Boogie Woogie for Beginners
Transcript of Boogie Woogie for Beginners
Cloptn, Onn
THE BOOGIE V/CCGIE STYLE
Whot lr Boogh Wooglc
Eoogie Woogie is o twclv?-mcosurc Jozz form wirh o uniquc rhythm in thc boss. The
boss feoiures o repeoting figure which for thc mosl porr tokes thc form of cight eighth
notes fo the mcosure.
ll is from its olmost choroclcristic usc of on eight-to-the-bor boss figure fhof Boogie
Woogic is somclimes retcrrcd lo os "Eight fo the Bo/'.
Lifr
Boogie Woogic, like oll Jozz, is in 1./ I tlme. And oll Jozz hos o "1ift" (resulting
from rhe rhyrhm of Jozz 3yncopofions ogoinst o stcody bcof.) Thc Boogie Woogie boss
being "eight fo the bo/', mokcs for o "li(t" oll its own. ll con hove thc light lift of Pinc'
top's Eoogie Woogie Blues, lhe croshing drive of Mcode Lux Lcwis's Six Wheel Chascr,
or the "ir^p" of Pete Johnson's Deoth Roy Eoogie. Onc connot limil Boogic Woogie lo
o spccific lifi or tempo. As long os the boss figurc repcots itsclf rhphmicolly wiihin ?hc
fwelvc-mcosurc (orm, i/s Boogic Woogic.
Boogic Woogic ir on
rhythm, color, powcr, clc.
vorying rhodcr of Boogic
powcr in thcs. chordst
From
loco:>t :
Color ord Effrctr
intimofc pcrrcnol cxprcrlion, Ycrf rich in "ctfilQdt" ruch 03
Whcn lcsr convcntionol nolcs orc ulcd ogoinst this boss, lhc
Woogic "colo/' comc ouf. Nolc thc rhyfhmic forcc, color, ond
"&ass On Top" 6y tlfeade "Lu.s" Leuti.s
Copyr igh t O 1941 SONGS OF UNIVERSAL, INCCopyright Renewed
All Rights Reserved Used by Permission
Boogie Woogie hor
melody. lt is bosed on o
Woogie improvisolion or
pottern.
no melo dy o( ils own in the 3cn3c tho? o
simplc chord potlern consisting ol twelve
composition consists of differcni voriolions
populor song hoc o
meosurcs. A Boogie
boscd on ?hir chord
Boogie Woogie chord Pottcrn
The pottern is bui l t oround the ihrec fundomentol chords of o scole, the l , lV, ond
v In rne ' \ey or L , Tne I ts
the lV is
These chords fol low eoch other
p iono ond note how eosi ly ond
ond the V i3
in the sequence l , lV, l , V , l . P loy th is sequence on thc
fomi l ior ly the chords fo l low eoch other .
I chord
U +-
o_+.
@ @
lV chord I chord
\a)
,^'/ t r \\Y,/
frF=rt
,,-.( 6 )\_-,/
fl-Frt =f-f-t
*
@ @
V chord I c h o r d
Often meosures (2) ond (10) chonge to the fV chord.
A Typicol Boogie Woogie Chorus
The fo f low ing is the f i rs t chorus o f Pete Johnson 's vers ion o l Koycee on My Mind.
Medium Boogie Woogie TemPo
j q"r'bF-FFI
#fit ,
@- vf#F3
A^ ^^7-
-a)-v I rL-J= l
aa)\-/ffi
@
\ 7
r e
@d n, +h3 ' (
,a
c'J fd j r 7 === t41
ro\7
-t-t- a
l - - J . 1\
: u - l=r=t
l-r-l-l
j
@f-l-Ft ffi
hr; I l3lz
Copynght I 1941 SONGS OF UNIVERSAL' INC'
Ar r R i shrs SgtJ'Sit ?r"*"0*#""'.n'.",on
Th is chorus is r i ch in Boog ie Woog ie e f iec ls . Note the rhphm ond co lo r in ihe r igh t
hond. Note the syncopot ions in meosures (4 ) ond (10) , the " l remolo" in meosure (8 ) , the
of f -co lo r chords in meosure (4 ) , ond the vor ie ty o f s ix teenth-no le decoro l ions in meo lures
( 1 ) ( 6 ) o n d ( 1 0 ) .
