Master Class-Stride Piano Salt Lake City UT

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.

Lucinda C.
(877) 231-8505
West 750 North
Clearfield, UT
Piano, Music Theory
Ages Taught
5 to 99
My most used methods are Bastien, Alfred, and Noona--all multi-key approaches. I teach from other methods also to supplement the concept or skill that I am teaching. Included in my private lesson are scales, arpeggios, technical exercises (Hanon and Dozen a Day), theory, composition, sight-reading and memorizing. I also hold a Saturday group class focusing on general music education not taught in the private lesson such as music history, composers, genres/styles, Orff instrument ensemble play…
Weber State University - Office Administration with a Minor in Music - 1975-1979 (Associate degree received)
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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.


 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.


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.


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.


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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