| 单词 | stride accent |
| 释义 | > as lemmasstride accent 8. Jazz. Used attributively to designate a style of piano-playing in which the left hand alternately plays a single note and a chord that is an octave (or more) higher; esp. in stride piano (hence stride pianist); also stride accent, stride bass, stride tempo, etc. ΘΚΠ society > leisure > the arts > music > performing music > playing instruments > playing keyboard instrument > [noun] > playing piano > specific style boogie-woogie1928 stride pianoc1938 whorehouse piano1938 party piano1942 trumpet style1946 stride1956 society > leisure > the arts > music > performing music > playing instruments > playing keyboard instrument > [adjective] > piano-playing > style of piano-playing vampingc1890 stridec1938 society > leisure > the arts > music > musician > instrumentalist > keyboard player > [noun] > piano-player > specific style cocktail pianist1946 stride pianist1978 c1938 N. E. Williams His Hi de Highness of Ho de Ho 35/2 ‘Gut tempo’ and ‘stride tempo’ usually are intelligible only to our own musicians. 1950 R. P. Blesh & H. Janis They all played Ragtime x. 192 He could play the ragtime stride bass, but it bothered him because his stomach got in the way of his arm, so he used a walking bass instead. 1952 B. Ulanov Hist. Jazz in Amer. iv. 29 ‘Stride piano’, the particular pride and joy of Fats Waller and, before him, of innumerable ragtime pianists, comes from the blues. 1952 B. Ulanov Hist. Jazz in Amer. iv. 30 The blues is usually played in unaccented four/four time or with stride accents. 1955 L. Feather Encycl. Jazz 289 His lacy, charming melodies sometimes contrast with ‘stride’ passages of great intensity. 1959 Jazz Rev. June 14/1 He [sc. James P. Johnson]..developed the New York style of ‘stride’ piano from the rags of Scott Joplin and the southern Negro cotillion and set dances. 1978 Listener 29 June 841/2 An exhilarating two hours of Fats Waller numbers..accompanied on stage by the celebrated stride pianist, Luther Henderson. 1983 Listener 20 Jan. 10/2 Its earliest landmark was James P. Johnson's stride-piano showpiece ‘Carolina Shout’. < as lemmas |
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