies for the final two bars with a "turnaround" included. In terms of the specific left·

hand components of this selection, here are four characteristics that can be noted as

contributing directly to the stride style of Art Tatum.

32 Fats Waller, "Handful of Keys," Turn on the Heat, Bluebird 2482·2-RB, 1991, CD.

17
Fig. 3 - Fats Waller: "Handful of Keys"

9 F C7

fh]f gf 131 f ~f If f b/f If f gf I

13 F~01 ~ c1 q F ro1

'.h f f f ] f If f J f IJ f J f I] f '] bf I
17 A7 D7

fh j~tt f bJ f Iff J f lrj 1 Jlif lrj 1 J J I

21 G7 ~ C7 A i>07 C7

:J= ~rj bf t "f 19ff @ f 1°~ f ~f'f 1°~ f Jf I

2

;= ~j 1 J 1 I3 1 , ~t If , ,I
b/t IF1 r~

18
1) Tenths or single deep bass notes on beats 1 and 3 of each measure

Placement of the left-hand on beats 1 and 3 presents perhaps the biggest difference

between stride and ragtime piano. Stride players, most likely seeking to emulate the actual

frequency range of the upright bass in order to create a fuller sound on the piano, would jump

distances in excess of three octaves (m. 19) in order to capture these lower frequencies while

returning to the harmonic range of the piano to play a chord on beats 2 and 4. When not

playing notes in this lower register of the piano, Waller would make use of the tenth in order

to present a solid harmonic sound on beats 1 and 3. Although Tatum would incorporate this

technique with techniques found in Swing pianists such as Teddy Wilson to devise his own

method of employing various combinations of tenths throughout a tune, the groundwork of

regular tenth usage and lower bass notes was codified by Waller in the late 1920s.

2) Added notes to triadic chordal harmonies on beats 2 and 4

This provides another example of Waller employing stride piano's richer harmonic palette

that would become a hallmark of the era and hence found in the playing of Tatum as well. In

examining the chords Fats uses on beats 2 and 4 throughout "Handful of Keys," there is really

only one repeating instance where he uses a chord with purely triadic harmony. First seen

in beat 2 of the third measure of the song, Waller uses this G minor triad to prolong the sound

of the dominant C7 chord. In other words, if Waller were to have thought ofthis beat as a G

minor harmony with an added seventh, he would have undoubtedly included the F in his

voicing. But since the third measure is preceded by voice-leading from a pair of walking

tenths (to be discussed later), it makes sense for Waller's stride pattern to begin

communicating the V 7 chord with the fifth in the bass rather than the tonic. The rest of Fats'

chords for this excerpt all contain a note beyond just the root, third and fifth of the given

chord. For example, the F chord on beat 2 of the second measure contains a D, which is the

19
sixth scale degree of the F major scale. This allows for added harmonic interest instead of

relying on the basic triadic harmony found in ragtime.

3) Passing chords to extend static harmonies

Another staple of the stride style passed on to Tatum that was fully embodied in Waller's

playing is the use of passing harmonic structures. Now, although Tatum would ultimately

develop this concept to an unmatched degree, Waller certainly introduces several harmonic

centers and motions that go above and beyond the given harmony of the composition.

Beginning in the first measure, Waller employs a common technique of playing a V harmony

on beats 2, 3 and 4, containing a C7 harmony which resolves to the continued F major chord

on the first beat of the second measure. Waller uses a passing chord knowledge rooted in

dominant and diminished harmonies. Throughout this selection, instances of these passing

chords are easy to find: beats 3 and 4 in measure 4, beats 3 and 4 of measure 13, beats 3 and

4 of measure 16, beats 3 and 4 of measure 19, beat 4 of measure 21, beats 3 and 4 of measure

23 and beats 3 and 4 of measure 28. A pattern emerges that shows Waller apt to include

passing harmonies on the weaker harmonic beats of the measure (beats 2 and 4). He rarely

extends the passing harmonies into the next measure or begins a measure with a passing

harmony. This aspect helped preserve the overall harmonic structure of the tune and is a

facet of Waller's playing-and even ragtime-that Tatum indeed surpassed in the sense that

his passing chords and reharmonizations were not limited to certain parts of measures or

bar lines.

4) Walking Tenths

Compared to the other selections in this study, "Handful of Keys" is played at the brisk

tempo of 265 beats per minute. Despite this quick tempo, Waller still employs several

20
instances of walking tenths that foreshadow some of the intricacies that would later be used

by Tatum. In mm. 2, 10 and 26, Waller uses the same chromatic descending tenth line in

order ensure smooth voice-leading down to the tenth that follows in the next measure. Also,

at such a quick tempo, these are ergonomically some of the safest tenths to be able to execute

since Waller is only walking minor tenths, which have a much more manageable hand span

than major tenths. The rhythmic and harmonic origin of this particular type of walking tenth

line stems from the moving octaves used in ragtime as a way of breaking up the monotony of

the oom-pah bass. In mm. 31-32, Waller employs a turnaround of descending chromatic minor

tenths that sets up the next chorus. Although tenths will be examined in greater detail later,

it is important to note that Waller was using these instances of walking tenths frequently

throughout his playing. These tenths would later be found in Tatum's style in a greatly

increased fashion as well as parts of Wilson's style in a more abstract and reduced fashion.

Recorded on his first solo recording session as a leader on March 2l8t, 1933, "Tea for Two"

established Art Tatum's arrival on the jazz scene as a fully-formed mature artist. 34 The

following transcription35 contains all of the aspects discussed previously on "Handful of Keys"

but also includes several new techniques that would emerge as a hallmark of the Tatum

stride style. Overall, this piece, along with "Tiger Rag" recorded at the same session, would

announce Tatum's virtuosic qualities for all to hear. The advanced use of chromatically

altered harmonic features figured heavily into the new sound that Tatum had achieved at

such an early stage of his career. In looking specifically at the left-hand technique present in

"Tea for Two" in direct comparison to some of the techniques used in "Handful of Keys" there

are several new and old techniques that stand out in the following selection:

34Lester , 80.
35Brent Edstrom and Ronny S. Schiff, The Art Tatum Collection, Milwaukee: Hal Leonard
Corporation, 1996.

21
Fig.4 - Art Tatum "Tea For Two"

A''""! f'
0

r :~ 1
25 Bbm' q F' l, B'm'''"l, e;'<~SJ GS' l, F' l,q qB''

t r 1t~ l 1,:p 1•m

'

1
'.h-1,~; 1"f f j qf 1 1 I

;=~1,/Jc.r ;~1 1i,·r 1q11Ef F f If F 1

;~i
22
1) Tenor melodies

The first innovative aspect of this recording is the relative ease and clarity with which

Tatum maintains a smooth tenor harmony line with his left thumb. Indicated on this score

with the tenuto markings found above some of the left-hand voicings on beats 1 and 3

throughout the selection, this technique allowed for extensive possibilities that Tatum would

interpolate into his stride playing throughout his career. This aspect of Tatum's playing will

be discussed in greater detail in the next chapter dealing with Teddy Wilson. However, for

the purposes of this transcription, it can be helpful to note that Tatum's thumb melodies most

often move by step and highlight the movement from ii 7·V7 found in the first two measures

and continued with the emphasis on scale degrees 7 and 6 found on the tonic chord in mm. 3

and 4. Any tenuto markings on this score were added by the author and serve to highlight

these tenor melody notes.

