Master Class Stride Piano
Master Class Stride Piano
BY SBY SCOCOTTT T HEHEAALLY Y October 1, 2009
October 1, 2009
Nothing strikes fear into the hearts of piano players like the
Nothing strikes fear into the hearts of piano players like the
mention of stride piano. This
mention of stride piano. This seemingly impossibseemingly impossible old le old style isstyle is
like ragtime on steroids, and pushes jazz pianists to the limit. The
like ragtime on steroids, and pushes jazz pianists to the limit. The
left hand alternates a low bass, frequently played in tenths, with
left hand alternates a low bass, frequently played in tenths, with
close position midrange chords, while the right hand provides
close position midrange chords, while the right hand provides
melody, syncopations, lines, and runs. The total eect is
melody, syncopations, lines, and runs. The total eect is aa
relentless, lockeddown swing eighthnote feel.
relentless, lockeddown swing eighthnote feel.
Even if you can’t invest the hours necessary to master stride, Even if you can’t invest the hours necessary to master stride, studying its fundamentals will increase your harmonic language studying its fundamentals will increase your harmonic language skills and center your time feel. Plus, there’s nothing wrong skills and center your time feel. Plus, there’s nothing wrong withwith gaining an appreciation of an almost-lost art that has inspired gaining an appreciation of an almost-lost art that has inspired everyone from Duke Ellington, Art Tatum, and scar Peterson to everyone from Duke Ellington, Art Tatum, and scar Peterson to Dick !yman, "arcus #o$erts, %enny &erner,
Dick !yman, "arcus #o$erts, %enny &erner, and 'ill (harlap.and 'ill (harlap. 'eyond the flash and the $luster of stride is a
'eyond the flash and the $luster of stride is a deep awareness ofdeep awareness of song structure, chord voicing, root movement and harmony, song structure, chord voicing, root movement and harmony, andand most of all, swing.
most of all, swing.
Ex. 1.
Ex. 1. &hen playing stride, your left han &hen playing stride, your left hand is the rhythm section, and d is the rhythm section, and it never lets up. Practice getting it never lets up. Practice getting used toused to the motion of your left arm, aiming
the motion of your left arm, aiming low with your fifth finger to hit low with your fifth finger to hit the $ass note, then moving )uickly to thethe $ass note, then moving )uickly to the middle register to gra$ a chord. *n e+ample a,
middle register to gra$ a chord. *n e+ample a, the chords move from * to , / tthe chords move from * to , / to (, using an alternatingo (, using an alternating $ass note on $eats and 0. ne trick1 2tart the 3(4 on the fifth 354 of the chord instead of the root. This $ass note on $eats and 0. ne trick1 2tart the 3(4 on the fifth 354 of the chord instead of the root. This way you don’t have to repeat a note 3(4. "ake your $ass line more melodic in $ $y starting the /6 on the way you don’t have to repeat a note 3(4. "ake your $ass line more melodic in $ $y starting the /6 on the
third 3A4 in the
third 3A4 in the second measure, then move down to the through a second measure, then move down to the through a passing diminished chord 3A$dim4.passing diminished chord 3A$dim4. 2ince you start the on the fifth 354, su$stitute 5m and make a ii-. 7pstairs, notice the chord voicings 2ince you start the on the fifth 354, su$stitute 5m and make a ii-. 7pstairs, notice the chord voicings in the last two measures. The top notes in each chord create a nice melody 8 D, E, D, ( 8 and you can use in the last two measures. The top notes in each chord create a nice melody 8 D, E, D, ( 8 and you can use your thum$ to $ring these out. (lick
your thum$ to $ring these out. (lick herehere for audio. for audio.
Ex. 2.
Ex. 2. "ost of the great stride "ost of the great stride players like 9ames P. 9ohnson, /ats &aller, Earl players like 9ames P. 9ohnson, /ats &aller, Earl :/atha: !ines, and Art:/atha: !ines, and Art Tatum played tenths in the left hand,
Tatum played tenths in the left hand, and sometimes added a third note with the second or and sometimes added a third note with the second or third finger. Thethird finger. The top thum$ note adds a tenor voice and
top thum$ note adds a tenor voice and a rich counter-line; the effect is a rich counter-line; the effect is harmonically dense and e+ponentiallyharmonically dense and e+ponentially more difficult to play. 5ive it a shot $ut don’t push it. (lick
Ex. 3. Try the same constructions show in E+ample < with two hands, to make things a $it smipler. *t’s not cheating to $reak up the tenth and, at fast tempos, this is an effective techni)ue. !ere is a complete eighth- $ar A-section with a turnaround, using the passing diminished and ii-. (lick here for audio.
Ex. 4. *f you can handle tenths, here’s how it’s done. =otice the em$ellishing pickup at the end of $ar > 8 E to /. (lick here for audio.
Ex. 5. The right hand in stride is $ased on swing eighth-note lines, usually $uilt on $roken-up chord tones. Practice this e+ample with simple chords in the left hand and get used to really swinging the right-hand line. (lick here for audio.
Ex. 6. 7sing the same chords in the left hand, add some thirds. The off-$eat accents really make the riffs pop, and any syncopation in the right hand will play against the pumping )uarter notes of the left hand 8 when you add them in with the ne+t e+ample? (lick here for audio.
Ex. 7. 2yncopate the right hand and you’re in full stride. *n measure , the left hand walks up in tenths; in measure <, the right-hand syncopations push against the )uarter note pulse. @ou can gra$ an octave in the right hand whenever you want for emphasis. (lick here for audio.
