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-No.

1
THE HISTORY, DEVELOPMENT AND ART OF PLAYING THE BOOGIE WOOGIE STYLE
Shows You How to Use

Boogie WooDie Bass Figures Boogie Woogle Treble Variations Walking Bass
Authentic Examples

As Recorded By Famous Artists

Of Boogie Woogie

v..
FORSTER MUSIC PUBLISHER, Inc.
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AVE., CHICAGO

Music is a Universal Language
«««
It means more in our lives than any of us realize and its power would be better understood if for a given period we were to hear

NO MUSIC.,Never before has music had so large an audience as it has today. The radio is bringing it to hundreds of thousands who are experiencing a source of joy in the opportunity of hearing the most artistic and the more simple IN CONTRAST.This in itself is gradually developing our judgment. The joy of hearing has aroused a curiosity and desire for PERSONAL PERFORMANCE and in the last analysis, the real joy in music comes from withinPERFORMING.Many who have the intense desire to play a musical instrument have discouraged the thought because of' the belief thotit requires unusual talent to reach a satisfying goalthat it is a long' and tedious task. This is not so today, for wideawake teachers are not adhering to outdated methods but recognize that progressiveness in general has developed a SPEEDAGE -an AGE OF RESULTS-ACTION. Modem methods have been written which give students thorough training but in an interesting manner that makes study and' practise real fun. The POWER OF MUSIC is yet undeveloped and every one should exercise the opportunities at his command to enrich his life by PLAYING as well as USTENING.

..i

BOOGIE WOOGIE PIANO STYLES No. 1
By

SHARON

PEASE

INTRODUCTION
It was just "ragtime" back in the post-world war days. Later they called it "jazz." In 1934 "swing" became the thing. Today there is increasing popular interest in the style of music known as "boogie woogie." Ragtime, jazz, and swing each contributed materially to the progress of American dance music and I niche in the music field and that it will leave its feel that boogie woogie, too, is destined for a permanent

mark as a purely American development, not only on dance music but on more serious music as well. Already numerous "classical" musicians of my acquaintance have accepted boogie woogie. They realize, as do I. that the Negro playing this peculiar style has a,chieved something actually creative. Many see in the simple harmonic structure of boogie woogie, with its unlimited possibilities of variations, the starting point of a much needed trend toward individualized, contrapuntal music, a conclusion to which I also subscribe. Today, America is boogie woogie conscious. Dance bands throughout the land are featuring it. Dozens of phonograph records are being issued, featuring boogie woogie artists. I have found it a most interesting style myself, and must confess I derive unusual enjoyment playing it. It is a pleasure to introduce the author of this book, Sharon Pease, who plays, teaches, and writes about the piano. Because of his years of association with leading pianists, his vast knowledge of piano styles, and his natural flare for research and thoroughness, he is probably the best qualified musician today to write a work of this kind. It is a volume, in my opinion, which should be in the library of every lover of American music. My own copy always will be handy.

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Copyright 1940

FORSTER MUSIC PUBLISHER, INC.
Chicago, Ill.
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2

Boogie W oogie and Modem Dance Piano
Each year, a leading music trade paper conducts a poll in many of these players have in their bag of tricks numerous ideas which have been gleaned from boogie woogie. However, there are few on the entire list who could be classed as "strict" boogie woogie pianists; that is, those who play only boogie woogie or make that style their chief stock in trade. player and student 1. Bob Zurke 2. Jess Stacy 3. Count Basie This would indicate that we might consider boogie woogie one of the "sweets" of music. For example, eat one-fourth bar, it would and would if you were to of a rich candy taste delicious leave a Recent re' in the order

which musician readers may vote for the dance musicians whom they consider best on their respective instruments. suits, in the piano department, shown in the accompanying list: Every may favor some pianist who is not included many would in this list and probably relist the players

arrange the listing to conform with their personal opinion. concensus basis. However, as it is, it does rep' resent the general dance pianists and shows the nation's leading on that Each artist named is an in' dividualist with a style quite his own. The process of de' velopment in each case would be a story in itself, for therein is represented practice many hours of to' and the piecing