2) Large intervallic leaps in stride construction

In tradition with the stylings of the stride era, Tatum maintains several large leaps

throughout "Tea for Two." Good examples of this can be found in the low G he plays in mm.

9·11 and 13·14. This leap spans a distance of greater than three octaves. Throughout the

piece, however, Tatum tends to construct tenths and their subsequent chords on beats 2 and

4 with a minimal distance between the top note of the tenth and the bottom note of the chord

voicing. This observation helps support the hypothesis that Tatum's stride contained notes

and features that were based as much on ergonomics as they were innovative harmonies.

Due mainly to Tatum's large hands, which could spread the distance of a twelfth on the piano,

he was able to reach all of the tenths quite easily and although he was still striding quite a

great distance from the lower note of the tenth to the highest note of the following chord, the

distance between the top note of the tenth and the bottom note of the chord voicing was indeed
23
minimal. A great example of this facet of Tatum's playing can be seen in mm. 25·28 in this

section. On each of these pairs of bass tenths and tenor chords the distance between the top

note of the tenth and the bottom note of the following chord is a step or unison.

3) Greater use of anticipated tenths

In mm. 11·13, Tatum plays three instances of anticipated tenths where he plays one of

the notes of the tenth as an eighth note preceding the downbeat where the tenth occurs. This

technique serves two purposes. On the one hand, the extra note acts to propel the overall

sense of swing of the piece by adding an extra eighth note in between the string of steady

quarter notes, allowing the player to give further emphasis to the overall swing feel from

their left-hand alone. Another reason behind these anticipated tenths deals with the

ergonomics of playing these passages. At this tempo of 165 bpm, it is not too terribly difficult

to reach all the tenths in time, so these eighth note anticipations are unnecessary from a

technical point of view . However, ergonomically this style of broken tenth allows for Tatum

to place his hand in the desired position a little bit earlier than if he were to play all the notes

of the tenth simultaneously.

4) More altered chromatic harmonies

There are a few instances in this example where Tatum alters the original chord

progression. Beginning in the second measure, we can already hear Tatum's use of an

augmented dominant harmony providing a chromatic alteration. The Bq found in the chord

on beat 4 leads into the C found in the chord on beat 2 of m. 3. Another prominent passage of

altered harmonies occurs during the turnaround in mm. 15-16 as the tune progresses from

the tonicized key of C major to the home tonic key of Ab major. Here Tatum plays a string of

24
descending chromatic dominant chords, which resolve flawlessly into the next section. Not

shown here, the right hand further emphasizes a dominant augmented harmony as well.

5) Beginnings of Tatum walking tenth triads

In mm. 7·8, 24, and 31·32, Tatum provides compelling rhythmic motion through walking

tenth chord harmonies. Although the theory of these types of movements will be discussed in

greater detail shortly, these few examples again present the breadth of Tatum's harmonic

concept as he makes effective use of passing tenth chords to elaborate static harmonies. While

the examples at mm. 7-8 and 31-32 provide diatonic chordal movement, m. 24 presents

ascending chromatic diminished tenth chordal voicings. On beat one, Tatum plays an F 7

tenth voicing and then moves up to a G diminished voicing (functionally operating as a C7/G

in this instance) on beat two. While beat 4 provides an A diminished voicing that operates as

a p 7<• 9)/ A to lead into the following Bbmin 7 chord, beat three simply presents the chromatic

diminished chord between the two voicings on beats 2 and 4. In other words, all three of the

voices move in parallel motion from beat 2 to 4, creating a strong sense of complete voice

leading. These types of harmonic nuances point to the expanded harmonic vocabulary of

Tatum and also serve as an example of the amount of detail involved in Tatum's note choices.

Extended Walking Tenth Triads

Another important facet of Art Tatum's stride left-hand style is derived in part from

Fats Waller's technique of harmonizing extended passages of static harmonic motion with

series of walking tenth chords. While neither Waller nor Tatum would typically play walking

tenths for as long a period as demonstrated in the following two examples, it was common for

both to insert 2·4 bars of walking harmonies into their performances amidst standard oom·

25
pah stride playing. The fascinating thing about these harmonized bass lines is that,

especially in shorter passages of 2·4 measures, each voice of the chord would typically move

in the same direction simultaneously, creating strong voice -leading throughout the walking

line. Generally speaking, these walking tenth passages consist of harmonic movement over

four beats that either ascends a perfect fourth or descends a perfect fifth. These types of

harmonic rhythmic motion are typically best for walking tenths since they lend themselves

to stepwise motion, the most comfortable and accurate ergonomic movement for the stretched

hand. The walking tenth technique would become more widely used as the Swing Era

progressed by players such as Teddy Wilson and Earl Hines, but they tended to favor the

more open sound of the tenth dyads rather than the filled-in tenth triads preferred by Waller

and Tatum.

At one point in his own 1929 composition "Sweet Savannah Sue," Waller plays a

succession of 19 measures of walking tenth triad chords. 36 The astounding rhythmic drive

that results from the usage of this technique foreshadows more of a 4 ·feel than the standard

2-feel that later developed in the Swing Era. Figure 5 contains the functional harmonic

changes of each tune. Figure 6 contains the functional harmonic progression as dictated by

the motion of the tenths. The two figures show two perspectives, and the performer

improvises the superimposed chord changes as the song progresses.

36 Fats Waller, "Sweet Savannah Sue," Turn on the Heat, Bluebird 2482·2-RB, 1991, CD.

26
Fig. 5 - Fats Waller: "Sweet Savannah Sue"

1:29 =165
/ D7/f::

:u,tf ff
C7 F D7

, , , 1,,•r;p--,,p-if_ _ I, -,tp___q~-,tp___I,-- , p-- ,p-- , --, I

F7

i;:~I, ,

Waller's tenth triads warrant further explanation. Generally speaking, when playing

walking tenth triads he plays the tonic chord or inversion of the tonic chord on the strong

beats (1 and 3) of the measure while playing some form of a passing chord on the weak beats

(2 and 4) of the measure to ensure proper voice-leading. In figure 6, there are several

noticeable instances where Waller plays beat 1 of a measure with an inversion instead of the

root position of the given chord. Measures 4,6,9,10 (2 times), 14, 19 and 20 all contain

instances where either the third or fifth of the triad is the lowest note of the tenth. The motion

of this excerpt is almost exclusively by step with only 6 instances of movement by skip (third).

