You Can Play Stride Piano1
Transcript of You Can Play Stride Piano1
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See CD On inside Back over
www musicbooksnow com
Call Toll Free 1-800-527-6300
Ekay Music Inc. 2 Depot Plaza Suite 301 Bedford Hills NY 10507
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judy Carmichael s Complete Book of Stride Piano
available fmrn Songbooks Unlimited,
PO
Box 1950, Ridgeh M D 2168 1.
product 316957
(telephone 1-800-527-6300)
Additional recordings
available fmm C8tD Productions
EOBox 360, Sag Harbor; Y 1963
(telephone 5 16-725-3603)
Many thanks t o
Ketil Wrigh t
for transcribing
these performances
from MID I data.
Cover Photograph by
Elizabeth Glasgow
Book Design by
Susanna S Koueniak
Cover Design by
Chris Merola
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INTRODU TIONP GE
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BETH ENA Concert Nal z
BY SCOT JOPLIN
-
Wales.' It blew me away That's when Ithought, 'This is it. I'm going to teach
myself to do the whole thing "'
For Judy, that meant listening to and
learning even more complicated music of
such stride piano icons as Fats Waller and
James ? Johnson.But t also meant finding
her own way I thought most of the
stride players were too heavy, with no
dynamics, no breathing, no space," she
reveals. I was really drawn to Fats
because he had a lighter; more swinging
feel, and he used classical devices''
And it is this style that has sustained
her interest over many years. "Now, the
last 20 years," admits Judy Carmichael,
"have been spent on calming down, as
funny as that sounds-n relaxing, getting
a really strong dynamic control in my
playing, making sure I don't bang." And
bringing musical joy to audiences the
world over:
-Stuart lsacoff
Zez Confrey the king of novelty piano:
"Kitten On The Keys," "Diny Fingers,"
"Coaxing The Ivories," and others.
"His harmonies were different from
what I had been used to. And it's funny-
I didn't do it on purpose, but I realize now
that I was gradually going through
a history of jazz piano. Zez's special
contribution was in the different
harmonies he used, and in his humor:
In 'Kien On The Keys' you can hear the
cat; there was another piece of his where
you could literally picture skeletons
coming out of the closet and dancing.
I never thought of ragtime as a rip-roaring
honky-tonk kind of music; with Zez the
music goes running by and it's just a riot."
From Zez to stride was another natur-
al step. "His music really helped my stride
bass, because the left hand was ahvays
going back and forth. And I enjoyed it a
lot Then, one' day someone played a
recording for me of Count Basie, with the
Benny Moten band, doing 'Prince OfPACE
KITTEN ON THE KEYSBY ZEZ CONFREY
. . . .
un Q ....
+-nOtn B.~~~ IYI I *NNLX K. . m - r s CIj. , 011. A 4 .
.
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I've atways made it a point to watch athletes and
dancers, in order to figure out more efficient ways to
move. used to bounce my hands high, and I'd see
that classical pianists stayed down-avoiding wasted
motion. I'd also see some pianists leaning forward,
and I was atways sitting straight--which limited my
abil'ky to reach certain notes. So recommend that
you watch professional pianists in action, and note
their physical approach to the instrument
At the beginning of my practice in stride music, herelentless back-and-forth motion of my left hand
would cause my forearm to ache, so I learned what
I could about breathing techniques. I would s it at
home and play wrth the left hand, ake a deep breath,
relax and lower my shoulders.. and I'd discover that
I had more powerwhen I worked at Disneyland I
had to play seven hours a day, five days a week, so
it was important to work on relaxing, to prevent
injury to myself
In a way, my job at Disneyland made it easier topractice relaxation. In those days, I'd be playing
a tune and then start concentrating on breathing..
and I would forget the tune, or make a mistake.
But everybody walking by would be eating a hot
dog or talking anyway, so I would just play the
tune over and over: I could play 20 choruses of
T h e Entertainer;" and nobody would notice; pretty
soon, I would get to where I could take a deep breath
and keep on playing.