4. Te~dy Wilson 5. Fletcher Henderson

probably

desire for more. But were you to eat a half-dozen candy bars at one time, the result would be sickening. There "sweets" in music, are other such as

6. Eddy Duchin

7. Joe Sullivan
8. Earl Hines 9. Fats Waller 10. Duke Ellington 11. Bob Kitsis 12. Mary Lou Williams

trills and arpeggios. They are fine effects unless overdone, in which event they become most monotonous. In like manner, the too a piano style, in which same ideas are repeated often, listener. becomes tiring Therefore,

gether of numerous ideas from various sources. An important factor in the of piano general development

to the to be a

13. Albert Ammons 14. Art Tatum 15. Pete Johnson 16. Joe Bushkin 17. Freddie Slack 18. Willie Smith ,19. Tommy Linehan 20. Billy Kyle 21. James P. Johnson 22. Milton Raskin 23. Meade Lux Lewis 24. Howard Smith 25. Bill Miller

styles has been the twelve-bar blues. Most piano players have their own version of playing the blues and out many have worked favorite with. of their

successful and entertaining pianist, one should constantly strive for those two elements illusive of all but essential

ideas while experimenting

good music, variety trast.

and con'

new phases of these versions. During the past few years, the fascinating, rhythmic type of piano playing currently W oogie" known as "Boogie

The purpose of this volume is not to make strict "Boogie Woogie" acquaint pianists; rather, to

readers with this in'

has become increasingly popular among musicians and has also become an important fluence in the development style of panyinglist the pianists inof

teresting phase of piano playing in the hope that it will add variety to their style. The author hopes every pianist will get as much enjoyment out of playing the examples a., he did in preparing them.

piano styles. A study of the whose names appear in the accom-

will disclose that

1. Down Beat. January 1940.

Origin of Boogie W oogie
To find the origin of boogie woogie (or any other present day music) one must go back to the days of the primitive savage. For just as the art of human speech has developed from grunts and whinings, so music has developed from the howls through which the savage expressed feelings of happiness, pain, sorrow, and hate. Such basic expressions of emotion are to be found in many of the dumb animals; for example, the staccato, joyous bark of the dog upon seeing his master, or his whine of dis, comfort, or growl of anger. At the very bottom of the process of musical development are the howls of the savage; shrill, piercing, and with indefinite pitch. The first step beyond thiswa:s the achievement of a single musical figure reiterated over and over. Examples of such figures may be found today among the savages inhabiting isolated dis' tricts, as yet uninfluenced by the education and culture of civil, ized people. An example is quoted by a traveler from Tonga' taboo, the following figure being repeated over and over: 1

s

Notice the similarity of this figure to various boogie woogie bass figures appearing later in this book. A name closely associated with the term "Boogie W oogie" is that of the late Clarence (Pinetop) Smith, an Alabama-born Negro who drifted into Chicago during the summer of 1928. Later that year he made the recording of his composition "Pine' top's Boogie Woogie" (Vocalion #1245) which did much to popularize the style. While Smith was the creator of this composition, he did not create the boogie woogie style. The song-writer, Richard M. Jones, recalls/ a tall, powerfully built Negro named Stavin Chain, who played boogie in cheap dance halls in and around Donaldsville, at Bayou la Fouche, Louisiana, while workmen were busy constructing the Texas and Pacific railroad in 1904. Jelly R~lI Morton, noted Negro pianist and composer, rememberst hearing the boogie style many times as a child, and recalls at that time it was known as "honky-tonk." Tony Catalano, prominent white trumpet player and veteran of twenty-three seasons on Mississippi River boats, once told the author he heard the boogie in New Orleans when he first visited that city in 1907. During the early years of Tony's career on the boats he employed many colored piano players including Charlie Mills and Fate Marable. He explained, "It was hard to keep white piano players on the job, for in those days part of their duty was doubling on the calliope, and they didn't like the idea of getting wet from the steam it expelled. This didn't bother the colored boys for with it came the opportunity to travel and earn, what was to them, big money. This was one of the ways in which Negro music moved northward." Pinetop Smith, however, deservedly rates the laurels so many musicians and jazz critics have posthumously bestowed upon