Furthermore, with only a few exceptions, all three of the voices move together in parallel

motion to create this strong sense of voice · leading.

27
Fig. 6 - Fats Waller: "Sweet Savannah Sue"

1·29J=165
. D7/F~ A7 D7 A7/E D/ff f~+ G D7A G/B C~07 G7/D C/E Et>07 G7/D

l? ~ ttl
l:u, lbbf \f ~, bf

':u,f bf :, f 11"r;p-- 1,;- iF ___ I,-1¾;___ b;-0; ___1_ E__ { f ~--,II

C G7jD C/E F~07 C7/ G Ft07 C7/ G G:: 07 F/A C7/G F C7/ G F/A C7/ G F7 D7

7
Bi>/D f7/ C Bl> F7/ C B~/D f7/C G7/ B G7/D C7 G7/ D C/E G7/D C G7/D C/E ~ C / G

99
=/f
F
"p ' F If F f
Ei,6 Bl>/D C~ 07
f bbF 1bF bF ,f f I
F7/C Bl>/D El>
bf 1l bF
D A7/E D/F~ A7/E D A7/E F07 D

/;. ~I, , "F f 1:f F ,f f 1#f tt,f t ,f 1#f tt f f #' I

,, 1

El> Bl>/f Ei>/G Bl>/F E07 Bl>/F E07 Ei,07 Bl>/D C#07 Bl>/D C~07 F7/C B07 F7/ C F7

/;-~,f ·, ., , 1ttf ·, f~f 1bF f , f 1:f 4 F 'F 1 1

Figure 6 individually labels all the chords to show how these basslines are constructed

from a chord-to-chord perspective. Identifying the function of these tenth triads presented

difficulty when trying to decide how to label the diminished tenth triads (major 6th + tritone).

Although these chords can be labelled simply as diminished 7th chords (that perform their

function as passing chords with parallel voice-leading on the weak beats of the measure), it

seems more appropriate to think of these diminished chords as inverted V7 chords of the given

harmony that act as passing chords between instances of local tonic harmony. The first

example of this occurs on the second beat of m. 2. The label of A7/E-despite that triad not

having an A in it-more accurately represents the true functionality of the triad since it

connects a D 7 triad to a D/F# triad complete with leading tone resolution of the C# of beat 2

28
to the D of beat 3. Throughout these examples, any diminished triad that acted as a V7

passing chord between two inversions of the local harmony for that measure has been labelled

as a dominant chord and not a diminished chord.

Diminished tenth triads work best as passing chords to a closely related harmony.

They allow the harmonic language of the walking tenth triads to continue the three -note

voice-leading but be able to allow for the walking line to adapt to the harmonic information

of the given tune. Diminished chords are also used to add another chromatic passing chord if

an extra half-step is necessary, as in m. 4. In order to approach the C7 chord on beat one of

m. 5 most convincingly with three-note voice-leading, a diminished tenth triad of G 7/D allows

for a strong V-I movement. Because the preceding line began on beat 1 with this same tenth

voicing, the addition of a chromatic diminished passing tenth triad on beat 3 in order to

resolve into the next bar demonstrates the usefulness and flexibility of these diminished

tenth triads. There are also several instances throughout the passage where Waller uses a

diminished tenth to step out of the harmony only to return right back to the same tenth. This

type of neighboring tenth chords create extra rhythmic motion and examples of this type of

movement can be found in mm. 6, 18, 19 and 20.

Recorded over a decade later at an after-hours session on September 16th , 1941 at

Monroe's Uptown House, Art Tatum's left-handed comping on "Lady, Be Good" during a trio

jam session with upright bass and trumpet features an extended portion of walking tenth

triadic harmony. Tatum's bassline actually lines up with Ebenezer Paul's bass a few times

throughout this excerpt, but for the most part Tatum tends to dominate the sound of the

entire group so his left-hand portions were easy to differentiate from the rest of the band. 37

37 Art Tatum, "Lady Be Good," God Is In The House, Onyx 205, 1972, CD.

29
Joseph Howard maintains this sentiment in saying that, ".. .it is apparent that Tatum did

not alter his style when performing with other instrumentalists. The participating musicians

Fig. 7 -Art Tatum : "Lady, Be Good"

1:52 ~=220

':n ~' F a 43 Iii 18 a F I ~ F F F I F F F,-p II

~ F f F IJ"F ~ F 1'~ F if F IF F FF
5

2'#

~f 1q,i 1
G,i f a 1~ F FF1 alj 1
9

9'' ~ , F F 11~·

};,~~ F F•t 1"i "'f 'F f I~ F§; F lf ~ JgF

1
11
~

a e ij e a ,
17 G
1
1
1 I,

had the option of either competing with Tatum on his level or altering and adapting their

style to fit within his fireworks. "38 In a similar fashion to "Sweet Savannah Sue," "Lady, Be

Good" showcases tenth triadic movement by step for 18 measures with a few stride chords

played on beats 2 and 4. The double·barline at the end of the fourth measure of the example

delineates the beginning of a new 32-bar chorus. In comparison to the tenth triads played by

Waller, Tatum's tenth triads contain more variety in terms of the harmonic rhythm they

employ when navigating the given chord changes, as well as a greater use of chromatic

harmonies. When examining the first excerpt, it becomes apparent that Tatum has taken

Waller's walking tenth triad technique to a new level of sophistication . A cursory glance

38 Howard, 66 .

30
shows instances of 4·note voicings on some of the chords on beats 1 and 3 including mm. 4,

12 and 16. The A9 chord in m. 16 is particularly interesting in that Tatum approaches this

chord voicing of a ninth by using voice-leading of the top thumb notes from the movement

found in the previous measure. Although Tatum would often use these four-note tenth

voicings, he would typically play them during the rubato sections of his arrangements and

play these somewhat leaner tenth triads for the in-tempo stride portions of his

improvisations.

The shifting harmonies from chord to chord further indicate a similar approach to

Waller, but again reveal an extra level of sophistication. Like Waller, Tatum would commonly

employ an inverted V7 chord on beat 2 of a measure to connect a root position and first

inversion chord on beats 1 and 3. In the span of only the first eight measures, Tatum employs

this technique in all but two occasions (bars 1 and 6). Throughout this excerpt, Tatum

repeatedly uses these passing dominant harmonies but then adds his own chromatic root

position dominant tenth triads on two occasions in order to support voice· leading. These

instances occur in mm. 9 and 17. In m. 9, the F dominant chord on beat 4 doesn't really lead

functionally into the following A 7/E chord. However, the fact that all the voices move by

whole-step or half-step allow for this seemingly incongruent passage to work quite

beautifully. The Frt 7 tenth triad in m. 1 7 is the solution Tatum used to descend a perfect

fourth over the span of four beats, which is actually quite an uncommon movement as typical

walking triad harmonic patterns work best when ascending a fourth or descending a fifth. In

this measure, the Frt 7 acts as a passing chord on beat 2 that allows for Tatum to arrive at his

target harmony on the third beat with D/Frt which then allows him to continue the walking

line until the D 7 tenth triad at the beginning of m. 18.