To this day when I walk out on stage, before everytune, take a deep breath, lower my shoulders, and
then start playing.-[his is important o keep in mind as
you start to play these stride pieces.
Whenever I play this music, I atways hear a big
band in my head. I t influences the way I phrase:
punching out the rhythm section in my left hand, and
hearing horns when I play rifk in my right hand.
tt s important to avoid having everything simply
banged out on the same level. Even ArtTatum would
do less in his right hand when he wanted the stride
bass to come out, when he played a lot of fast runs,
he would stop striding. tt was seamless, but he would
make certain that the focus moved back and forthfrom left to right.
You can only do so much at one time. It in order
to have all the effects available to you, it is necessary
to practice everything slowly and methodicalb
People tend to speed up with this kind of music,
so suggest practicing the left hand alone, wrth a
metronome.Start slowly Even in performance, I set a
tempo that is slower than what I think it should
be, because things tend to come out faster than
you expected.Another aspect of the way I approach this music is
that I often use single notes moving in the bass, rather
than octaves or tenths, to accommodate my hands,
and to keep a lightness to the music.
Go over the following examples with a slow,
metronomic beat Stay relaxed, and never twist your
body. Don't elevate your elbow to the side.
Allow your shoulders to fall. Take a breatb f ten
Remember; don't play too fast When you really have
command of this music it will soun fast because of allthe movement and it will swing be tter because it will
be less frenetic. Like any other music, you want it to
sing as much as possible.
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P GE
Several stride elements appear in t is arrangement, including single-note boogie patterns, walking
octaves, and typical bass-chord-bass-chord stride accompaniment.
Practice the opening left hand boogie pattern slowly, remembering that the notes played by the fifth finger
get more weight.
In bars 29-30 and 60-63, the left hand moves in octaves.This, too, can be practiced slowly, relaxing the
hand after each strike, so it does not tense up before hitting the next notes.
A t bars 27-28,the left hand alternates between a simple single-bass-note stride pattern and the placement
of octaves.Try the simple stride in a number of different keys, to get used to the idea and sound of it.
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N ow , practice the same pattern w ith th e ad dition o f he octaves.
In ord er t o play mo re com plicated stride patterns
wh ich use tenth s in the left hand, practice playing
atternating tenths.: r r
I I . . I
Then play them together:
Try the pattern beginning at measure 4 which uses tenths in the left t and.
The re are some big stretches in the right hand in An d n ote the typical riff in thirds, foun d in bars 09
as well, so you might want t o t ry this exer- 10. Don t force anyone else s fingering in situations
se fo r practice.-rhese sound funny bu t they will help like this; you can choose a fingering that wo rks for
ith th e stretch. your hand.
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Watch the repeating bass pattern,which can create fatigue; keep the notes light and even.
This is also tru e o f he right hand pattern at bar8 1 .Avoid tensing your w rist muscles. Practice these stxteenths
slowly, allowing the weight o f your hand t o fall onto th e keys. Gradually increase the speed, but only up t o the
po int where you feel tension; rest, and start again.
In bar 104, you ll find a whole-tone scale (built with a full step between each tone). Stay aware o f the thumb
which must move quickly t o its next position throughout the scale.
In bar 20 1 you can play the low G o f he right hand chord with th e thumb o f your left hand.
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One of the fundamental rhythmic tricks of swing-style music comes up throughout this tune: syncopation, or
emphasizing a weak beat instead of a strong one. Right at the opening you'll see a resthe first,accented chord
comes in on the and of beat I Another element in this arrangement is the use of chromatic, or half-step,
chordal movement.
Another tricky rhythmic problem appears in this piecwlaying 2 in one hand against 3 in the other
(bar 108).To get t right think of the combined voices creating the phrase:cup of tea,,2
I like my music to have a sense of humor: Does this sound familiar?
Keep in mind that Jive at Five and Christopher Columbus were big band tunes, so you should play them
with a big band in your head Hear the horns when you play the riffs
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At measure 23 you'll get a typical stride riff, used by Try it in a couple of keys so you can appty it to
many improvisers. other tunes.