him. He made only eight records, all on Vocalion. His piano work on "Pinetop's Boogie Woogie," "Pinetop's Blues," and "Jump Steady Blues," proves definitely that he WaS master of the boogie style as no other pianist has been until the advent of Meade Lux Lewis, Albert Ammons, and Pete Johnson in recent years. Charles Delaunay, brilliant French writer and scholar, lists Pinetop in his "Hot Discography" as having made several records with a blues-singer named "Lindberg" on the Bluebird label.f but this is incorrect, as the "Pinetop" who played with Lindberg on these particular sides is said by Bluebird officials to be Aaron Sparks. The latter sides were recorded in 1936, seven years after Pinetop Smith's death. Pinetop was the innocent victim of a stray bullet during a brawl in a musty dance hall on Chicago's northwest side. Jack Teagarden, the trombonist; Muggsy Spanier, the trumpeter; Dave Dexter, Associate Editor of Down Beat magazine, and I recently visited his grave in Restvale Cemetery, located a few miles southwest of Chicago. During the thirty minutes it required the aged caretaker to locate the wooden stake which designates the weed-strewn grave, he told me that our party was the first to visit it since Pinetop's burial in 1929. There is no monument of marble to mark his resting place. Yet Pinetop has an unseen monument-s-one beyond the reach of money-his con' tribution to American music. Along with Pinetop, several other pianists acquired a boogie technique in the 1920·s. Some recorded; some did not. In the group of other noted boogie artists who even today have never received recognition are Cripple Clarence Lofton, Cow-Cow Davenport, Blind LeRoy Garnett, Montana Taylor, Charles Spand, Rufus Perryman, who also is known as "Speckled Red," Will Ezell, Ray Barrow, Bob Call, Everett Johnson, the Yancey Brothers, (Jim and Alonzo.) Hersal Thomas, Jimmy Flowers, Lemuel Fowler, Jimmy Blythe, and Romeo Nelson. Some of these are dead now. Some still are playing boogie woogie. Perhaps the day will soon be here when their talents will be recognized as have those of Lewis, Ammons, and Johnson. Also deserving mention for their modern boogie work are Cleo Brown, Tommy Linehan, Jack Gardner, Jay McShann, Joe Bushkin, Freddie Slack, Milton Raskin, Mel Henke, Howard Smith, Julia Lee, Bob Laine, Gladys Palmer, Rozelle Claxton, Joshua Altheimer, Floyd Bean, Honey Hill, Fats Waller, Bob Zurke, Joe Sullivan, and Jess Stacy. All in this latter classification are doing well, from a professional standpoint, today. There are many other musicians who play boogie woogie for their own pleasure. Teddy Wilson, for example, enjoys playing it in the privacy of his home, but makes no attempt to use it commercially. Pinetop Smith occupies a place in the history of boogie woogie similar to that held by W. C. Handy in the history of the blues. Handy was the first to codify that style and set it down on paper. He is rightfully known as the "Father of the Blues," although he did not actually create the style. Like all folk music, neither boogie woogie nor the blues was created by anyone individual. Seemingly, both styles developed from the tribal music of the African savage.

1. Parry, C. Hubert H., Evolution and Co., N.Y. 1925 Page 49.

of

the Art of Music. D. Appleton Down Beat.

