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Harlem Stride
| Question | Answer |
|---|---|
| Harlem Stride Piano has been defined as | As the style characterized by the left hand alternations of the single bass notes(tenths) on the downbeat with mid register chords on the upperbeat(so called oom(BASS) pah(CHORD) accompaniment). |
| Harlem Stride definition is | An oversimplified and a misunderstood definition. |
| The whole output of the stride masters reveals great variety in accompaniment styles such as: | 1. Single note "walking bass lines" 2. "Walking" tenth triads 3. Habenera Rhythms 4."counter point" like messages 5. Rolling bases 6. Tenths and backward tenths 7. Oom-Pahs 8. Fantastic back beats |
| Stride also requires | A challenging right hand technique. |
| Its expressive range includes an introspective side often marked by | A strong blues feeling. |
| Stride is also a way to play | The blues or popular songs. |
| Stride acted as a link between | Ragtime and blues styles and swing pianists of the 1930s. |
| Stride Piano flourished mainly in | Harlem in the 1920s and 1930s. |
| By means of piano rolls and early recordings of | James P. Johnson, willie the "Lion" Smith, and Fats Waller(Big Three). |
| Stride pianist were often referred as the | Ticklers. |
| Often challenged each other in | Cutting Competitions. |
| Cutting Competitions | Musical Battles held in clubs and at rent parties. |
| Stride had a great influence on the development of the | Big Band sound of 1930s and early 40s and developed an "orchestral" pianistic style itself. |
| Definitive stride sound was established by | the 1921. |
| Definitive stride sound was established by 1920 recordings of | Carolina shout and Keep off the Grass |
| Carolina shout and Keep off the Grass | by James P. Johnson. |
| Johnson was able to mix several genres such as | Blues, Barrelhouse,country,ragtime,fast shout styles(country dance)and ring shouts(Afro-american church service style),classical music |
| Ring shouts | Afro american church service style |
| Fast shout style | country dance style |
| Johnson was able to mix several genres into a | new and homogeneous pianistic style. |
| In the 1920s, ticklers had to face to so called | Blues Craze. |
| Ticklers were requested to play | extensively, and record and cut several blues pieces on piano rolls as well to accompany many blues singers. |
| Simple harmonic scheme of the | 12 bar blues form |
| Simple harmonic scheme of the 12 bar blues form was ideal for | training and improvising and developing a wide repertory of new tricks and devices. |
| The amount of improvisation in stride has always been a matter of | controversy |
| Ticklers basic concepts was to create an | ideal arrangement of tune and repeat over and over with variations through out years |
| basic concept is | partially true (80%) did this |
| Stride improvisational idiom consisted mainly of | riffs and short repeated figures |
| riffs and short repeated figures called | tricks,licks,or gestures |
| tricks,licks,or gestures suitable to | various harmonic patterns |
| amount of improvisation depended on the musicians | skill |
| beside riffs and tricks improvisational approach was of | variations on melody kind |
| variations on melody kind: | considerable deviations of bass(downbeats) and chords(upbeats) |
| ticklers used backbeats: | rhythmic displacements |
| stride was musical background for | pre bob pianists |
| pre bob pianists such as | art tatum |
| art tatum deeply influenced by | fats waller |
| fats waller considered the | zenith of stride music |
| art tatum | Brilliant,virtuoso, advanced harmonic ideas. |
Created by:
shysky