31
Fig. 8 -Art Tatum: "Lady, Be Good"

1:s2J=220
l Am7 G D/F~ A7/E D7 A 7/ E D/F# D7/ A
1
'.fl F F 3aj § B 3 F 1
1
II

52 1

9
= ~I
Am G
rI ·e r r I rI ~ I l"
F7
1J
A7/E D7 A7/E D/ H
lq~
G D7/ A G/ B
I
A9 A7/E D7
F
21
13
· F F F ~f
G D7/ A G/B G7<~9J
A•~ e ffa
1
C7 C9 G D7/ A
IF
G
1
F F F lff~
D7/ A B0 7 D7/ A A9
a•~ 1 G/B D7/ A

21F = F F•t "r ,qt 1 qF ,, 1 F F £ F #q~ ~ 1 FF

1

s
G A7/E D7 A7/E D/F# D7/ A
17

B 3
One last observation in comparing Waller's and Tatum's approaches is that Tatum's

tenth walking lines are less limited by constant stepwise motion. This was perhaps due to
'
the fact that his technique and harmonic imagination were at a higher level than Waller's .

For example, in m. 2 (beats 3 and 4), instead of using two passing chords along with the root

D 7 chord and its inversion, Tatum plays three inversions of the D 7 harmony with only one V7

passing harmony for the measure, effectively enclosing beat 1 of m. 3 in 3-voice parallel

motion. Tatum uses this technique again in m. 18 on beats 3 and 4, enclosing the G major

tenth triad on beat 1 of the measure directly following this excerpt. These examples

demonstrate some of the origins of the stride walking tenth triad technique along with its

subsequent use and subtle evolution in the hands of Art Tatum.

32
 CHAPTER4

LEFT-HAND TECHNIQUES FROM TEDDY WILSON

The artistry and musicality of Tatum's left-hand stride playing, in its most

oversimplified form, comes from his total amalgamation of the Fats Waller stride and

walking tenth techniques combined with the more relaxed rhythmic feel and strong left-hand

tenor countermelodies made popular by Swing Era pianists such as Teddy Wilson.

It should be noted, though, that the Swing Era pianist with the greatest overall

influence on Tatum was Earl Hines. From Hines, Tatum gained a more melodic linear

approach to the piano. John Mehegan summarizes this influence:

Earle Hines freed the right hand from the mechanical restriction of ragtime, paving
the way for the linear concepts of Tatum. L. .] This aided Hines in forging a new image
as to the role of the piano within a rhythm section, a disciplined role subordinate to
the work of the over-all section, [. ..] As a solo pianist, Tatum was not primarily
interested in this aspect of Hines's playing, but the right-hand 'trumpet' styles of
Hines certainly remained an important source for Tatum's linear ideas. 39

Earl Hines, six years older than Tatum, was described by a childhood friend of Tatum's

named Eddie Barefield, who heard Tatum practicing by improvising to Hines' recordings in

the 1920s, as being " ... from a different school from Fats Waller. See, Earl Hines was the first,

was really the change of the style of the piano players, modern piano players. Fats was from

the old school. Course, when you heard him play you didn't hear nothing of anybody but Art.

But he got his ideas from Earl's style of playing." 40 Admittedly, this influence from Earl Hines

was most clearly manifested in Tatum's right-hand technique as he fully embraced Hines' re -

definition of the role of the piano as a solo instrument with similar possibilities of melodic

expression as the horns. Specifically speaking, this meant that the piano would play in a

39 Mehegan, 103-104.
40 Lester, 57-8.

33
more linear fashion while employing use of a "terminal vibrato" effect to punctuate phrases,

a stark contrast to the triadic nature of ragtime piano melodies. The Hines influence can be

heard in Tatum's left hand during rubato sections as Tatum would employ some of the

sustained left· hand chords used by Hines as a method of bringing his right· hand "trumpet"

lines to the forefront. For the purposes of this study focusing only on Tatum's left-hand stride,

it suffices to say that Hines's left-hand style did not significantly influence Tatum's stride

construction. From Hines, Tatum developed his right· hand articulations and approach as

well as an overall more relaxed swing feel than his predecessors of the stride era. Hines,

however, was much more of an improviser than Tatum and took more chances with his right·

hand improvisations, though his left-hand accompaniment was much sparser than Tatum in

the solo piano setting.

Returning to Teddy Wilson, it is at this point that the chronology of influence becomes

somewhat convoluted. For it is certainly a problematic assertion to claim that Teddy Wilson

was an influence on Art Tatum as Wilson was born three years later and even spent a portion

of his teenage years in Akron absorbing Tatum's early style. However, as Tatum began to

loosen up the strict stride sensibility that had characterized his work from the early 30s, he

would soon be adopting some of the same techniques as Wilson. This includes an emphasis

on left-hand thumb tenor melodies. Gunther Schuller reports, "Conversely there is strong

evidence that in the late thirties, when Wilson was becoming a nationally known figure

through his work with Benny Goodman, Tatum began to reduce, at least temporarily, his

richly extravagant, irrepressible style to the more modest proportions of Wilson's." 41

As stated above, the main point of influence and commonality shared between the left·

hand techniques of Tatum and Wilson is that of the left thumb tenor melody. As Schuller put

41 Schuller, Swing Era, 502.

34
it, this thumb technique, "When combined with the right hand, [. . .] created the impression

of a three-handed pianist. It was not, I hasten to add, an effect that could be achieved by

using the pedals of the piano, but it obviously required large hands." 42 This chapter focuses

solely on the various distinctions of the shared aspects of the tenor thumb melodies between

Tatum and Wilson.

Already in the first example from Tatum in this document, "Tea for Two," it is possible

to see the beginnings of this thumb melody line. Whereas Waller would typically play stride

tenths on beats 1 and 3 with equal emphasis on all notes in the tenth, Wilson would add

particular emphasis to the uppermost thumb note in order to create harmonic

countermelodies. This emphasis would also be embraced by Tatum as the ideal method of

prolonging the harmonic notes from the chords (as these thumb notes tended to be the 3rd

and 7t h scale degrees of the given harmony). The left thumb lays in the perfect position to

achieve this on the piano.

Teddy Wilson's 1935 r ecording of "Rosetta," composed by Earl Hines, provides several

clear examples of this left-hand thumb melody technique. 43 Before discussing this technique

in more detail, however, it would be prudent to acknowledge some of the other general facets

of Wilson's stride style that may have had an impact on Tatum as well. In general, Wilson

plays fewer notes and tends to favor an open tenth rather than a filled-in tenth triad for his

stride playing on beats 1 and 3. Furthermore, a more relaxed feel allows Wilson to sustain

more notes with his left hand in order to emphasize the inner moving harmonies. Wilson's

left hand operates with a less structured approach than Waller and perhaps even Tatum.