3. Martin, Sidney, "How the Boogie Page 5.

Down Beat. July 1938

2. Spencer, Onah L., "Boogie W oogie July 1939 Page 22.

4. Delaunay, Charles, Hot Discography. Hot Jazz. Paris, 1938 Page 35'

The melodic part has no set regularity of impulse. C. I have presented the arguments for both sides and you can form your own . but has change of pitch such as vocal utterances. Let us analyze the similarities and differences of boogie woogie and the blues. This would indicate that boogie woogie is more With the freeing of the slaves came an emotional change. NJ. reaping. The important thing is that both have been vital factors in the development of American songs and dance music. Parry. 1930 Page 20. however. and represents action auch as the dance. there is no particular point in proving that boogie woogie preceded the blues or vice versa. in' volving the tonic. D.Boogie W oogie Versus the Blues Did air exist before life? Or did life and air begin together? Nobody knows and. few care. closely linked to the drumming of the savages. sub-dominant. Appleton 3. The very soul of boogie woogie lies in the constant reiteration of a fast moving bass. for the blues express the emotion of sadness and disillusionment. Tin Pan Alley. The rhythms were faster and more excited. Example: The rhythmic part is usually monopitch. 1925 Page 49. This would indicate that the blues preceded boogie woogie. In general the Negro music of this period reflected the feeling of a race in bondage. savage music leaned more toward the rhythmic than the melodic. Goldberg. As music is frequently the child of sorrow. whereas. It is definitely linked with the pulse. reshaping them to conform rhythmically to the structure of their tribal dances. Likewise.. This is proved by the fact that at the present time. Isaac. This simple rhythmic treatment in turn reacted upon the white man's musical efforts. 1 Savages combined singing with their daily activities. there was a close connection between Negro music. Thus began the Negro influence on our American music which has gradually gained momentum and left its mark on all characteristically American music from the minstrel to jazz and swing.. They are alike in that they are both built on a twelve-bar theme with identical harmonic structure. one year before the Mayflower landed at Plymouth Rock} The music of these first slaves was probably no further advanced than single tone figures such as the one described on page ~. Whereas.Y. 1. or in the honky tonks=-bcogie woogie and the blues were born. melody being secondary. Quinn Boden Co. 2. and hence a change in their music. which involved movement such as dancing. and preceded the style known as the blues. and dominant. we know that the first slaves were delivered in Virginia in 1619.. They are unalike in the style of bass used. boogie woogie is expressive of an exuberance of spirit. Rahway. Somewhere in the south-in the cotton fields. Music is divided into two basic parts. To support the theory that the blues preceded boogie woogie. it is natural that in many plantation songs. in the blues the melody is the more important factor. rhythmic and melodic. The slaves readily adapted them' selves to our harmonic ideas.. pounding. and the melodies more carefree. In the days before the Civil War. slave life spoke its melancholy. They began to imitate the Negro and the new music he was fashioning. involved harmony. while consisting chiefly of religious songs and simple English folk music. Ellolution and Co. Immediately the music of the Negro and the white man began to react upon each other. and sowing.conclusions as to which is the older. page 7. furthermore. Many songs voiced the certainty of freedom in a future life. There are substantial arguments on both sides but why probe deeper? Just rejoice in the fact that both do exist today. They sang the hymns of the white man in their own simple wav. At this stage of development. pure unalloyed rhythmic music is still found in parts of the uncivilized world. Ibid. Folk music is illustrative of the life of the people and ex' pressive of their emotions. Which came first really doesn't make any difference. Hubert H. many interesting facts to be learned by reviewing the principal factors supporting both sides of the question. of the An of Music. the harmonizing of several tones. N. The music of their white masters. . along the levees. There are. walking.I In boogie woogie the rhythm predominates. and the supernatural. The blues may be played using a variety of bass styles including a modern swing bass as shown below. religion.

