Boogie Woogie Hanon [PDF]

Zitiervorschau

Boogie Woogie Hanon by Leo Alt assy.

Amsco Publications New York/London/Sydney

Cover design by Werner Jurgeleit Cover illustration by Tom DeJong Edited by Brenda Murphy Copyright © 1980 by Amsco Publications, A Division of Music Sales Corporation, New York, NY. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the publisher except by a reviewer who may quote brief passages in a review. Order Number AM 27400 International Standard Book Number: 0.8256.2222.0 Exclusive Distributors: Music Sales Corporation 257 Park Avenue South, New York, NY 10010 USA Music Sales Limited 8/9 Frith Street, London W1V 5TZ England Music Sales Pty. Limited 120 Rothschild Street, Rosebery, Sydney, NSW 2018, Australia Printed in (he United States of America by Vicks Lithograph and Printing Corporation

Contents Introduction Elements of Boogie Style Melody Grace Notes, Slides, and Tremolos Harmony and Form Bass Line Meter and Rhythm Introductions and Endings Exercises Part I Exercises Part II

7 9 9 10 11 12 12 13 15 57

The music in this book is divided into two parts. The exercises in the first part are devoted primarily to the development of the agility and evenness of the finger action of the left hand. The basic boogie patterns are presented in C major and in order of increasing difficulty—from the simplest quarter-note figure to the most elaborate dotted eighth-note bass line. The second part covers the most important melodic patterns of the boogie as performed by the greatest pianists in the field. This idiomatic melodic language is superimposed upon the familiar bass patterns from the first part, but transposed into the most frequently-used keys. In this section also are the exercises needed for the absolute independence, and at the same time coordination, of both hands. Because the playing of boogie-woogie requires an extraordinary independence of hands, it is absolutely necessary to practice each hand separately. It is also strongly advised not to use the right pedal, which would destroy the intrinsic worth of this particular piano style. Instead, the student can keep a steady tempo by tapping the beat with his right foot. The first few sections explain the characteristic features of the boogie in relation to the basic elements of music. They also contain examples of typical introductions and endings, as well as performance practices.

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Elements of Boogie Style Melody The melodic line of the boogie cannot be described, in a strict sense, as a succession of single tones perceived by the mind as a unity. The characteristic boogie melody consists either of a short motive reiterated in innumerable rhythmic variations, or of a succession of disparate motivic fragments combined in a twelve-bar formal structure. A motive can consist of only one or two notes constantly repeated (a), or it can be a short musical phrase (b).

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In order to follow the changing harmony, musical phrases can be altered chromatically (a), or transposed to another pitch above or below (b). (a)

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. The melodic line often contains melodic features typical of the blues, namely the socalled "blue" notes. These are notes, particularly the third and seventh degrees of the scale, whose intonation lies between the major and the minor pitches. In blues singing, these notes could be easily performed by the singer or played on the guitar, the most important instrument for blues accompaniment. In order to imitate the blue notes which were impossible to play on a keyboard instrument, the boogie pianists had to develop a special technique of embellishments consisting of grace notes and slides.

Grace Notes, Slides, and Tremolos In classical music, the time value of a grnco note (note printed in small type) must be subtracted from that of the preceding or following notes. In the interpretation of boogie, the value of the grace note is extremely short-in other words, the grace note and the adjacent note are played almost simultaneously on the beat. This extremely short value is achieved through the sliding of the same finger from a black to a white key on the keyboard.

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Because it is impossible to slide with the same finger from one white to another white key, or from a white to a black key, two fingers are necessary to perform the grace note and the adjacent note. 5 2 3

To create an even greater illusion of guitar playing, t h e 'dues pianist often strikes simultaneously two notes situated a semitone apart (a). The agglomeration of a few semitones in the same chord, called "tone cluster," adds more excitement to the inherent drive of the boogie (b). (a

(b)

The tremolo is a device frequently used in boogie. It occurs in the form of quickly repeated notes, mostly thirds and octaves. ;

Sometimes the tremolo consists of whole chords, performed with one or both hands (a). Very often it is preceded by grace notes or slurs (b).

10

Harmony and Form The harmonic and formal structures of the boogie are the same as the blues. Every composition consists of a succession of twelve-bar sections called "choruses," each section containing an identical harmonic pattern. This pattern is based on the triads built over the first (tonic), fourth (subdominant), and fifth (dominant) degrees of the scale. Here is the formal and harmonic structure of a typical blues or boogie in the key of C.

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