Master Class-Stride Piano Mooresville NC

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.

Tanya's Piano Studio
919-562-0455; 919-623-3431
Wake Forest, NC
 
Kreative Keyboards
Raleigh, NC
 
Keyboard Kids Piano
(919) 554-1572
839-D Wake Forest Business Park
Wake Forest, NC
 
Morgan M.
(877) 231-8505
Woodstream Lane
Greensboro, NC
Subjects
Singing, Music Theory, Piano, Songwriting, Drums
Ages Taught
5 to 99
Specialties
I use Alfred and Bastien piano methods the most when teaching. I usually teach on a classical basis, but teach to suit each individual students needs. I can also teach in the rock genre. I am able to teach music theory and songwriting. Songwriting is a great passion of mine and I have lots of experience there.
Education
University of North Carolina at Greensboro - BA in Music and minor in English - 2003-2007 (Bachelor's degree received) Grimsley High School - Music AP/IB courses - 1999-2003 (High School diploma received)
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TakeLessons Music Teacher

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Make a Joyful Noise Studio
(919) 682-1641
Durham, NC
 
Keyboard For Kids & More
(910) 425-9683
5303 Lakeview Road, Suite B
Hope Mills, NC
 
Discover Music
(919) 932-9045
Chapel Hill, NC
 
Kim Gant
5648 37th St. Dr. NE
Hickory, NC
Instruments
Chorus, Handbells, Piano, Voice
Styles
Classical
Experience Levels
Beginner, Intermediate
Rate
$36
Years of Experience
25 Years

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Phillip F.
(877) 231-8505
Weatherend Dr.
Rural Hall, NC
Subjects
Singing, Piano, Music Theory
Ages Taught
5 to 99
Specialties
I primarily teach in a classical style using either Bastien or Alfred Methods.
Education
University of South Carolina - Music- Piano Performance - 1994-1998 (Bachelor's degree received) University of South Carolina - Music - Choral Conducting - 1998-2000 (not complete)
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TakeLessons Music Teacher

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Lea S.
(877) 231-8505
Tucker Lane
Randleman, NC
Subjects
Piano
Ages Taught
5 to 80
Specialties
Since I accompanied for approximately 10 years at my former church, I would say my specialty would be sacred piano music. However, I also have a strong foundation in classical pieces, as well as a thorough appreciation for music such as current pop tunes, traditional folk songs, and selections from musical theatre.
Education
High Point Baptist Academy - College Preparatory - 1996-2000 (High School diploma received) Reading Area Community College - Psychology - 2002-2005 (Associate degree received) Greensboro College - Liberal Studies & Dance - 2006-2009 (Bachelor's degree received)
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TakeLessons Music Teacher

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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.

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 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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