42 Schuller, Swing Em, 507.

43 Teddy Wilson, "Rosetta" Teddy Wilson -Statements and Improvisations, Smithsonian
Special Collection - R005 , 1977, LP, Accessed digitally March 6, 2016,
http s://www.youtube.com/watch?v=JDrBKMimfQs.

35
 Regarding the harmonic role of the left-hand tenor lines, "Rosetta" exemplifies an

early Wilson take that captures the essence of this important technique. In Figure 9, notes

that sound as if they are comprising a portion of the tenor countermelody line are notated

with a tenuto marking. Although most of the notes deemed to be a part of this tenor

countermelody have been notated as quarter notes, in listening to the recording one gets that

sense that Wilson almost intends for these notes to ring until the next tenor thumb note is

played. For example, the F# in m. 2 lasts at least two and maybe even three beats until it is

played again on beat 4 of that measure . The ensuing tenor melody from mm. 2-4 of F#-G-F-E

stands out on the recording as each of these tenor notes is struck percussively and produces

a ringing bell-tone sound. Throughout the selection, Wilson makes fairly regular use of

emphasizing the left-hand thumb melody as can be seen in the first four measures. Other

important features that are common to the Tatum style include the tenth on beat 4 of mm.

12 and 16. H ere we have a case where the oom-pah stride motion is reversed and there is

strong voice-leading into the following measures. Measure 12 uses tenor countermelody to

strengthen the downward resolution while m . 16 uses the same technique for an upward

resolution.

Overall, these tenor lines created new possibilities for improvisation. Measure 14, for

example, showcases a left-hand figure that most likely would not have been used by a stride

pianist such as Fats Waller. Here Wilson omits the rest of the left-hand and just plays the

important tenor voice-leading line devoid of any literal harmonic support (denoted with

tenuto markings). This texture would continue to become a part of Tatum's style, but would

be most completely developed a few years later with the advent of bebop and Bud Powell's

"shell voicings." In m. 19, Wilson similarly eschews a harmonized walking bass line in favor

of a sustained G bass note with an ascending harmonic elaboration through use of the left-

36
Fig. 9 -Teddy Wilson: "Rosetta"

Eb D7 E~6 G7/ D C7
9
t ~~ qq~ p- qi -

F7 Bi, 7 Eb6
I
f 9 Bb D7
13

tN,,,1~ f f f If"1 1F "F I E~j

, .

r ff f 1t t ,~ 1

Gm/ Bb Gm6 N 37 D7 Gm Ebm7 1_

f F g1 1,,f J f I ij ,J
q ~ - ~~ i

±£p b~j = I
17 _
1
th'', .J

21 Bb/D Dbm F7 Bb7

:>=.\3 J JJ:t J 1 ~ 1p ,f3f 1f

1
r•r-3 , 1

t t ~'
*'
6
25 ES' o~t,i ,~ ':"' E~ C'

fh',,, j 1 g If , 'if -~ If iF l'f F

q~!
t Itqt ~~r Id 1 :~ ,
29 F9 ~ Bb7 Eb6 F~ 0 7 ~ Fm B:,7

Eh'',:J1 , 1t~ t p r 11~ ,,,j

1

37
hand thumb. Beats 3 and 4 of m. 23 also display a technique that would become a common

Tatum device. That is, in sustaining two of the three notes in a tenth triad for two beats with

one of the notes moving on the second beat, two completely different harmonies can be created

within the same hand position. Measure 26 contains a thumb melody device also used by

Tatum. In substituting a dominant F 7 chord for the ii chord in a ii-V-I progression, Wilson

allowed for chromatic thumb voice-leading in order to emphasize landing on the Eb tenth

triad of m. 27. Lastly, the figure on beats 3 and 4 of m. 30 features a sustained thumb note-

the third of a ii chord-being held for two beats while the lower portion of the left hand plays

first the ii bass note and then the V bass note. As stated earlier, these left-hand tenor thumb

melodies changed how the stride left hand was played as the tradition continued into the 30s

and evolved into Swing piano.

Figure 10 shows a 1940 Art Tatum recording of "Georgia on My Mind" (another after-

hours session), in which the tenor thumb melody technique of Tatum can be heard in a very

prominent way in the third and fourth measure of each A section. 44 This occurs first in mm.

3 and 4 with a strictly chromatic descending tenor melody beginning on the Ab on beat 1 of

m. 3. By first moving down to become the G for the Eb 7 chord followed by the Gb for Ab 7, F for

the Db , E for the C$$ diminished, Eb for the C diminished, D for the B diminished and even Db

for the Bbmin 7 chord in bar 6, Tatum continues this chromatic descent over three full

measures. Keeping the tenor notes legato is certainly a challenge for portions like this and,

as Gunther Schuller noted, is only really physically possible for pianists with a certain hand

span. An ingenious bit of Tatum tenor voice-leading occurs in m . 22. Here Tatum begins the

measure with a strong Ab from his thumb on the F minor chord with a somewhat inaudible

44 Art Tatum, God Is In The House.

38
Fig. 10 -Art Tatum : "Georgia On My Mind"

0:00 J=l 50
1 A~ G Fm7
-e-

9 Ab

17

2= Pl,I,P
Fm

3
Bbm

PF
Fm

IE ,
Bbm Fm

IE ,
Bbm F7

1qp
Bb7

•bf
21 Fm Grn7 C7 Fm F7 G7 Cm D7 G7<b9 l/B Bb07 Ab7 G7 Eb7

th'V] F l1r iP ,1 ig bF i°f ., ~ if :t 1:p J 11

25 Ab

29 Cm B0 7 Bbm7 Eb7

'.hi>~I, f 1if fj
39
E played on beat 2. Beat three follows as an F major tenth with the thumb adding an extra

passing tone of Bb before ascending with the rest of the hand to play a G major tenth on beat

4. Tatum's tenor line adaptations are also examined in "Tea for Two" and will further be

examined in "Ain't Misbehavin"' in the next chapter.

CHAPTER5

CONCLUSIONS ON TATUM'S STRIDE STYLE

After examining some of the origins of Art Tatum's stride style, we will examine a few

more of his performances in order to more completely grasp Tatum's approach. As mentioned

in the preface, only two Art Tatum solo piano performance videos are known to exist. Below

is the first 16 measures of Tatum's stride playing in his 1953 rendition of Dvorak's

"Humoresque."45 This portion begins the middle stride section of the overall large -scale form

of the piece, Tatum begins slowly in the first measure but then displays masterful harmonic

flow in beats 3 and 4 of the second measure. Here we can see Tatum playing a Db/F tenth

triad on beat 3 and changing to a F 7 tenth triad on beat 4 while holding the lowest note F.

More movement of this type occurs again in mm. 4 and 12 in a clever four -beat resolution of

a Gb 7 chord to a Db/Ab chord. These passages are a wonderful example of a preconceived

Tatum left-hand stride pattern. Tatum maintains a Bb and a Gb for the first three beats of

these measures as he moves the inner voice around before playing a G diminished tenth

voicing that resolves to the Db/Ab chord in the following measure.