Joe Turner. Then as a climax. who had tried a similar experiment back in May 1936. then vice. the most sophisticated New Yorkers. then returned to Kansas City. 1938. when he arranged for Meade to take part in a Rhythm Concert at the Imperial Theater in New York. Following the concert a job was secured for him at Nick's Tavern. and Turner were all due for a disappointment for the date lasted only one week. Here. The results of this three-decker can be heard on Vocal. There will also be found authentic examples of their . in Green' wich Village. THE AUTHOR . before progressing to the more complex works of these artists. in New York's Famous Door. and soon Meade was released and returned to Chicago. and music history was made when the boys played boogie woogie collectively on three keyboards. It is called "Boogie Woogie Prayer" and is in two parts."rea' tions copied with their permission from phonograph recordings. Meade's work clicked with visiting musicians. The concert was presented at New York's famous and staid Carnegie Hall and was a smash success. In the meantime. Nevertheless. Apparently they were not ready for boogie woogie. The boys were definitely in. but the public-that was a different story. Hammond. Lewis. Johnson was a guest on We The People program and Columbia's Sunday Night Dance Hour. and Mary Lou Williams. comprised of Meade Lux Lewis and Albert Ammons. Sidney Bechet. Ammons. found a spot for Pete Johnson and his singing partner. All this has been very gratifying to Hammond. did an about face and accepted it in 1939. but to use wisely the material presented. The three men had journeyed to New York to take part. Albert Ammons. the boys of the Boogie Woogie Trio suffered many hardships and were forced to do all types of work for a livelihood.The Boogie W oogie Trio The Boogie Woogie Trio. they continued as faithful missionaries of this invigorating style. Hammond had a hand in an' other experiment. all present for one common purpose-to hear the Boogie W oogie Trio. both from Chicago. the trio moved to the fancy new Panther Room of the Sherman Hotel in Chicago. three grand pianos were pushed out on the stage. ion #4606. Willard Alexander. James P. Alexander. Other artists in the All-Negro cast included Count Basie and members of his orchestra. IMPORTANT On the following pages will be found biographical sketches of Meade Lux Lewis. Johnson. A few nights after the Carnegie Hall Concert. Sister Rosetta Tharpe. visiting motion picture stars. the trio opened an engagement at the smart new Cafe Society. young New York music patron. and Pete Johnson from Kansas City. Joe Turner. During this engagement Lewis and Ammons made guest appearances on Benny Goodman's Camel Caravan and on the Columbia Broadcasting System's Saturday Night Swing Club. Here too. Pete and Joe played a week at the Apollo Theater in Harlem. lower Manhattan. four of the leading exponents of the boogie woogie style. Johnson. and working musicians rubbed elbows. in a concert of Negro music. and the late Tommy Ladnier. recordings on which members of the trio worked became best sellers. After a successful run of nine months at Cafe Society.Meanwhile. and critic. writer. Again. Again the public was not ready for boogie woogie.president of Music Corporation of America. The audience was made up largely of musicians who accepted with enthusiasm his boogie woogie offerings. came into existence on the night of December 23. where they worked for two months before returning to New York. The same public which rejected boogie woogie in 1936 and again in 1938. it is well to read carefully the "Suggestions for Practice" (page 14) and to become thoroughly familiar with the examples on pages 15 to 40. and Johnson each in turn played their variations of boogie woogie individually. definitely proving that musical opinion changes rapidly. Mitchell's Christian Singers. The stunt was so successful that it was repeated a few days later at the Brunswick Recording Studios. It will be interesting to look over these biographies and examples. as late as June 1938. sponsored by the New Masses magazine and arranged by John Hammond. Pete Johnson.