Bcfore you con ot?empt tol istening to i t .
( I ) lool ot music_mo kingcreole beouty. l f you hove o"beoul i fu 1", , , c l inging,, , , ,sweel, , ,
the form ond expression of rheheor chords l ike the fo l lowing,
Suggcrllonr
ploy Boogie Woogie lcorn how to get the most out of
os on expression, rother lhon simply os on ottempt lostondord conceplion of ,,good
piono lone,, os beingelc" ond oppfy ih is concept ion to of f music-regordress ofmusic in ques?ion-ger rid of ihis notion quickfy. When you
F r o n " B a s s 6y i f ead e '2orr ,
.Le u, is
8uo 6ussa lo lhe en'd
On Top,t
Cqyngft@ 1941 SONGS OF UNTVEBSAL. tNc.
Ar B,ghts rgJS t#ffr"-o";" "
don't listcn jor o,'beovtitvl,, or ,,clinging,, lonc.In this po'_sogG' from A4code tux tcwis's Soss on Top,thc cffcct intendcd wos nor beoufy. ff ,hc chordswGre hcld longer or ployed "bcourfivily",rhcy woufd bc,,corn y,, ondlhc originor compo-sition would be hopclcssfy out of losle. As o mo'cr or iocl, o ,,corny,, rendirion is oncwhich feolurcs orfificiof effecls-efiects which thc performcr did not hovc o genuinc feer-ing for exprcssing' ond which he threw in tostcfcssfy ond pointlcssly. This ir why Jozzr3 ,odifficult for the unlolcnlcd ond so simpfc for rhc torcntcd-ony music which is not fertproperly ond is not performcd in torre comes ovi,,corny,,:.
(21 Do nol oppty anl convcnlionof
softncrs) to Eoogie Woogic. Thc dynomicr
in, lhc originol conccplion of idcos.
"rules" ol dynomics (dcArccs of foudncrs ond
in Boogic Woogic orc porf of, ond contoincd
(3) Eliminote ony "rvbolo" (fiuctuotionr in fimc) wfrich cou3cs lhe tcmpo lo wover in
Eoogie Woogic. Thcrc con bc no rhythm wifi ruch o rubofo. Ruboto, in music othcr thon
Jozz, is frcqucnily indulgcd in, ond ovcrdonc by omolcurs who hovc no 3cn3c of timc ond
phrosing ond who lock confol of thcir honds. In Boogia Woogic thc timc must bc strict
throughoul so thot thc rhphm (potlcrn of occenls in fime) con hovc mconing. ln thir con'
ncction, whcn you lisfcn to Boogic Woogic do noi otlcmpt to cnioy strict timc-this is quitc
impossiblc. Listcn, rolhcr, for thc rhythm ond "1ift" rcsu,hing from thc stcody bcof.
(4) f ry lo feel ol homc wilh chromolic lones so thol you won'i heor lhem os "wrong"
noles.
From uAnswetto the Prayer" by Meade "Lux" Leuis, Margaret Coleman and' Bishop Edeel Ammons
I t-
l H l t l l l t t t l
a) r 7
t \I I \
t l I I I I I
Copyright O I941 U
Ar I R i s hts t""::tJ::' ?,"J"0*o"vd p.,,.i rri on
f f you feel ?hese noles ore "wrong" you wi l l feel thot Sirovinsky, Rovel , ond even
Boch used "vtong" noies. In Boogie Woogie these chomolic lones rnusl bc l istened to for
whot they ore in lended. At i imes rhey develop on ideo, ol other l imes, they give "color" ,
embe l l i sh , e lc .
(5) Do nol use ony pedols in Eoogie Woogie. Pedols orc olmosl ncyer uscd in Boogie
Woogic excepl for speciol ionol crorhes ond percussivc eftecis which ore for bcyond the
beginncr 's s logc.