45 Art Tatum, "Art Tatum Plays Dvorak," YouTube video, 2:45, posted by "steveie986," June
4th, 2006, https ://www .youtube.com/watch?v=qYcZGPLAnHA.

40
 Perhaps one of the most identifiable characteristics of the Tatum style which hasn't

been discussed yet, chromatic reharmonizations, appears in mm. 7·8. This excerpt is not

exactly stride, which precludes the most dramatic of Tatum harmonizations from inclusion

in this study. However, with this example it is possible to get an idea of some of Tatum's

reharmonization tendencies. First, the passage in question occurs during the last two

measures of an 8·measure phrase. This was the most common place within the 32-bar song

Fig. 11 -Art Tatum: "Humoresque"

0:48 =205
J Di, Qb7

9 Di,

JJ Db/Ab Eb7<:,,i, Ab7 n:,1 A')1 rn,1 f7

:Nv~ ~ f J f 1
1 db1 ! Jbf J f Jbf i~~J
1
'~ 1 I I
form that Tatum would include his alternate chord changes as a turnaround to begin the next

phrase. In this particular example, Tatum plays a iii·VI-ii-V pattern in the key of C (half-

step below tonic) for six beats before adding in a quick two-beat resolution back to the tonic

key of Db. When executing these chord substitutions, Tatum would hold the tenor lead lines

(m. 7) according to the desired harmonic rhythm and resolve the lower notes accordingly.

41
 One final example of Tatum's overall stride style comes from his 1938 recording of

"Ain't Misbehavin'."46 This recording is a fitting culmination of all the stride techniques

discussed in this study. To begin, Tatum makes extensive use of sustaining tenor thumb

melodies throughout this entire chorus. The amount of tenuto markings indicate just how

much attention was given to the thumb melody on this rendition. Similar to the other

examples examined in this study, these tenor thumb melodies move by step or third except

for when Tatum decides to 'reset' the line of tenths (m. 11).

Much like the version of "Humoresque" examined earlier, Tatum again employs a

chromatic harmonic reharmonization in mm. 7·8. Beginning on beat 3 in m. 7, Tatum begins

a cycle of ii-V progressions ofFrnin-Bb 7 , Emin·A7 (inverted) and Ebmin·Ab 7 . Tatum doesn't play

this reharmonized passage in full stride but in the Teddy Wilson style of step-wise open

tenths. Measure 27 also presents a complete functional harmonic progression. Here Tatum

plays a Db major tenth triad on beat 1, a Gb/Bb (IV chord) on beat 2, then an Ab 7 tenth triad

on beat three followed by a closed voicing of Db 7 on beat 4 to lead to Gb 6 in the next measure.

The main reason this passage is so interesting is that the top note of the first voicing is an F,

followed by a descending chromatic walkdown Db, C, Cb and finally landing on Bb for the Gb

tenth triad. Lastly, m. 31 contains another smooth Tatum tenth turnaround. Here Tatum

lands on a Db major tenth, descends to an F 7/C diminished tenth on beat 2 followed by a Bb 7

dominant tenth on beat 3, all the while ensuring smooth voice-leading with a stepwise

descending tenor line.

46 Art Tatum, "Ain't Misbehavin,"' Get Happy!Black Lion Records BLP 30194, 1977, Digital.

42
Fig. 12 -Art Tatum : "Ain't Misbeh avin"'

0 :00 J = 135
rn E~m7 Ai,7 DI> f7 G~ Hm m0 7
1

F f 1; ,' g E1p , !~ 1 IF f F!~

5 Db/ F E7 E~9 A i, 7 DI, Fm 7 B1> 7 A7 El>m7 A l, 7

:Nv~•~ t f' p 1; f \f g 1pr p-F IIC" jg[ it

1

Di, G:,01 Dl>/ F

17 Bl> m
.il..

21 Cm

25 Di>

'.hi• ~ j

43
 Overall, the scope and magnitude of Art Tatum's piano skills are beyond compare.

Perhaps this is one reason there seems to be a relatively limited amount of analytical musical

literature examining the intricate stylings of this much-respected jazz master. In the mid-

50s, shortly before Tatum's death, a poll was conducted by Leonard Feather for his upcoming

Encyclopedia of Jazz asking jazz musicians which other player they admired most on their

own instrument. "More than two-thirds of the pianists surveyed put Tatum at the top of the

list."47 This reverence held among pianists reveals the respect Tatum commanded from the

most discerning of listeners. The countless hyperbolic statements that have been made

regarding Tatum's prowess and technical proficiency speak for themselves. Although Tatum's

overall style might not have possessed the greatest popular appeal or even received the

greatest critical accolades throughout his career, there was never a shortage of respect for

the skills he commanded. His reharmonizations, although not discussed extensively in this

study, paved the way for the future harmonic innovations of the Bebop Era. Strict

examination of Tatum's stride playing displays a historical approach rooted in the

predecessors of jazz piano. In exploring the left-hand stride stylings of Art Tatum in greater

detail, I hope to have promoted a greater understanding regarding the left-hand stride

foundation of this man's undeniable singular musical genius. As the renowned jazz critic

Barry Ulanov once said, "Tatum! You can't imitatum!"48

47 TedGioia, "The Dozens: Art Tatum at 100," Accessed March 4, 2016, http://www.jazz.com/
dozens/the-dozens-art-ta tum -at-100.
48 Lester , 135.

44
 BIBLIOGRPHY

Brent, Jeff. "Left Hand Stride Piano Tenths." Accessed March 4, 2016. http://www.jeff-
brent.com/Lessons/lh10ths.htm1.

Burnett, John. "Art Tatum: A Talent Never To Be Duplicated." Published November 5,

2006. http://www.npr.org/templates/story/story.php?story id=6434 701.

Davis, Ron. "Ars Gratia Tatum." Accessed March 6, 2016. www.rondavismusic.com/

files/RD%20TATUM%20article. pdf.

Discography ofAmerican Historical Recordings, s.v. "Victor matrix BVE-49493. Sweet

Savannah Sue I Fats Waller," accessed March 4, 2016,
http://adp .library. ucs b. ed u/index. p hp/matrix/detail/800023 225/BVE-49493 ·
Sweet_Savannah_Sue.

Edstrom, Brent and Ronny S. Schiff. The Art Tatum Collection. Milwaukee: Hal Leonard
Corporation, 1996.

Floyd, Jr. , Samuel A. The Power ofBlack Music: Interpreting Its History From Africa To
The United States. New York: Oxford University Press, 1995.

Gioia, Ted. "The Dozens: Art Tatum at 100." Accessed March 4, 2016. http://www.jazz.com/
dozens/the·dozens·art·tatum ·at· 100.

Healy, Scott. "Master Class Stride Piano." Keyboard, October 1, 2009.

http ://www .keyboardmag.com/jazz/1303/master·class·stride·pia no/27467.

