Master Class-Stride Piano Long Island City NY

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.

Doran D.
(877) 231-8505
Provost St
Brooklyn, NY
Subjects
Music Theory, Piano, Singing, Music Performance, Songwriting, Music Recording
Ages Taught
3 to 99
Specialties
Piano Pedagogy: Classical, Jazz, Blues, Modern, etc, Music Theory Music History: All Levels (High School - Masters degree) Basic Musicianship: Ear-Training, Rhythmic Training, Harmonic, Melodic Theory Composition: Classical, Contemporary, Jazz composition, arrangement, notation
Education
New York University - Music Composition, Music Theory - Sept. 2007 - May 2009 (Master's degree received) Columbia Univeristy - Music Composition, Music Theory - Sept. 2006 - May 2007 (Bachelor's degree received) Kenyon College - Music Theory, Piano Performance, English - Sept. 1999- May 2003 (Bachelor's degree received) Harvard-Westlake School - - 1995-1999 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Matthew O.
(877) 231-8505
11th st
Astoria, NY
Subjects
Piano, Guitar
Ages Taught
4 to 99
Specialties
music, Guitar and Piano I begin with meeting the student where they are in relation to their musical experience. After establishing trust, through encouragement I empower students to recognize their potential with out pre-determined expectations or limits. I am comfortable in various genres from classical to punk.
Education
Flushing - - 1979 -1981 Queensborough - music - 1993-1995
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Natalia H.
(877) 231-8505
E.35th Street
New York, NY
Subjects
Piano, Music Theory
Ages Taught
4 to 99
Specialties
music, music theory, piano Although I was classically trained, I do not limit my students to Classical music. I encourage all genres of music.
Education
Manhattan School of Music - Piano Performance - 2000-2004 Los Altos High School - - 1996-2000
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Adam C.
(877) 231-8505
E. 40th St
New York, NY
Subjects
Guitar, Piano, Classical Guitar, Songwriting, Bass Guitar, Music Theory, Music Performance
Ages Taught
5 to 99
Specialties
I specialize in a diverse variety of styles on the acoustic and electric guitar, bass, and piano, and am particularly skilled at communicating and applying theoretical and musical knowledge in a simplified manner. I am particularly capable in rock guitar, and have performed regularly in a rock band over the last 10 years as well as the University of Rochester's popular music performance group No Jackets Required, where I served as the group's president. I also specialize in classical guitar, …
Education
University of Rochester - Music & Psychology - Fall, 2006-Spring, 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Eric Roberts
48-36 41st Street
Queens, NY
Instruments
Composition, Drums, Ear Training, Mallet, Marimba, Other, Percussion, Piano, Theory, Timpani, World Music
Styles
Classical, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
9 Years

Data Provided by:
John L.
(877) 231-8505
E 28th St.
New York, NY
Subjects
Bass Guitar, Piano, Upright Bass, Ukulele, Guitar, Music Recording
Ages Taught
6 to 99
Specialties
I have been lucky to play tons of different types of music. I believe I can give musicians and aspiring musicians a deep understanding of what is most important in many different styles of music. Music I have been lucky enough to study and play professionally: Jazz, Rock, Funk, Afro-Cuban, Brazilian, Blues, Classical, Pop. I'm also a very good transcriber, so if there is a song you heard on the radio we can definitely play it! Ear training could be an area in which I could be of service to yo…
Education
Grove School Of Music - Bass - 1990-1991 (Degree received) San Diego State - Jazz Performance - 1992-1995 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
James R.
(877) 231-8505
42nd St
Sunnyside, NY
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
pop, musical theater, classical
Education
Belmont University - Music Business - 08/05-05/08 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Joshua K.
(877) 231-8505
E 76th St,
New York, NY
Subjects
Piano, Saxophone, Clarinet, Flute, Music Performance, Music Theory, Songwriting
Ages Taught
5 to 99
Specialties
Jazz, classical, R+B, blues, virtually any genre (as I've performed them all) Highly studied and accomplished in music theory, composition, and orchestration, ear training and arranging
Education
New School for Jazz and Contemporary Music - Jazz Performance - 9/06-5/10 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Anne M.
(877) 231-8505
29th Street
Astoria, NY
Subjects
Singing, Songwriting, Piano, Music Performance, Music Theory
Ages Taught
7 to 99
Specialties
Beginner, Intermediate Voice, Piano, Songwriting, Musicianship Emphasis on jazz techniques, rhythm, theory. Audition prep. Quality popular, standards, American Songbook and Broadway repertoire carefully chosen for each student.
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Natalia Huang
Murray Hill
New York, NY
Instruments
Piano
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
12 Years

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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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