Master Class-Stride Piano Dayton OH

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.

Brian W.
(877) 231-8505
McKenzie Road
North Olmsted, OH
Subjects
Music Theory, Bass Guitar, Tuba, Guitar, Piano, Upright Bass, Music Performance, Music Recording, Speaking Voice
Ages Taught
1 to 99
Specialties
I am classically trained but also adept in improvisation. I play and teach all styles of American and Western European music, including but not limited to rock (classic, alt, metal), r&b/soul/funk, latin and Afro Cuban, popular/show, and contemporary Christian.
Education
Stonewall Jackson H.S. - College Prep - 8/73 to 5/77 (High School diploma received) Abilene Christian University - English Lit - 8/77 to 5/81 (Bachelor's degree received) Abilene Christian University - Marketing/Finance - 5/81 to 5/83 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Natasha Fondren
7024 Pine Street
Chagrin Falls, OH
Instruments
Piano
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$1
Years of Experience
15 Years

Data Provided by:
Marina Kerze
12231 Eagle Nest Dr.
North Royalton, OH
Instruments
Ear Training, Piano, Theory
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
10 Years

Data Provided by:
Chris T.
(877) 231-8505
South Overlook Road
Cleveland, OH
Subjects
Violin, Music Theory, Piano, Bassoon, Organ
Ages Taught
5 to 99
Specialties
I am primarily a classically trained musician, and the methods that I specialize in are as follows: I use various method books for teaching violin including Essential Elements string series with additional etude books, Galamian scale method and Basics by Simon Fischer. For piano, I use the Faber and Faber method. For organ, I use the Davis Method book. For bassoon, I use the Weissenborn method.
Education
University of Alabama - Music Composition - August 2008 - May 2010 (Master's degree received) Samford University - Violin Performance - August 2004 - May 2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Victor K.
(877) 231-8505
McGee Ave
Middletown, OH
Subjects
Music Theory, Music Performance, Organ, Piano
Ages Taught
5 to 90
Specialties
I am very highly trained in performance practices of the Baroque era, especially on the organ. I am also very specialized in body movement and efficient keyboard technique. I also have a lot of experience in the Romantic repertoire of the piano. Lastly, I am also well trained as an accompanist on both the organ and the piano.
Education
Cincinnati College-Conservatory of Music - Organ Performance - 2006-2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Kimberly J.
(877) 231-8505
Goredon Dr
Chardon, OH
Subjects
Flute, Singing, Acting, Music Performance, Music Theory, Clarinet, Piano, Trumpet, Trombone
Ages Taught
5 to 99
Specialties
I majored on trumpet in college and have taught every band instrument privately. I also play/teach piano and have accompanied numerous times for OMEA contest.
Education
Otterbein College - Music Education - 90-94 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Chris T.
(877) 231-8505
Hilliard Road
Lakewood, OH
Subjects
Music Theory, Piano, Organ, Violin, Bassoon
Ages Taught
5 to 99
Specialties
I am primarily a classically trained musician, and the methods that I specialize in are as follows: I use various method books for teaching violin including Essential Elements string series with additional etude books, Galamian scale method and Basics by Simon Fischer. For piano, I use the Faber and Faber method. For organ, I use the Davis Method book. For bassoon, I use the Weissenborn method.
Education
University of Alabama - Music Composition - August 2008 - May 2010 (Master's degree received) Samford University - Violin Performance - August 2004 - May 2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
David P.
(877) 231-8505
East Woodemont Avenue
Cincinnati, OH
Subjects
Music Theory, Drums, Piano
Ages Taught
5 to 99
Specialties
I specialize in pop, rock, and funk drums. For piano I specialize in classical.
Education
Xavier University - Music - Xavier University (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
The Music Connection
(330) 677-0404
Stow, OH
 
Molly Young
3387 Garylane Dr.
Dublin, OH
Instruments
Audio Recording, Composition, Ear Training, Electric Bass, Flute, Guitar, Music Business, Piano, Recording, Stand Up Bass, Suzuki Method, Theory
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$0
Years of Experience
8 Years

Data Provided by:
Data Provided by:

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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