Master Class-Stride Piano Dalton GA

Nothing strikes fear into the hearts of piano players like the mention of stride piano. This seemingly impossible old style is like ragtime on steroids, and pushes jazz pianists to the limit.

The Cynthia Kaelberer Piano Studio
Valdosta, GA
 
Cedar Park Music School
Watkinsville, GA
 
Kathryn L.
(877) 231-8505
Canton Rd.
Marietta, GA
Subjects
Clarinet, Trombone, Piano, Trumpet, Music Theory, French Horn, Tuba
Ages Taught
5 to 99
Specialties
I am a classically trained musician so that is mainly what I teach. I also have experience in jazz and incorporate that into my lessons when I can, especially through improvisation.
Education
Cut Bank High School (Montana) - Core - 1981-1985 (High School diploma received) Montana State University - Music Education K-12 - 1985-1990 (Bachelor's degree received) University of Florida - Instrumental Conducting - 1990-1992 (Master's degree received) University of Florida - Music Education - 1996-2000 (PhD degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Jessica J.
(877) 231-8505
westfield drive
Mableton, GA
Subjects
Percussion, Piano, Music Theory
Ages Taught
1 to 20
Specialties
Specializes in teaching children. Beginning and intermediate piano, beginning and intermediate snare drum and percussion
Education
Georgia College ad Stat Universty - Early Childhood educaion wth a minor in music - 2001-2003 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Betsy Fitzgerald
5243 Riverside Drive No. 2004
Macon, GA
Instruments
Chorus, Conducting, Ear Training, Early Music, Harp, Music Business, Musicology, Piano, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
16 Years

Data Provided by:
Sonya W.
(877) 231-8505
Briarhill Lane NE
Atlanta, GA
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
Music theory, Chords, Scales,Keyboard, Piano, play by ear, Gospel, contemporary, modern, classical, r and b, pop, The talent of Success is nothing more than doing what you can do,well. Music
Education
Shaw High School - - 2002-2005 Troy University - Music Industry - 2005-2006 Georgia State University - Music Management - 2007- currently
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Ashlee C.
(877) 231-8505
Aristocrat Court
Loganville, GA
Subjects
Violin, Piano, Singing, Music Theory, Opera Voice
Ages Taught
5 to 99
Education
Pensacola Christian College - church music - 2004-2006 (not complete) Bob Jones University - Piano Pedagogy - 2006-2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Judy Huang
203 Rocky Creek Drive
Griffin, GA
Instruments
Composition, Ear Training, Early Music, Electronic, Musicology, Other, Piano, Recording, Theory
Styles
Classical, Electronic, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$32
Years of Experience
6 Years

Data Provided by:
Lesley D.
(877) 231-8505
Cherry Valley Drive
Covington, GA
Subjects
Singing, Guitar, Piano
Ages Taught
4 to 99
Specialties
music, Beginning Guitar, Piano and Voice I teach using basic music theory...all my students learn to read music!
Education
Cardinal Gibbons - Basic - 80-83
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Nathan S.
(877) 231-8505
Ormewood Ave SE
Atlanta, GA
Subjects
Music Theory, Piano, Bass Guitar, Guitar
Ages Taught
5 to 99
Specialties
Can teach classical piano, rock or r&b bass and guitar. I tend to include non-performance aspects in my lessons such as theory and songwriting.
Education
Florida State University - Piano Performance and Pedagogy - Fall 2000 - Fall 2004 (Bachelor's degree received) North Carolina School of the Arts - Music Composition - Fall 1997 - Fall 1999 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
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Master Class-Stride Piano

Nothing strikes fear into the hearts of piano players like the mention of stride piano. This seemingly impossible old style is like ragtime on steroids, and pushes jazz pianists to the limit. The left hand alternates a low bass, frequently played in tenths, with close position mid range chords, while the right hand provides melody, syncopations, lines, and runs. The total effect is a relentless, locked-downswing eighth-note feel.

Even if you can’t invest the hours necessary to master stride, studying its fundamentals will increase your harmonic language skills and center your time feel.Plus, there’s nothing wrong with gaining an appreciation of an almost-lost art that has inspired everyone from Duke Ellington, ArtTatum, and Oscar Peterson to Dick Hyman,Marcus Roberts, Kenny Werner, and Bill Charlap. Beyond the flash and the bluster of stride is a deep awareness of song structure, chord voicing, root movement and harmony, and most of all, swing.

Ex. 1. When playing stride, your left hand is the rhythm section, and it never lets up. Practice getting used to the motion of your left arm, aiming low with your fifth finger to hit the bass note, then moving quickly to the middle register to grab a chord. In example 1a, the chords move from I to V7, F to C7, using an alternating bass note on beats 1 and 3. One trick: Start the V7 (C7) on the fifth (G) of the chord instead of the root. This way you don’t have to repeat a note (C). Make your bass line more melodic in 1b by starting the F6 on the third (A) in the second measure, then move down to the V7 through a passing diminished chord (Abdim7). Since you start the V7on the fifth (G), substitute Gm7 and make a ii7-V7. Upstairs, notice the chord voicings in the last two measures. The top notes in each chord create a nice melody — D, E,D, C — and you can use your thumb to bring these out. Click here for audio.

Click sheet music images to open larger versions in a new tab or window.

0.KB0909_Lesson_Stride_Ex-01.jpg

 Ex. 2. Most of the great stride players like James P. Johnson, Fats Waller, Earl "Fatha" Hines, and Art Tatum played tenths in the left hand, and sometimes added a third note with the second or third finger. The top thumb note adds a tenor voice and a rich counter-line; the effect is harmonically dense and exponentially more difficult to play.Give it a shot but don’t push it. Click here for audio.

0.KB0909_Lesson_Stride_Ex-02.jpg

Ex. 3. Try the same constructions show in Example 2 with two hands, to make things a bit simpler. It’s not cheating to break up the tenth and, at fast tempos, this is an effective technique. Here is a complete eighth-bar A-section with a turnaround, using the passing diminished and ii7-V7. Click here for audio.

0.KB0909_Lesson_Stride_Ex-03.jpg

Ex. 4. If you can handle tenths, here’s how it’s done. Notice the embellishing pickup at the end of bar 4 — E to F. Click here for audio.

0.KB0909_Lesson_Stride_Ex-04.jpg

Ex. 5. The right hand in stride is based on swing eighth-note lines, usually built on broken-up chord tones. Practice this example with simple chords in the left hand and get used ...

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