/2t clLhapte, Jwo
TOUCH
How fo moke sound come out o f o key is no t the prob lem o f p loy ing the p iono. The
fundomentol problem is how to ploy notes consecul ively in l ime. l f you hove o system o{
p iono-p loy ing wh ich reods fo r ihe most por t , "don ' l use lhe orm, don ' t use the wr is t , don ' l
use the f ingers , don ' l use the keys" . . . th row i t ou t . You con never be hoppy under such
cond i t ions . And you cer lo in ly conno i p loy the p iono. P loy ing no tes consecut ive ly in i ime,
ond w i th the tone des i red is indeed o prob lem. The so lu t ion l ies in re lox ing ond cont roc t -
ing the proper musc les , ond in us ing ihe leos t omount o f muscu lor exer f ion . As o resu l t ,
ony "beout i fu l " ond "swishy" hond movements o re os unnecessory ond t i r ing o f fhe key-
boord os they ore in b rush ing your ho i r . Foncy hond movements leod to lock o f muscu lor
preporot ion ond induce fot igue ond lock of control . In foct , these foncy hqnd-f l i t t ings ore
fovored by rhe "hom" oclor when he ploys the role of o pionist--on o dummy piono.
Method
Don't be ofroid of the piono. Do nof ploy feebly on top of the keyboord. Ploy " inlo
?he keys" to ocquire o f irm touch.
Hit rhe fol lowing note: WhenNow, when reody , h i t th is no ie :
The frecdom
when you plqy.
Whether you ore
os slowly os you
with which you executed these three notes must be presenl ot ol l t imcs
The fo l lowing exerc ise is in s t r ic t t ime, ond demonds more conl ro l '
ploying pp or f f , ihe qttock on the key must be definite. Ploy the exercise
wish but be reody for eoch nole before yov ploy i l '
Ari iculol ion (clori ty in rhythm ond louchl
Ploy eoch note with the propGr omouni of force ond hold eoch notc prcciscly for
the durotion indicoted.
exercisc ( l )
exercise (2)
exercise (3)
exercise (4)
C|opt,, JL,,n
THE LEFT HAND
Your Boogic Woogie is only os good 03 your left hond. Thc left hond musl be so
moslcrcd thot if ploys the boss ftgurc oulomoticolfy, noturolly, solidly-without being
bothercd by ony cxprctsion of thc right hond. The lcfi hond musl bc copoble of ploying
nolcr conscculivcly in limc, ond it musl orticulofe thcse notes in o cleor rhphm. In short,
it must dcvclop cnduroncc ond controf.
Singte.nolG lor Figurc
In thc following bogs ftgurc, for cxomple, thc bcginncr oftcn ncglects 1o sTli6ufote
ficr nolca.
Thb regufrr in o bos ftgurc lhot roundr quitc dificrcnl from thc originol figurc. I hovc
hcord bcginnorr ploy il fiis woy!
This corcfcsnacs in orticulotion must bo cfirinotcd bcforc thc bcainncr ocquirct thc hobit
of "rfoppy" ploying,
Method for procllclng o barr flgurr
ploy coch note of the bosr figurc in o voricty of grodcd rhythmr, or indicotcd balow.
Ploy only os fost os you con ploy wiih comforl, lonG, ond clcor orliculotion.
) ) - - > > : > > > ;
nol let the rhYthm uPset
; > > ; > ; > > >
thc clcor oriiculotion of coch nole in the figurc).
) ) > > > > - --
In t r ip lc ts ' (Do
>'> -A>>> >J ==-.2;--=--->-\
ond
; t>> ; => > >
with o definiie strokc).
:>>:> =; \ :>>>>
\ >-
l n dotted eighths cixteenths: (Attock the sixteenth
Aftcr hoving studied the boss
tern. Eoch note must be even.
figure in thesc rhphms try to ploy thc boss in thc chord pot-
Pfoy in str icf t ime ond tokc Yovr own ?empo'
\ ; > > >> ) > > > > > > > > : > \
Work ouf o similor exerciro employing the difierenl rhythms on the following borsert
Don'l be ofroid of ploying on block keys. Unless you becomo occustomed to ploying
borh block ond white keys you connot devctop control of ?he keyboord.