Howard, Joseph. "The Improvisational·Techniques of Art Tatum, (Volumes I-III)." PhD

diss. , Case Western Reserve University, 1978.

Howlett, Felicity and J. Bradford Robinson. Grove Music Onhne. Oxford Music Onhne.
"Tatum, Art." Oxford University Press, accessed April 12, 2016, http://O-
www. oxfordm usiconline. com.libraries .color ado. ed u/ subscriber/ article/grove/m usic/2 7
553.

JazzDisco.org "Teddy Wilson Discography." Accessed March 4, 2016.

http://www.j azzdisco. org/teddy·wilson/discography.

Joplin, Scott. "The Entertainer." Complete Piano Rags. Mineola: Dover Publications, 1988.

Kast, Ari. Stride Piano Tricks. Self-published, 2010.

Lester, James. Too Marvelous for Words: The Life and Genius ofArt Tatum. New York:
Oxford University Press, 1994.

Levine, Mark. The Jazz Piano Book. Petaluma, CA: Sher Music Co., 1989.

45
Mehegan, John. Swing and Early Progressive Piano Styles (Jazz Improvisation 3) New
York: Watson-Guptill Publications, 1964.

New World Encyclopedia. "Art Tatum" Accessed March 4, 2016.

http://www.newencyclopedia.org/entry/Art_Tatum.

Posnak, Paul. Thomas 'Fats" Waller: The Great Solos 1929-1937. Milwaukee, WI: Hal
Leonard Corporation, 1998.

Primack, Bret. "Art Tatum: No Greater Art." Jazztimes, January/February 1998.

Schuller, Gunther. Early Jazz: Its Roots and Musical Development. New York: Oxford
University Press, 1968.

- - - . The Swing Era: The Development ofJazz, 1930-1945. New York: Oxford University
Press, 1989.

Scivales, Riccardo. Harlem Stride Piano Solos. Katonah, NY: Ekay Music Inc., 1990.

- - - . Jazz Piano: The Left Hand. New York, Ekay Music Inc., 2005.

- - - . The Right Hand According to Tatum. New York, Ekay Music Inc., 1998.

Shipton, Alyn. Fats Waller: The Cheerful Little Earful. London: Continuum, 2002.

Tommasini, Anthony. "Steven Mayer Channels Art Tatum, but Adds His Own Flourishes at
Keyboard Festival." The New York Times, July 21, 2006.

Valerio, John. Stride and Swing Piano. Milwaukee, WI: Hal Leonard Corporation, 2003.

46
 DISCOGRAPHY

Jones, Hank. "Please Don't Talk About Me When I'm Gone." Handful ofKeys. Verve 514
216, 1993. CD.

Peterson, Oscar. "Eight Bar Boogie Blues." Live in Montreux 1975: Oscar Peterson Solo.
Norman Granz Jazz in Montreux, 1975. DVD.

- - - . "Oscar Peterson Piano Lesson." The Dick Cavett Show. YouTube video, 7:12, posted
by "David Funk," June 7th , 2009, https://www.youtube.com/watch?v=ec-FrnaUOrs.

Tatum, Art. "Ain't Misbehavin. "' Get Happy!Black Lion Records BLP 30194, 1977. Digital.

- - . "Georgia On My Mind." God Is In The House. Onyx 205, 1972. CD.

- - - . "Art Tatum Plays Dvorak." YouTube video, 2:45, posted by "steveie986," June 4th ,
2006, https://www.youtube.com/watch?v=qYcZGPLAnHA . [Unable to locate original
source of recording, here is an article discussing lack of Tatum videos: http://timely-
atlas·comics.blogspot.com/2013/09/ot·art·tatum · 1909-1956-worlds-greatest.html]

- - - . "Lady Be Good." God Is In The House. Onyx 205, 1972. CD.

- - - . "Tea For Two." Piano Starts Here. Columbia CS 9655, 1968. CD.

Waller, Fats. "Ain't Misbehavin." Turn on the Heat. Bluebird 2482-2-RB, 1991. CD.

- - . "Handful of Keys." Turn on the Heat. Bluebird 2482-2-RB, 1991. CD.

- - - . "Sweet Savannah Sue." Turn on the Heat. Bluebird 2482·2-RB, 1991. CD.

Wijnands, Bram. "Blues My Naughty Sweetie Gives To Me." YouTube video, 2:51, posted by
"tdub1941," July 8th , 2010, https://www.youtube.com/watch?v=uUT6EnOPXSA .

Wilson, Teddy. "Rosetta." Teddy Wilson - Statements and Improvisations. Smithsonian

Special Collection - R005, 1977. LP. Accessed digitally March 6, 2016.
https://www.youtube.com/watch?v=JDrBKMimfQs .

47
 APP ENDIX

A. Fig 13 - Oscar Peterson: "Eight Bar Boogie Blues"49

1:09J=265
I

9: ff
c1

r
F7

f I f r--;J 1b(f tJ ~.), I w"f F g

F
c1

5 F7 l,

9: J f bf if Ip f J J l~ fqf FJ IJ.@
l, C
7

,~1
A7

9: f1 "r j Ij 1 ~r ~J Iff #J J Ift qF J I

9 Dm 1 07 C7 Dm 7 07

~ bi b~ ~ •, t q~ ~J j j f ~
'J· 5 I E f I 2 = F #J I f I F { I
13

9= J r bf if Ipr r J 1
17 F7 l, l, C7 A7

~d qr d d Ift ur □
Dm1 q c1

ff j pIj
21 Q7

9: j j •J:J If f 1f J I t t 7 J I~
11

49
Oscar Peterson, "Eight Bar Boogie Blues," YouTube video, 4:43, posted by
"newjackswing21 ," June 21st , 2007, https://www.youtube .com/watch ?v=XhQj wP I6H Ok.

48
 B. Fig. 14 - Hank Jones on "Please Don't Talk About Me When I'm Gone"50
l:02J=l35
J Eb G7 C7 Gm7 C7 q

•h111, j 1 J f !f j j j 9 1
1
1
~ j ~3:f l~F t ;l f
01

1:p f

so Hank Jones , "Please Don't Talk About Me When I'm Gone," Handful ofKeys, Verve 514
216, 1993, CD.

49
C. Fig. 15 - Bram Wijnands: "Blues My Naughty Sweetie Gives To Me" 5 1
0:4GJ=220
1 Gm 6 G7

'.h i'
1 F , J , 1p 1 f fff 1f~f' F 1 1F , ~F d

17 Gm 6

5hl,11p

51
Bram Wijnands, ""Blues My Naughty Sweetie Gives To Me" ~ Bram Wijnands @ KC
Riverfest ~ July 4th, 2010," YouTube video, 2:51, posted by "tdubl949 ," July 8th, 2010,
https://www.youtube.com/watch?v=uUT6EnOPXSA.