copied the number from the record and arranged an orchestration featuring Bob Zurke at the piano. One can't help but feel that here is an idealist. Certainly he deserves all the tribute he receives." Such interest. or wherever he could find an instrument. Louis and whose name he has forgotten. was equally interested in playing. Now he is collecting dividends. The bass figure is one of the simplest of his large repertoire and should be taken at a tempo slightly faster than the more complicated figures." "Whistlin' Blues. It happened that the Lewis' and Ammons' households moved into the same building. He became interested in the piano while in his early teens when he heard a man. kept the boogie woogie style alive during its darkest days-days when millions In 1936 Meade cut the solo recording of his composition "Yancey Special" (Decca #819) which was destined to bring him world fame. who then was tops among Chicago's exponents of the style. but described it as something "new. Meade was born in 1905. the title. Later. Together they worked out many ideas in the development of their boogie woogie styles. A recording was made and the band started using the tune on broadcasts. It was this constant search for a piano that was responsible for his meeting with Albert Ammons and the start of their long association. Meade. for both owe their existence to each other. who was two years younger. Through those dark years Meade stuck with his guns and refused to compromise. on Prairie Avenue. both profited by a short association with the more experienced Clarence (Pinetop) Smith. Meade's first professional work was playing house parties. a scholar of the old "pure jazz" school whose personal integrity and devotion to principle has few equals in American popular music. Many patrons began asking to hear it often they didn't know of Americans were gliding about sedately on the dance floors to the "sweet" music of the post-swing era." and "Solitude Blues. It was this record that struck the fancy of the boys in Bob Crosby's Orchestra. a rotund and genial Chicagoan. who had drifted in from St.6 MEADE LUX LEWIS The term boogie woogie is virtually synonymous with the name of Meade Lux Lewis. Other of Meade's compositions include "Honky Tonk Train. Dean Kincaide. Today Meade is rated by many critics and musicians as the number one exponent of boogie woogie." . On the opposite page is a chorus of Meade's "Bear Cat Crawl" as he plays it. and the fact that the record was a best seller. friends. play a tune called the "Fives. Later he worked at various niteries around Chicago as soloist and with small combinations." Lewis had no piano of his own so was forced to practice at neighbors. was the first indication that the public was ready for boogie woogie. then a member of the band. Meade soon discovered the Ammons' piano and also that Albert.

_1' • "J I"--"!! • ~.Bear Cat Crawl By Meade Lux As played Lewis by the Composer on Vocation Record No. --# ._ - l. · · ---=--- ... • >>.J fl t. "q..1>- · · · ·~ .>- ..- . 7 ...J · . .~ ft· .J I ·· .s.. ~ if· •._ _"'t .:::-- -... ~ 1'1'- fl [>- · · · · ~ >- >- · · · · · · ~ -~ ·_!I! · · · · >. I l \ fl ~ 1>- >I · · · t1'- • I · · · · ""I •• ft· · · . - ~ \ I f'l ~ I _. and Copyright -iJ owner of the Composer 48117 . tt. · . . 1 . III "'"j_ .. >- >- >- · · · ~ . === ~ . ~· #.. •. · · · -~.._.>- c- · '· ..i I < ~ ------· · 4i: "'--' ~.J 1>-____ r- · · · ..l!! ~•.--... ft· ...=11:::=:11 I · · · I ~ .' . -. ft. •______ •. ". 4i • · · · · . ........l ~I ~~t..j · · · . tt· . 1T f'l -. ..1 r ~ . -___ - · · · · >...460B. . ~ < ~ t.- ..J · · ~ .~ I · •• • 11- ~ Reproduced with permission .