Olher fypes of borer
"Wolking Bogs"
The "wolking boss" is mode up of broken o<foves. !n thc folfowing exercise moke
certoin the thumb orticuloles.
stroight eigh?hs:
sixteenths:
Reversc:
Ploy the fo l lowing wolk ing boss
consistent speed. When you feel you
speed. After ploying in eighths iry i t
orticuloiion of the sixteenth notes.
in the Boogie Woogie chord potlern, olwoys ot o
con ploy it fostcr do so, but ot o consistcnt steody
in dotted eighths ond sixteenlhs. Don't ncalecl ihe
Try thc following dificrcnt form of thc rvolking boss. Also work it out in dottcd cighths
ond sixiecnths.
Chord Boss
Ploy ii sfoccoto-so rhot it sounds l ike rh is :
Ploy it in strict time til it begins io swing by irsetf. Don't let iumping from one Po3ition to
onother upsel the swing of the rhythm.
Toblc of los Figurlr
The forowing boss figures ore thc oncs most frequentry uscd. study thcm os suggcsi'
ed in this chopter. They orc usuolly fingcrcd os indicored. You moy fingcr fiem 03 you
wish, but keep the fingering consislent'
2 t l6 6I
67 l l6 6 6
5 613
5 6
E llsl I
/"t -lChapte, Jon,
THE RIGHT HAND
Rhythm ond Dynomics
Oftcn the beginner kills ony chonces of mostering Boogie Woogie by frying to ploy
coch nole in the right hond with rhe some force ond dynomics os eoch notc in the left
hond-os in the following possoge.
This method musl foil, sincc it gocs ogoinst the swing of the right hond by foiling to toke
inlo occount the phrosing ond dynomics of the right hond. Note whot the right hond is
trying lo rcy, its phrosing ond dynomics.
-
The bcAinner should rcolize thot the right hond hos o musicol l i fe of its own which
connot be dominoied by the left hond. The right hond keeps in "swing" with the left hond,
but refoins its own personolity.
f l
*--
d - - \ - :> - \ \
:> > > > > > > >
\- \ \.- \- - - > -
> > > > > > > >
f t
d
Heftod
The mcthod for dcvcloping rhe right hond consists in the ottcmpt to build thc hobit of
fcjing ihc cxoct mconing, dynomics, ond rhphm, of coch notc, ond of orticuloting coch
noro cxoctry o3 you fccr it. proctice ihc foilowing righi hond figurotions occording to ihc
phroring, ond dynomicg indicotcd. Articulolc cxoclly ond clconly, so thot lhc porsogcl
bogin fo twing.
Tipr on Ploylng Boogic Woogic Effcelr
Often in published muric, the bcginncr comcs ocro3s Boogic Woogie eftcctr which he
docsn't know how to lronslotc into sound.
"Crushcd" Noter
( l) "Crushed" nolc lo o chord
ff you ore nof plolng ii sotisfoclorily,try to moke it sound like this'
To ploy the effecl os suggesfed use one slroke ond use the some f inger'
(2) "Crushed" nole to o single note
This pos3oge or ig inol ly sounds l ike th is '
To goin the effect-ploy lhe "crushed"
with the somc finger, using onc strokc.
nole os close os possible to the note if decorotcs
' ^e phrose wr i t tcn
The phrose writ ten
The phrose writ ten
The phrose writlen
The phrosc writicn
The phrase written
Remcmber thot thc speed ond swing
woy to ftt in there efiectr.
Dccorolions
sounds l ike
sounds l ike
sounds l ike
rounds l ikc
Trcmolor
is ploycd
sounds l ikc
of o composition hos much to do with the besf
Erercirei on Boogie Woogie Effeclr
Don'l let rhe effccr upret the rhythm.
