5 Jazz Piano Solos By Art Tatum by Art Tatum, Frank Paparelli

By Art Tatum, Frank Paparelli

Carnegie corridor leap, Gang O' Nothin', Jumpin' for Sumpin', dwell Jive, evening Scene.

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Periods, as signaled by its bass, then further subdivides into four m. segments, sometimes into two. Remarkably, all these function simultaneously to magical effect. The Aria is rich harmonically, as well: for example, its opening eight bars feature the chords of I, ii, IV, V, VI, and the dominant of V. ) The chorale of Diabelli’s Waltz is far simpler, more symmetrical: four bars plus four bars (mm. 1–8); then, a series of four 1-measure phrases, those rapid sequential modulations sometimes termed “cobbler’s patches” or “rosalias”; finally, a 4-measure phrase to cap the first half.

All tones of Outline C are restored in Variation 28, but here, they are compressed into one bar (m. 9). In Variation 29, now in minor, the opposite is found: Outline C is spread out (mm. 3–5). It is found complete, finally, even in such ornate arabesques as those of Variation 31 (mm. 3–4, now in minor pitches: E-flat and F-natural in m. 3, F-sharp and G-natural in m. 4). In like manner, Outline H appears amidst the extreme melodic flights (Ex. 63). As a final blessing, Outline C is given quite clearly, deliberately, in the last variation (33), providing great consolation and relief (mm.

Some examples of the first melodic outline are given in Ex. 12, A–J. What miraculous diversity is found here, in utilizing such a single device! Usually, whenever the first melodic outline appears in a variation, the descending 4th of the bass remains its true foundation. Only two exceptions exist: Variations 6 and 15. Both are canons. This first melodic outline appears in the bass in the opening of four variations: Variations 6, 14, 17, and 26 (see Ex. 12, C, E, F, H). Except for the first instance (Variation 6), the opening descending 4th of the Aria’s bass (mm.

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