You'll find a similar approach at bar 5 1
The grace notes at measure 25 can also be played crushed together with the main notes of the chord.
Ekperiment wrth the differences in sound this can create.
For the glissando at bar 59 use the back of your thumbnail. And at bar 89 notice that the thumb play;
both bottom notes of the chord.
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No tice th e grace notes in bar 33.
Grace notes are quick little flurries leading t o a
strong main note; remember that your weight is
going t o drop on tha t main note. Injazz hose little
grace notes can bunch together, but in classical
music they must be clean and fast fyou want to be
able t o articulate them clear+ try the following
exercise, in which your fifth finger is held downrs have t o move independently
In bar 59, there is another quick movement o f
notes, his time in an arpeggio.To play this witho utfakering, put the emphasis on the t w o th um b notes
(both Fs), and a llow the rest t o be lighter:
You'll find a contrast in this piece between straighteighths, which are played evenly, and swing eighths,
played wrth a tr ip le t feel.
A nd once again, you'll find chromatic chorda l move-
men t as in bar 7.
Oth er technical challenges: the arpeggios at bar 30,
and the trem elo at bar 40-43. Remember: if you findyourself tensing up, stop and rest, then try it again
mo re slowly
b kThere is a lo t o f 2 against 3 rhythm in this arrange-
ment. Remember the phrase one cup o f tea tokeep this rhythm correct.
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Music Lyrics by GEORGE GERSHWIN and IRA GERSHWIN
1/8ths Very fast
O 1924 WE MUSIC COW Renewed)Thii anangementO 1996WE MUSIC COW
Genhwin @ nd eoge C e n h w i d are rea sered oademarks Genhwin Enterprises.All RighD eserved
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By COUNT BASlE and HARRY EDlSC
Q I94 I WB MUSIC COUP Renswsd)Thiv~gsm nt 996WB MUSIC COW
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by ANDY RAZAF Music by LEON ERR\
1936 Renewed) RAZAF MUSIC C 0 . d LEON BERRY Publulirghii
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Words Music by LEO RO BI N and LEWIS E GENSLE
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Words usic by HOAGY CARMICHAEL and SlDNMARODll
Straight
118th~
MSwing 1/8 1/16ths
I
O 93 P R INTERNATIONAL CORPORATION
Renewedby PEER MUSICLTD
k e d Used by Parmixion
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FIA A
I Straight 18ths 6th~
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ISBN 0 943748 79 89.95O>ook)
Sla.oa CD)
19.95 Total
fou an PlayStride PianoBy Judy Carmichael
IncludesJudy Carmichael's "HowTo Drills,Note-For-NoteArrangements Transcriptions
kq l -
Stride has a bounce and a rhythmic lift that no othermket gmatkh.T k orfignabrsofthis swinging, energetic music--exciting players like J m e s P Johnssan and Jelly RollMorton-always seemed to possess three hands instead of two A crossbetween honky-tonk and blues, with lots of good-timeenergy thrown in, stride is always certain to light
up.a room. Once you learn how to play it, you won't want to spend your time playing any-thing else
And now you c r play "Stride Piano," wen if you've never attemptedit before Judy ,.
Carmichael, one of today's top stride performers, w ll show you how it's done. You'veseenher on CBS Sacrrd~3rMomiag. You've heard her scintill thg recordings, and attendedhex-performances at festivals and in clubs. Now shell ~ha reer secretswith you
You'll get Judy Carrnichael's newest CD, "Chops," f a t w h g her own personal, out-standing stride renditions of Oh Lady Be Good,A ? She Sweet, and other favorites.AND, you'll get notefor-note transcriptions of these 6 great solos:Ai% the Sweet Love IsustA r o u d The Comer, Oh Lady Be Good, b z y River, Ch&$apkm C01tl;mhwandliveAtFive. You can listen to the way Judy plays them on the CD, then ractice these solos onyour own, note-by-noteand measure-by-measure.
But that's not all You'll also get Judy Carrnichael's special tips and personal practice