and the It Club. Albert plays the majority of his boogie selections in this fashion but occasionally uses dotted eighths and sixteenths. He was in a rare groove that morning. Ammons is a native of Chicago. bass. and Club Eldorado. usually these exceptions are in slower tempos. and Dalbert Bright. an excellent example of his solid boogie style. Included in these sides was Ammons' famous "Boogie Woogie Stomp" (Decca #749). More recently in New York. His first job as an orchestra pianist was with Willie Barbee's Serenaders. alto and clarinet. During the four years that preceded the Carnegie Hall Concert." He learned his first pieces on a player .8 ALBERT AMMONS The second member of the Boogie W oogie Trio is Albert Ammons. (Okeh. trumpet. and the entire room "rocked" figuratively. It was during this period that "Albert Ammons and his Rhythm Kings" cut four sides for Decca. earned his first professional money playing house parties. for Barbee who was one of the pioneers of the swing type bass. I recall one occasion in particular when Gil Rodin. Next came three years with Louis P. He was bern there in 1907 and bays. there are subtle differences. He soon discovered that he possessed a good "ear" for music and was successful in copying some ideas from "Hersal Blues" and "Suitcase Blues. Note that the bass is played in straight eighth notes. Albert strikes the keys solidly with every ounce of strength in his powerful body. yet. The Banks' Orchestra folded in 1934. Banks and his Chester' field Orchestra. Albert learned a great deal during the year he was with this unit. #8227). who really appreciated his efforts. and I visited Albert at the It Club. including Pleasure Inn. . Ike Perkins. Club De Lisa. The personnel for this date was Israel Crosby.piano. Bill Depew. artistic touch. tenth bass with plenty of modern treble. like Lewis and many other of today's ace Negro pianists." piano solos recorded by Hersal Thomas. then all . As previously mentioned. Bob Haggart. The results are rhythm in capital letters. literally. "I just seemed to love music from the first day I can remember. For a time he had a small band of his own and played engagements at Pevan's 29 Club.members of Bob Crosby's orchestra. during which time they worked a theater tour and various Chicago south side cafes. the Big House. clean. Guy Kelly. On the opposite page is a chorus of his composition "Shout For Joy" as recorded on Vocalion #4608. Ammons. Albert played solo piano and worked with small combinations in many south side niteries. These differences result largely from the manner in which they strike the keys. In contrast to Meade's lighter. It is only natural that their styles should be somewhat alike. He also plays solid. Jimmy Hoskins. despite the general similarity. drums. Of course he did his best work when these musicians. Albert has long been associated with Meade Lux Lewis and they worked out many of their ideas together. spent many hours teaching him. and Bob Zurke. Through these years he acquired a following among musicians that accompanied him from place to place. he is not typed to that style alone. playing with such exuberance of spirit that the piano rocked. when Barbee decided to forsake the piano and front the band. While it is this pounding. stirring rhythmic effect that has made him the favorite boogie woogie pianist of many musicians. by playing rolls over and over and marking the keys with a pencil. guitar. were present. Albert recorded for Blue Note and Vocalion.

~ ~ :t ::.. • j fl ~ >r ~ "1 .. ~ ... I:::::' ~ -:. ~ ~ ~ ~ I: . "4 ~ r ~ .. r ~ . 1 .Shout For Joy By Albert As played by t he Composer 9 Ammons onVocation Record No....::::.. ~ • 1 :: :._.. 1 _l • • I • .::::. . .... .. .=i ~ ~ -= . • I ~ ~ . . ~ tJ -------- · · fl U .t -J:: r---. fl ~ U 1 :\ :::::.. it and Copyright ~~. ft . ... " ~~ :::::... . ~ 1 1 ~ .4608._ -- I \ · · -r ft- <:» - Reproduced - it~"J:~~ .I ~ ._ -. I \ 1 I r · · ":J. ..::::...... 41 • . . ~ ~ 4 ~ ~ 11 .:4 :::::._ :~ .. ..!: .. >~ I • • 'l >- • • ...t~ • :::::.::: .~.. ta9t7 ..~~ 8 "it with per rniss ion of the Composer owner.::::. . 1 .. _l 1 ...._ J . ~ . ~ . " . I fj ~ ~ >- :::::. ::: = 11 · · fj .

