Master Class-Stride Piano Lancaster CA

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.

Adjoa S.
(877) 231-8505
Garfield Ave
South Pasadena, CA
Subjects
Theatrical Broadway Singing, Speaking Voice, Music Theory, Flute, Singing, Acting, Piano, Music Performance, Dance, Songwriting
Ages Taught
6 to 87
Specialties
Over 20 years of experience in the studio as a session vocalist. I specialize in vocal freedom, incorporating the feldenkrais and alexander techniques with exercises also taken from the Jeanie Deva Contemporary Vocalist Series. On piano and guitar I very much focus on the styles that make the students come alive. I stress the importance of reading and ear training, but don't force it to the point of the students dislike for music training. I'd rather they enjoy and experiment with sound than …
Education
YWAM - School Of Ministry Development - Missions, Christian ministry - 2001 (Degree received) YWAM - School of Music & Worship - Music, Missions - 2003 (Degree received) Belhaven College - Theatre, Voice - 2005-2006 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Karen Magruder
9086 Whirlaway Court
Rancho Cucamonga, CA
Instruments
Ear Training, Early Music, Other, Piano, Recorder, Theory
Styles
Classical, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
27 Years

Data Provided by:
Sandra M.
(877) 231-8505
17th Street
San Francisco, CA
Subjects
French Horn, Music Theory, Trumpet, Piano
Ages Taught
6 to 99
Specialties
I am classically trained, but well-versed in many styles.
Education
Fairborn High School - College prep - 1981-1985 (not complete) Wright State University - Music education - 1985-1990 (degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Thomas B.
(877) 231-8505
Edina Lane
Saratoga, CA
Subjects
Piano
Ages Taught
10 to 99
Specialties
Western Classical Training
Education
Wisconsin Conservatory. - Piano/Music Theory - 1978 - 1981 (Bachelor's degree received) University of Mass Boston - Master Arts Educ. - 1994 - 1997 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Ivan C.
(877) 231-8505
university ave.
Riverside, CA
Subjects
Piano, Music Theory, Songwriting, Music Performance
Ages Taught
5 to 99
Specialties
European classical method both for the music theory and piano
Education
rio hondo community college - general education/music - 2000-2003 (not complete) riverside community college - piano/music - 2003-2006 (not complete) california state university, fullerton - fine art - 2006-2010 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Gloria C.
(877) 231-8505
Trafalgar Dr.
Glendale, CA
Subjects
Music Theory, Opera Voice, Piano, Singing
Ages Taught
1 to 99
Specialties
I specialize in classical singing which that includes opera vocal techniques and music performance.
Education
Highland H.S. - - 1985-1989 (High School diploma received) Manhattan School of Muisic - voice - 1989-1993 (Bachelor's degree received) Manhattan School of Music - voice - 1993-1995 (Master's degree received) UCLA - voice - in progress (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Joy A.
(877) 231-8505
Rosemont Ave
Los Angeles, CA
Subjects
Piano
Ages Taught
5 to 18
Specialties
I specialize in working with children, but I have also taught at an advanced level preparing students for college auditions, and other classical assignments.
Education
University of Washington - Music - 2001-2006 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Michael L.
(877) 231-8505
Santa Monica Blvd
Los Angeles, CA
Subjects
Drums, Music Performance, Percussion, Piano, Songwriting
Ages Taught
5 to 99
Specialties
I am very accomplished on Drumset. I play and study all styles Jazz, Latin, Rock, Funk, Fusion, Big Band, World and all drumset concepts Linear, Compound stickings, Ghost Notes, Rudiments and rudimental application. Rhythm/Timing, Physiology Soloing, Ostinatos, Odd Meters, Odd Note Groupings, 4 way co-ordination,
Education
Musicians Institue - Drumset Percussion/Honors - March 1987-March 88 (Degree received) Southern NH Univ - General - Jan 2005 July 2006 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Lilli L.
(877) 231-8505
Coppertree Way
Sacramento, CA
Subjects
Music Theory, Piano, Songwriting
Ages Taught
1 to 99
Specialties
Classical piano, beginning jazz, guitar + songwriting, beginning drums, classic rock
Education
American River College - Advanced music theory, ear training, advanced french, history - 2006-2009 (not complete) Highschool - Art, history, ap english, french - 2001-2005 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Hahmin S.
(877) 231-8505
Tetley Street ****STARTING IN NOVEMBER*****
Hacienda Heights, CA
Subjects
Piano
Ages Taught
5 to 99
Specialties
I was trained classically in piano. I have taught many different styles of music from Jazz to Contemporary to help student's realize their true passion for the piano. I use many varieties of piano methods that best fits the student. Material I use: Piano Adventures, online pieces, adjusted material to benefit and enhance the student most efficiently.I love to interact with the students so they may have a strong passion and desire to capture the material and to develop a stronger sense of the …
Education
Governor's School - Program for the Piano - 2005 (Degree received) James Madison University - Piano Performance major / Finance Minor - 2006-2008
Membership Organizations
TakeLessons Music Teacher

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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