I don't know who you're talking about, but I'm not surprised if that would also happen to any of my videos in the future. As for the transcription, or any of the ones I've done so far, I had a major issue with my memory, ending up deleting all the work done so far. So yes, I will eventually have to re-transcribe them; however, it won't happen any time soon as I'm unfortunately too busy to do it now.

​@@matthewb9019 Just an idea not a request/ like a recording of the transcriptions through a DAW. The midi notes would be recorded from your live playing and put through a quantifier/editing then converted to a somewhat readable sheet. Even cool to have the visual notes for any one of the Tatum solos.

Thanks Riccardo, it's an honour for me.

Tatum certainly improvised, but maybe not as much as people seem to think. Tatum had a particular set of devices he would use in his performances, licks and chord voicings or substitutions he would use across tunes, and certainly over the same tune. If you listen to several recordings of Tatum playing the same tune you will see many similarities. Sometimes he will play pieces of the arrangement in a different order or use different licks over certain sections, but there were often phrases, whole bars and larger sections that we would play each time verbatim, depending on the tune. Compare "Elegy" from Tatum's Solo Masterpiece Collection and from The Definitive Art Tatum, or Tea for Two from 1939 and 1953. Of course that is still improvisation, but a different kind of improvisation than you might hear from Fred Hirsch or Keith Jarrett - while they would compose on the spot, Tatum would compose in advance and arrange on the spot. Not to take anything away from Tatum - his immense vocabulary of unique harmonic sounds that he invented and his genius use of runs meant that the line between composing and arranging on the spot was of course blurred, and he is my all time favourite pianist. But it would be false to assume he created each of his performances from scratch (I know you didn't say this outright). He prepared them in advance, at least most of the stuff he committed to recordings.

@@AmbidextroidA T is more like a small orchestra. A whirlwind of sound with multiple working parts happening at the same time. Tenor voice is harmonizing with bass while the Soprano running around. Walking tenths with ease. Ridiculous variety of chords and effects. His pure improvisation would sound different, but that’s because he’s on another level. That right hand run might sound the same, meanwhile he’s re-harmonizing decorating the chords and walking the bass with his left. Then in between all that he’ll start and ascending run with that left and trade it with the right, hit some chords w left, then mirror it back the other direction. Freak of nature. Nobody wields a piano like that on every song like Tatum does. His left is truly independent, maybe his dominant fkn hand. (Idk) but wouldn’t be surprised😂 Mostly it’s Tatum’s chord voicing/harmonic choices that draw my ear. Idgaf about the runs, his voice-leading is so top shelf. Art Tatum is my Bill Evans lmao. Nice work on your channel, you should get more Subs.

@@monkcocolahvera8270 TY! I agree, his reharmonisations are surreal. One of my favourite signatures of his is doing the ii-V in the key a semitone above the key he is playing in, jumping around harmonically like that always makes me giddy. Another thing that makes Art my favourite is his use of little chrpmatic runs in the lower registers. Hearing runs in the right hand is one thing, twinkly and ephemeral, but what really gets me is when he plays a little 5 note chromatic roll up or down to the bass note in the left, theres one recording of Please Be Kind from 1953 where he does it so much that you almost get lost in it.

@@Ambidextroid Fantastic observation! There are very few people who actually know about Tatum's licks and pre-arranged big blocks in each of his arrangements.

That's it in a slow motion.

I like that version too, but more the one I transcribed. I felt like Art had something more to say in this last version. Thank you very much, and I wish you all the best with your transcriptions.

I was meant to do it last year, but Sony never replied to me about my request to publish this and other transcriptions. They own the Copyright, and I can't release anything without their authorisation.

@@matthewb9019 it sucks you can find most of his stuff online I think even the old tea for two is public domain. Do u know if it’s sold anywhere else?

Thanks for all you support mate, I do really appreciate it. What's your favourite video so far?

That's a very big compliment, thank you very much.

Gentilissimo come sempre, grazie di cuore ❤

Thank you so much Nancy

Grazie di ❤

Riccardo, tu sei un grande, non io. Grazie mille.

Sei unico!

@@matthewb9019 ❤️

The video was recorded with a wrong frame rate that made both modules blinking like a Christmas tree. Best think the video editor could do was to copy and paste one specific frame. Hope you enjoyed the rest of video.

@@matthewb9019I did, thank you :)

Thanks for watching. Hope you liked it.

Native instruments* not Cinesamples, although check out Cinesamples piano in blue and you won’t ever want to play that Nord!!