Master Class-Stride Piano Trenton NJ

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.

Music Makers.....for Life, Inc.
(215) 801-6443
Yardley, PA
 
Bhauraw A.
(877) 231-8505
Washington Crossing Penn Rd
Titusville, NJ
Subjects
Music Theory, Bass Guitar, Guitar, Percussion, Piano, Music Performance, Songwriting, Drums, Music Recording
Ages Taught
1 to 99
Specialties
Rock Pop Hip Hop Audio production some jazz/classical songwriting music business
Education
SUNY Purchase College: Music Conservatory - Studio Production - 2002-2005 (Bachelor's degree)
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Blythe L.
(877) 231-8505
Fox Run Drive
Plainsboro, NJ
Subjects
Singing, Opera Voice, Theatrical Broadway Singing, Piano, Violin
Ages Taught
5 to 99
Specialties
music, voice, Opera Voice, Classical Voice, Broadway Voice, Pop Voice, Beginner Piano, intermediate piano, Beginner Violin, intermediate violin classical training as a foundation for all other styles, basic musicianship skills fundamental to all musical training, my vocal training is based in opera and classical singing, but I teach all styles
Education
Westminster Choir College - voice pedagogy and performance - 2006-2008 (Masters Degree Received) Westminster Choir College - voice performance - 2000-2004 (Degree Received) Andover High School - - 1996-2000 (Degree Received)
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TakeLessons Music Teacher

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Ian S.
(877) 231-8505
Wayne Street,
Jersey City, NJ
Subjects
Songwriting, Bass Guitar, Piano, Guitar, Music Performance
Ages Taught
5 to 99
Specialties
I specialize in pop, rock, folk, and jazz, as well as beginner classical piano. I also teach improvisation and songwriting, and try to develop the student's ear for figuring out songs they like on their own.
Education
Rutgers University - Chinese / Economics - 1994-1998 (Bachelor's degree received)
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Shauna Park
401 11th Street
Cresskill, NJ
Instruments
Composition, Ear Training, Other, Piano, Theory, Voice
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$65
Years of Experience
10 Years

Data Provided by:
Michael M.
(877) 231-8505
Federal City Rd.
Pennington, NJ
Subjects
Piano, Singing
Ages Taught
5 to 99
Specialties
Middle C Piano Method using instructional materials of the Bastien's and Alfred Publications
Education
Moravian College - Music Education - 9/70 - 5/74 (Bachelor's degree received) Trenton State College - Special Education - 1980 - 1981 (Master's degree received)
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Frank King
6 Beechwood Lane
Burlington Township, NJ
Instruments
Piano
Styles
Blues, Classical, Electronic, Jazz, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
30 Years

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Cristine Carpena
623 Southridge Woods Blvd 623 Southridge Woods Blvd
Monmouth Junction, NJ
Instruments
Ear Training, Piano, Theory
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
13 Years

Data Provided by:
Cristine Carpena
623 Southridge Woods Blvd 623 Southridge Woods Blvd
Monmouth Junction, NJ
Instruments
Ear Training, Piano, Theory
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
13 Years

Data Provided by:
Michael M.
(877) 231-8505
Federal City Rd.
Pennington, NJ
Subjects
Piano, Singing
Ages Taught
5 to 99
Specialties
Middle C Piano Method using instructional materials of the Bastien's and Alfred Publications
Education
Moravian College - Music Education - 9/70 - 5/74 (Bachelor's degree received) Trenton State College - Special Education - 1980 - 1981 (Master'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.

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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