Learn to improvise. 2004-2005. Lesson 13: variations in stride style.
The stride style has alternately a low bass note and a chord (one or two
octaves higher). As a hand can't span two octaves the pedal is pushed
during the bass note and released immediately after hitting the chord,
resulting in a kind of 'humpa' sound.
Click to hear an example.
As this style is hard to play for me, I always play it in one initial key
(G). When I want to play in other initial keys I do it slowly and not in
the stride style. Apart from that I play the chords in the stride style in
only one position, e.g. chord G I always play as d-g-b and D7 as d-f#-a-
c. This way I have a fair change to hit the chord right, even when I'm
playing fast.
When you finally master this style you may have the idea you have
reached the finish and are not searching any more for improvement. But
without variations the style may be boring. Variations have moreover
the advantage they are easier to play.
Variation 1: Replace the chord by a bass line. You have to figure it
out beforehand, but it will be easy to memorize as the exact melody is
not critical. It is less tiresome than the humpa motion.
Click to hear an example.
Variation 2: Make a break. This is even still easier as the left hand
hasn't to do anything at all.
Click to hear an example.
Variation 3: Take the bass in the same octave as the chord. In fact
you are playing broken chords then. By giving some notes an extra
accent the play may become extra lively.
Click to hear an example.
Variation 4: Play the bass note a little bit too early (syncopic) with an
emphatic accent and keep it a bit longer than usual.
Click to hear an example.
Variation 5: The right hand may contribute to variations by playing
the melody not literally but playing only fitting notes in a way a listener
may fill in the missing notes in his mind. This is easier than playing the
melody exactly and moreover it will sound less woodenly as you may
pay extra attention to other musical elements like rhythm and
performance.
Click to hear an example.
Variation 6: The task to play the melody may be shifted from the
right hand to the left. The right hand does only some supplementary
work then, while the left hand gets all the attention for a moment.
Click to hear an example.
Variation 7: Walking bass. The bass line keeps on walking.
Click to hear an example.
Variation 8: Don't give the bass at the 1st and 3rd beat and the chord at
the 2nd and 4th, but just opposite. It is not easy to do and people may
think you are making mistakes, but I like it. The bass line can be use to
realize this changing by giving it an even number of notes: the
following chord will automatically come on a 1st or 3rd beat of a
measure then.
Click to hear an example.
A waltz played with the technique of the stride style may use some of
the above mentioned variations. The swing of a waltz may be obtained
by postponing the 3rd beat a little bit, but to play it in a way it
stimulates the people to dance you must have the feeling for it.
Click to hear an example.
HOMEWORK:
Pay attention to the stride style, dependent on your
skill and interest.
Click to hear an example.
Click to see the chord scheme.
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