50
D. Fig. 16 - Left-Hand Tenth Exercises

A few extra notes to consider for the pianist:

-Practice these exercises slowly, cleanly, and deliberately.

-Playing tenths often requires the development of a whole new set of hand muscles that
are necessary in order to hold this span open. Be patient and don't force anything! It can
take months or even years to build up the endurance necessary to play through even one
full chorus. There are, of course, several instances of stride pianists who did not use
tenths in their playing (Donald Lambert, for example). It is quite possible to create a
satisfying stride left hand without using tenths, but for the most part, authentic stride
requires heavy usage of this span.

-One of the key movements required of the pianist in order to be able to play tenths
smoothly is a keen sense of control of the left-hand thumb. Specifically, the pianist must
focus on developing the ability to open and close the left-hand thumb joint closest to the
nail from 180° to 90° with great control.

-The exercises presented here deal specifically with becoming acquainted with the various
left-hand tenths and tenth triads that Tatum and other stride pianists used. In
familiarizing his/herself with these tenths, the pianist will discover an appreciation for
the tenth as the harmonic and systemic foundation of Tatum's left-hand stride style.

-The aim of the following exercises is to present a methodology of familiarizing one's self
systematically with the variations of tenths used in the stride style. Specifically, this set
of systematic tenth exercises seeks to present a physical foundation upon which a pianist
can gain a greater understanding of left-hand tenths. In terms of construction of the left-
hand stride portions, I've shied away from presenting too many of my own examples of
how to apply these tenths in practice, opting instead to allow the Tatum transcriptions
throughout the document serve as a style guide. Combining these analyzed examples
with an ergonomic understanding of tenth technique-gained through adherence to these
exercises-will give the pianist the ability to realize his/her own left-hand stride patterns.
A collection of idiomatic walking tenth progressions is included at the end of the
exercises.

51
2= f":JiTeJ d 1p
1
•J :J ;p l~f +f f
2· ~, p f p l~f bF :J tJ I j dd #~

~ ~ ~ ~ ~ g'
n~i 3 ij
Minor Tenth Triads ~,

2= {] I~ ~8 ff#8 ;p l1i'f ~, ~t Ip

2' ~, ; ~ If 1Jf ;p ff:3 it3 1ji \j I- f ;~

Triadss
e~
Dinllnished Tenth

2·~ f ~s

Minor Seventh Tenth Triads ~ Q ~ E= qf

2=~- \S 1
6 G 1\5 1
'
0
f tf \p
1
I if lf ;p t I

:>·if t ' f iif 1

;p 1f \f
1
1
3 G ~! I~

52
2= r:rT•a a 1p qJ tp :p lif ft #t

2 = ,f #p t #p 1f F tp
1
J id d W .J
2= ~,~
Major Tenth Triads

I, ~ ,a .e 1- :3 {F ~F l1i'f
~

t'F ,
q

i,
#

2 =f #; ~ #F 1, 1F •tF ,~3 Q <a ,S ~g

1

2· sb
Dominant Tenth Triads~

•'! ~ 11S ;f
1
~

't~ if 1:f :p
tt ~

$
#~
f
2=if - l, 1~:f :p t~ ,ftf 1S B,, .4
Major Seven Tenth Triads q #
2·,s ~ ~ <B 1,s if tp ,:p 11,f #' f ,
2= if #, , #, 1~e ,:p tp :p 1-~ ~~ ffs .,a

53
2=;dajo~cal:¥T:r I[ p F f 1f p [ J 1j j J
2jj•J:p 1t f"Ft i"Ff 1ttf 1•Jo.n
2 = pd:J qF 1#p Ff "f 1f F#P F 1ffJ d rj
9· atj 0
["f f 1f If "f £ 1f
o/ 1£ 1°[ •j ~j I
2=0 ;j ;p +1"f l ' "f 1¢ l "F #p I#[ f J rj
2 \J t[ p( f f f f f f f £ p j
I I I
0
[

2' t[ :+ $ ;f 1$ :, •, :, i°f :, f ;f 1$ ;f tp I

2 ' i[ f f ,f 1"f f I F 11 f "f f F p ~ I

2 J m, .1 d •j "F ,+ 1"p •J ~d .1 1Jm.a 1

2' ' ' ~tl Pltj f j ff[ ttp I#[ ffj tj rj lt J @ ~

54
:>J =3.d I] b[ Ef 1( b[ .J
J .d 13 1
] I

:>· ffl ;d Pd 1:J n[ f #f if n[ :J rj 1p #J 1 I

:>· l~h--11¥treigEjise 1j lct d tfij w-J "p~1
qJ__ -- q- -- q -- -

2'~F-l--;F~F~P "fl flf f~ft ipl~

2'e7s trf tf~P ·r~f: E-F~[-:[~ I 1

2-#~p~a~u1~t_;tt j~J rj~Ft_~~

55
 I-ii one measure walking tenth triad examples
C GjD C/E E:.07 Dm C G/ D C/E CF07 Dm

C G/D EP07 CF07 Dm

C C/E EP 07 C~07 Drn

C BP A7 A/C~ Drn C G/ B A7 A/C~ Drn

2-~ ~§ #3 118
C BP

ii-V examples q
'A7 E:.7 Dm

7
C B7 BP7 A/ C~ Drn

Drn 7 A7/ E Dm/ F Ft 7 G7 D7/ A G/ B G / D Drn 7 A7/ E Drn/F D7/ A G7 F7 C/ E G/ D

2· s6 3 f i!F- pf
Drn7 C
ff
G/ B D7/ A G7 F7 C/ E G7/ D
11$ 6 qf'
Drn7 C/E G/B D7/ A
f qa 3
i!F ~ 1

G7 D7/ A A# 07 G/ B

2' f qF p ' 1
1 p ~fb3 3 f qF p' II
1
1 p' ~ p
12-Bar Blues Walking Tenth Triads
C7 G7/ D C/E C7/ G F7 C7/ G F7 DP7 C7 G7/ D C/ E H 07 Gm DP C7 C/E

2· ~ ~ 1
6bF l'f bF 'f ta
1 11 1
1b:~ qe 6;p 1fp ta ~~~ 6
1
q q
1

f7 C7/ G F/A C7/ G f7 F/ A BP07 B07 C7 G, 7 f7 Em1 7 Em 7 Em/ G A7 A7/ C~

2= 1,p 1rp p p . 1,p p f - 1bf ~11p 1)p ;a 1d iF#f #3 1

D111 7 A7/ E Dm/F D7/ A G7 F7 C/E G/ D C GjD EP 7 C~07 Drn AP G G/ B

G a~ ~f;6 a a s , 1qa ~a i , 11
1
2= @ 1
1p 1~

56
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UNIVERSITY OF COLORADO
 Barco de Here

HANDL E WITH EXTRE ME CARE

DELIVER TO:
Norlin Libra ry READ ING ROOM N345

Un i vers i ty of Co lorado at Bou l de r

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