C|optr, 3i,
BCTH HAN DSWhcn thc bcainncr morlerr fie following cxcrcircs hc will bc oblc to ploy Boogic
Woogic wifi frrdom ond eor, ond with thc right "3wing". Thc inlroductory crcrcircs con-
rirt of rimplc mcchonicol ftguror. Thc Boogie Woogic cxcrcisog gtort wirh rimplo Boogir
Woogic rhythm figuro ond wind ,p wirh morG complicoted ftgurer. Added lo this thc
oxcrciu rlrcs lhc morloring of rpcciol Boogie Woogic cffectl. Thc excrciscs purposcly do
nol footurc cros-rhyrhmt ruch or
m r-{-
d ! I I I
l , - -
sincc thc bcginncr hos nol cnough commond ond control of thc piono lo mokc ony Prog-
rcsg in Boogio Woogie from guch o siondpoint thc excrciscs feolure rhythms ffiot "swing"
ond hovc o musicol mconing for thc bcginncr.
3ngge rllorr
In thc introductory excrciscs:
(l) Do not otfcmpt ploying with both honds unlcss you hovc moslcrcd o boss
figurc.
(2) Don't lcove on cxercisc until you hove moslercd il.
In fhc Boogi. Woogic cxcrcircr:
(t) Try to fccl thc rhythm, swing, ond mconing of coch notc in thc right hond.
(2) Work out thc right hond rporotcly if thc trcblc figurc t cm3 dfficult, bcforc
ployitrg wirh boilh hondg.
(3) Af oll tirncr ploy with o $rody tcmpo ond moko thc oxcrcirc: "rwing"
22
Introductory Exercises
Exercise 1
- ; - - ; \ ' -
=E- l> )> >>>
IA A
J t +
:> lT- - - ; - > T T - - - iE - - ; \
A A
> f i ; \ \ ; \
A
- - > - \- \
A A A A
q?-
3-n;-=
J \ \ - - - \ - -> - -
- A - ; > >> ; ; > > > ;J ; -w- > +- \
Boogie Woogie Exercises
Exercise 1
- - \Q)
-.. iir__
?ft-- a a
d \-k--__
F-Ft --Fl
{---
a) >----z \ti- -_ q
-FF FFFrt
llz
Exe rc i se Z
e)_. - - rL ,
---l ---l -F- -Fl-l
IJ
U f t - - t -
-o
-.- ,---
- '--
FFFr Fr=E=- -rrFr -Ft
E xerc ise 3
\
I
--.) 9ry
t--Ft €
v
I
dr
t-t-t-L- u t - - l -
-1
It\-
I> l
-
t -
U
Exe rc i se 4
Artfi'!a)
- a
(
t! al
r-l-Ft f--Fl
a J :
Fr#t f-t-trt
a
-
d ' l :
t-Fl-i FFFI -FFI
--',
tr-
Exercise 6
\
I
aJ v
-F-l
>
aJ I - -.->
E xe rc i se
I
I
l
T I .
- l --
a) I v I
FFFi l-r--l
tF
FFrfrt FF-la
I r-a I+-t-rl-+'+
e
Exercise 7
\
t
laj J V J
(
(
I
\
a) -\
e j - v - -
-FFt F-r-l-L
, I\ - \ - \ . - > l
Exe rc i se I
\
I
\
I
\
I
ri-
\
I
Exe rc i se 10
E xe rc i se 1 l
\
I
\
I
Exe rc i se l ?
