Running head: MICRO AND MACRO ANALYSIS OF ART TATUM 1

Micro and macro Analysis of Art Tatum’s Rendition of “There’s a small hotel”

Jacob Burdette Sieckman

Arizona State University

Abstract

A correlational analysis at the ratio level of measurement will be used to collect frame

asymmetry data from Art Tatum’s rendition of “There’s a small hotel”. The standard deviation of

the frame asymmetry data may indicate Tatum’s tempo(s) are connected to the broad categories

of rubato, multi-temporal time, ect. This study is relevant to performers, composers, arrangers,

and music theorists because Tatum’s multiple tempo choices and placements may be observed to

visualize Tatum’s work and may inform their future compositions, performances, arrangements,

and research.

Keywords: Art Tatum, frame asymmetry, There’s a small hotel

Micro and macro Analysis of Art Tatum’s Rendition of “There’s a small hotel”

A correlational analysis at the ratio level of measurement will be used to collect audio sample

frame1 data from Art Tatum’s rendition of “There’s A Small Hotel”.2 The standard deviation of

audio sample frame data is characteristic of tempi such as pulse, meter, and hypermeter because

it distinguishes different sections such as rubato compared to stride. Correlations between

placements of harmonic rhythm/progression, the abandonment of both and frame asymmetry will

be explored through spectrometry. A transcription in western notation will accompany and

inform various observations ranging from interval relationships, range, dynamics, rhythm and

articulation.

Background

Figure 1. Bars one and two of Tatum’s Introduction

Tatum’s introduction implements contrary motion in the first bar using two chromatic

tones (see fig. 1). He builds sonorities from one to three notes (see fig. 1) and uses a sustained

pedal tone (fig. 1). There is a brief pause in bar one notated by the comma on beat four (fig.1).

The pedal note continues when Tatum plays what I have notated as and of four. This could be

heard as an elongated silence, but one can listen and observe on the spectrogram the slight pause
1
“A time instants layer has a fundamental resolution, as a number of audio sample frames. Instants may
only occur at multiples of this resolution, and are displayed using bars of a width corresponding to this resolution.
The default resolution is 1 audio sample frame and this cannot currently be changed for any given layer, although
layers generated by certain plugin transformations may have different resolutions” (Cannam, Reference Manual).
2
Solo Masterpieces volume 6, recorded at Radio recorders, Hollywood, California between 1953 to 1955
produced by Norman Granz (Where did you get this info???)
MICRO AND MACRO ANALYSIS OF ART TATUM 4

in the higher range while the pedal is still sounding (see fig. 2). The pedal is the connection

between the first and second ideas. For musicians, this is a way to connect musical ideas in a

rubato section. Also, it gives a flowing sense of space. The chord symbols are labeled above the

melody (see fig. 1). The three cadences emphasize the seventh, ninth, and sharp eleventh (fig. 1).

The order of extensions propels the music forward and creates harmonic contrast.

Figure 2. Graph of Loudness (y-axis in dB) compared to Rubato time (x-axis in frames)

Another element that propels the music is loudness. The white line is a comparison

between the loudness and rubato time of Tatum’s introduction. This graph shows a scale from

quiet to loud using the quaver level of eighth notes as noted in the transcription.3 ‘Idea A’ and

‘Idea A melodic transformation’ become progressively louder. ‘Idea B’ stays roughly at the same

loudness as the previous idea. ‘Idea A prime’ becomes louder than the previous three ideas and

ends with a dominant function chord. A flurry of notes proceed bringing the loudness to a high

note on the piano. The resting space in the second orange oval builds to the beginning of the

melody. This information focuses your hearing on what is going on in the performance. The

3
The quaver level of eighth notes and bar lines in the transcription are a portrayal of Tatum’s phrasing.
However, the bar lines could have been excluded during the rubato section and a different quaver level could have
been chosen. In my opinion it is easier to read the transcription with bar lines and quaver level of eighth notes.
MICRO AND MACRO ANALYSIS OF ART TATUM 5

comparison of time instants and loudness represent an expanding and contracting motion in

Tatum’s introduction.

