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 midrange
chords, while the right hand provides
melody, syncopations, lines, and runs. The
total effect is a relentless, locked-down
swing 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, Art
Tatum, 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 V7
on 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 smipler. 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 to really swinging the right-hand line. Click here for audio.
Ex. 6. Using the same chords in the left hand, add some thirds. The off-beat accents really make the riffs pop, and any syncopation in the right hand will play against the
pumping quarter notes of the left hand — when you add them in with the next example! Click here for audio.
Ex. 7. Syncopate the right hand and you’re in full stride. In measure 1, the left hand walks up in tenths; in measure 2, the right-hand syncopations push against the
quarter note pulse. You can grab an octave in the right hand whenever you want for emphasis. Click here for audio.