Exe rc i se 13
\
,l
\
I
I
4
d t ' J - e - -
---t Fl-I.rtH FFI- -a
Exe rc i se 11
\
\
Irer 1
e 1 ?-. .l_ *-l
EASY MUSICAL TERMS
Pronunciation in middle column; the strong syllables underlined. A fairly accurate English spelling may bc uscd::: all the ltalian vowel sounds except their "n" and "o". We use "Ay" for the ffrst but it should not be sPokco
:roedlv as in English, but rather, greatly shortened., Likewise, the "on" should not be drawled; it must be short. )
GENERAT EXPRESSIONS
.\ss.rtBexCooe(eL O N
D r C r p o ( D . C . ) , : . .D.*r SpcNo ( D.S.) ( ' r j )E ( aeronr vowEt,, Eo )Fenvere (za )FrxeGlrssrNno (cr-Iss. )\{olro\ o xOpus (op , )Orr.rv,l ( 8ve )
Poco A PctcoPnruo ( l ' )ScxenzoSet,rpneSexzr,S rvn"s ( srv. )Tpxwo ( rrx. )Tnoppo
(AH-sAH-Er ) . .. ( n e v x )( xoH-oen )
( ronx )(DAH KAH-PoH )( DAHL sAYN-YoH )( A Y ) , ( ^ y o )
( FAYR-MAH-TAH )(FEE-NAY )(cr.ne-sAHN-DoH )(uoHr--roH )( NoHN )( orr-PUs )(oH-rAH-vAH )
( non-xoH AH PoH-KoH )( enen-rr,roH )( sxevn-TsoH ). ( s,rvr..r-PRAY )( sevN-DzAH )
.. (snr-rvrEE-LAY )
. (rex-xoo-ToH )(rnoH-noH )
A great dealWellShort added section sometimes usd to end amovement or a Piece.with
. Return to beginning and repeat.Return to sign and repeat.AndHold
.. . . The endSlide through the notes.
. ..Very much.NotA published compositionPlay octave higher or lower, depending on posi-tion of sign over or under the notes.Little by littleFirst, ai in Tempo 1o-return to first speed.A playful pieceAlwavsWithoutThe sameHold.Too much
EXPRESSIONS OF IOUDNESS AND SOFTNESS
Cnescsxoo ( cnnsc.( )DrvtxueNDo ( onr.) )Fonrs (t)Fonnsstu o (fr )!{rncrro (r.r,rnc. ))Iezzo)lezzoFoRrE (^f)Mezzo PrANo (*p)MonnxooPr rxo (p )Prexrssrv o (pp )Sronzexn (s fz)Tne Conop
Uxe Conpe
( KRAY-sHAYN-DoH )( DEE-MEE-Noo-AYN-DoH )( FoHR-rAY )( roHR-TEE-sEe-von )
. . (u,rnn-KAH-ToH)
(r,rev-rson )
. . (rnn-AH-NoH )( rer-rH-NEE-sEE-r'roH )( SFoHR-TsAHN-DoH )( rnev KoHn-DAv )
( oo-NAH xoHn-oeH )
Gradually louderI Gradually softer
.. LoudVery loudEmphasize the toneMedium
. Medium loudMedium softDying awaySoft.Very softSharp accentUsed after Una Corda to show soft pedal nolonger needed.Soft p"d"l
AccsLenANDo ( rccnr,. )Aorrclo
EXPRESSIONS OT SPEED
( ex-cHAy-tJ\y-RAHN-DoH ) Gradually speeding ,tP(eH-oeH-toH ) VerY slow
t aY ruacaL T: s (Co'd;l'n/,.,ill
AcrrAro . .( nr-pr-rrx-mn ) . Agitated' excited -.
ALrr Bnsvn (/) . . (,rn-rex aRAY-VAY ) ' ' i?U-note is unit of beat; also called cut time'
.{LLEcRErro . "i^"-'^t** v-ron ) Medium fast
ALLDoRo( * r - r . r v ' cnon ) . . , ' Fas t;;;;;;(ir.renc.) . i^;-t.^t-."enx-oon) Slowerandbroader
Axr,rvrs i^*-o "ot-t v) ,
Medium slow
ANDANTINo i^""-t ""-ttt*"t I .A bit faster than Andante
A TEMpo (^" r^w-"on ) In time
Cnrvp ............... . i"n'rx-v'rY ) " " Slow and dimiffd
l,^ncHETTo . ( uurncrt-non ) Fairly slow ind broad
L^nco .............. ......(unn+ox) Verl slow and broad
Lelrro . . . . . . . . . . . . . . . (urnr-ron) 's low
Msxo.. . . . . . . . ( r , , r , lv-won) ' " Less
Mooemro (rroo.) . i^'oT -nev-nrH-ron ) " " " Medium speed
nr. i . . . . . . . . . (err-oo) More
PREsro . . . . . . . . . . . . . . . . . i "arv-sron ) . ' Verv fast
Rer.r.rnr,rxpo ( neu, ) . ( n,ru-r-evx-r^HN-DoH ) " ;;;il;it sbwer; usually used before change of
temoo oi at end of Piece.