Figure 3. Bars one through five of Tatum’s Introduction

In bar three the enclosure progresses from the third of C-dominant on beat one to the

sharp eleventh to sharp eleventh of B-dominant to the third to and then the sharp eleven of Bb

dominant (see fig. 2). In bar five Tatum uses a D dominant thirteen flat nine flat five. The B

doubled along with the low register A-flat make his use of this chord especially interesting. To

my ears, the B doubling adds dissonance because there is a major seventh between C and B

ascending, and more dissonance added when B against C become a half step in a lower register.

The A-flat in the lower register adds to the fullness of this voicing.

Figure 4. D-dominant thirteen flat nine flat five

If one compares the overtone series of each note a seemingly high level of dissonance is found.

This voicing does not lay well in all key centers on the piano. The B-natural and C-

natural are most easily fingered with the thumb. If you take this voicing down or up a half step it

is quite difficult to finger the natural thirteenth and the minor seventh a half step away from each

other with your thumb.

Tatum in bar six runs a diminished scale (with the exception of the C sharp passing note)

and on beat four lands on the dominant of the key G major. The A section then begins. The

phrasing, melody, changes, and contrast of register in bar three are extremely striking. The

phrasing of chords and melody is notated with commas which represent pauses. Tatum is playing

what I would call a semi-rubato feel. If a musician or listener were to ask me to describe Tatum’s

phras-ing of the melody I would direct them to the recording because what he plays is beyond

words. You could not play this solo like Art Tatum without listening to it.At the A section Tatum

goes between a G major nine chord and the four chord: C major. There is smooth voice leading!

The nine of G major resolves to chord tone five in C major (mo-tion marked as red arrow in

figure four); the third of G resolves to the root of C (purple arrow); chord tone five of G major

stays where it is (orange arrow); and seven of G major resolves to the third of C major (blue

arrow).

Figure 5. Voice leading at first bar of ‘A’ Section

In bar nine Tatum alters the melody to fit a C major nine which opens up the interval

spacing and density of the repeated one-four-one progression in the first two bars of the A

section (no-tated inside red rectangle). During the transcription of this sonority there was

difficulty deter-mining if the E was doubled and if the G was doubled. In bars eleven and twelve

Tatum uses a descending progression consisting of A minor to A flat diminished, to E minor

over G to F sharp back through A flat diminished and A minor (no-tated in red rectangle). In bars

thirteen and fourteen Tatum then plays a series of one major, four dominant progressions in

descending fashion ending on a D suspended chord and heightening the dissonance using a D13

flat nine flat five (also notated in purple rectangle). In bar fifteen Ta-tum changes the texture and

switches to a higher register on piano. The pitch span is from A3 to A5. The contrast between

higher and lower pitch material creates a different resonance to the ear. The harmony, melody,

phrasing, orchestration, density, and voice leading all contribute to the entirety of Tatum’s

individualism as a pianist in this piece.

Method1

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a new paragraph for the subheading and its text.] [CITATION Article \t \l 1033 ]
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MICRO AND MACRO ANALYSIS OF ART TATUM 9

References

Last Name, F. M. (Year). Article Title. Journal Title, Pages From - To.

Last Name, F. M. (Year). Book Title. City Name: Publisher Name.

Footnotes
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MICRO AND MACRO ANALYSIS OF ART TATUM 11

Tables

Table 1

[Table Title]

Column Head Column Head Column Head Column Head Column Head
Row Head 123 123 123 123
Row Head 456 456 456 456
Row Head 789 789 789 789
Row Head 123 123 123 123
Row Head 456 456 456 456
Row Head 789 789 789 789

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Figures

0
Category 1 Category 2 Category 3 Category 4

Series 1 Series 2 Series 3

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