RrrenorxDo (nrr.) . ( nee-r'rxn-o'$rx-oox ) SamL as rall' But ustd elsewhere in Piece'
Rrrsxuro (nrr. ) . . .. . ia""-rer-noo-tou) Same as above
il-";;; (srruxc') .. . (sr*te*-lrvr-oon ) Faster
Tevpo pRrvo (f.) (TAyM-poH 'REE-MoH) . bii6"f tpeed; used after a slowdowrr or speed-
,rp io thoi return to ffrst sPeed'
Vrvrce (vrv.)... (ver-v'rncIrr) " Lively
EXPRESSIONS OF gTYtE
Ap L1nrruv ( eo rrn. ) ( rno LEE-BEE-rooM ) At liberty; as you wish
Axturro (^"-*EE-MAH-roH) ll-t:tt .r,.- - -Axrurro (en-NEE-MAH-roH ) Ltvety
Bntr,r,,trrE . '(nnEe-LAHN-TAv) ' Withbrill iance
Crxr,rnlls i*^**-teH-nnE-u'v ) ' In a singing mannerr r l . r l ,
EI" ;n;;^ i;; MoH-roH) Move along^ . 1 -il;'"'" t r 7 ' e l
il;;"; iAY-NAYR-IEE-K.H ) with gne'rgyr r r . r t r t ^ ^ l : - -With feeligr"*rrvo ( Esp.) (^"-t"RAY-sEE.-voH ) With teelingn l ^ - , f - . 1 1 . '
Grusro iioo-ron ) Strict
Gnenproso i"^^"*-DEE-oH-zoH) GrandJy..
Gnezroso (cnAH-TsEEoH-zoH ) Gracefully
LelrsNToso (LAH-MAYx-roH-zoH) Mournfully
Hilffi;.i . . . .. l",l:*:l;T-'""1 'o'""
r."|'iot released until nert kev is presseddown.
| | t r l l l r E a l r , , \ - - - -
pB5.rrre ... ( "^"-"AHN-TAY
) HeavY
Lrccrsno(l.rcc.) (rry-IAy-nox) llgfttyM,tpsroso it^tt-^vs-roH-zon ) . with maiesty
Mrsrnnroso ( ven-srrY-REE-oH -zol) Y-ys,tTiouslyPesstorrro. ' i"^"-sHoH-NAH-ToH) Withfire
pnoer.B (pBo.)(-) i;;;-;;"-" t) P"Tpur (loud) ptd"l
psRDexDo ("^t^-orvx-oon ) . Dying away
iili#" . .i.il--"-',"o-'lsl lirm[r a3{,ltronel/Rnt.rrco.............. ( nerr-wee-xox) Khvtnmrcarlv
Bw,rro ....... ..... .. .(.oo-arn-ron) s.t'o,*iil':loin some of the melody notes andrp*airig up others to make up the lost timc'
scHErzANDo . ( sx'rvn-tsrxx-oon ) Plavfullv
Sosrenuro (so6r.)...... . ...........(soH-sr,tv-Noo-ron) In I slowittg down and very legato manner'
srlccAlo . i"^"'*^"-rox) ' The.key strick shortly
Tmsrz .. ........ . irnee-srrv) Sadly
At2swer To The PrayerBy MEADE "LUX" LEWIS. NIARG-{RET COLE\1r ' \
and BISHOP EDSEL A\ i \1C ' \ ' 'Medium Boog ie Tempo
Amm<.rns
\
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Copyr igh t O 1941 UNIVERSAL MUSIC CORPCopyright Renewed
All Righls Reserved Used by Permission
\
Johnson
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Down Th,e Road A Piece
Bright Boogie tempo
\ \ o rd : and \ 1 r r . . . -
D O \ R \ \ E
Copyr igh t O 1941, 1942 UNTVERSAL MUSIC CORPCopyright Renewed
All Rights Reserved Used bv permission
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