Pete and Joe became famous throughout the Kansas City area. he ranks with the best of today's great boogie woogie artists. he not only plays good boogie with a seemingly inexhaustible wealth of ideas." They did (then manager of Benny Goodman). chittlings. Pete's teachers included Stacey La Guardia. Nor did they forget. "Roll 'em Pete let 'em jump for joy. Like Ammons. but does an equally efficient job on blues and swing tunes. crawfish. dimly lighted room. Cab Calloway and a host of other jazz immortals got their first push to fame. Solo Art. quiet. Anytime from the tenth chorus on. Willard Alexander. and Lewis "Good. Booty" Johnson. It was in the Sunset Club where members of his own race and a few white musicians went nightly to eat ribs. and then settle down before a badly scarred upright piano for some fancy keyboard work. . Pete has made several discs with the Harry James' Trio. Pete comes by his love for music quite naturally his uncle. Nello Edgar. and drink from huge half-gallon jugs of beer while they listened to Pete pound out boogie woogie. He also cut a series of solo sides for a private company. That was on Kansas City's colorful Twelfth Street. for together they secured the previously mentioned New York 1938 date for Pete and Joe. Often discouraged. Together. a favorite among musicians. it was a different story back in his home town where he played nightly in a smoke-filled. Thus Johnson found a name for his composition "Roll 'Em Pete. Johnson was a hard worker . Pete still can't figure why he's getting paid so much for doing the thing he likes most. In ability. enthusiastic members of the Sunset audience might be heard to shout. Charles Johnson. His style is more like Ammons' than Lewis' for it stresses rhythm. With both hands pumping the keys and his right foot beat' ing a solid tatoo on the floor. and John Hammond were advised and both were impressed. whose backwoodsy blues shouting is stili regarded by many as tops in America today. Like Lewis and Ammons. it was not unusual for Pete to play fifty consecutive choruses of the boogie. and greens. however.10 PETE JOHNSON Pete Johnson is the least publicized of the Boogie W oogie Trio. and humble." Stolid. each becoming more involved with complex ideas. It was Hammond who later arranged for them to take part in the Carnegie Hall Concert. Though Pete has only recently found a spot in the limelight of national music circles. so famous that on :\ visit to audition Count Basie.not that the three dollars a night pay plus what he could get in the kitty was conducive to such." In addition to his recording work with the Boogie W oogie Trio and Joe Turner. he would order a jigger of gin. to "dig the doings of Pete and Joe." a chorus of which will be found on the next page. in New York. Bennie Moten. He banged around playing house parties and odd jobs for a decade preceding his work at the Sunset. Duke Ellington as far back as 1937 called Pete "My favorite keyboard artist. Most of them played in the post-World War days at a disreputable spot on Kansas City's Independence Avenue called the "Backbiters' Club. but Pete loves music especially the boogie style. "Slamfoot" Brown. Count Basie." It was here that Pete got his early training. where Andy Kirk. gulp it down. was a prominent musician. Johnson IS Pete had as an assistant a good looking young Negro named Joe Turner.

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fine technique. Casa Loma." "Froggy Bottom. She has rejected them all. At seven she was considered a child prodigy and her presence was in great demand for public appearances. and modest. she mastered the style in a hurry. It is no secret that more than one big name leader. the result of a severe fall. not only through her work as a featured soloist but by her contribution of many fine swing arrangements. where she was born in 1910. some of her best known compositions being "Roll 'Em. complete symphony scores as wen as hit songs of the moment. In 1931 both Mary Lou and John joined the band as regular members. and Red Norvo." "Little Joe From Chicago. Mary Lou thought she would never play again when her arm was broken in three places. Gifted with a remarkable ear. and Mary Lou often got together with Pete Johnson for double piano sessions." and also "Toadie Toddle" and "Ghost of Love. Gene Krupa. They left the theater in 1927 to form a dance orchestra in Memphis." both woogie field." "Walkin' written in collaboration with the author. After two settings the fractures healed perfectly and she again resumed musical studies which continued until her graduation from high school as an honor student. from memory." "Camel Hop. in' eluding Goodman. including concerts at the University of Pittsburgh. she amazed audiences with her ability to play. and ten years' experience in dance music. she is idolized by thousands of colored girl pianists throughout the nation. time arranger. As an outstanding feminine leader of her race. heard them play and took th~m to New York to work a Brunswick recording date. Holder's band. have made her attractive offers to become full. saxophonist with the act.12 MARY LOU WILLIAMS Mary Lou Williams is a virtual newcomer in the boogie good laughs at the expense of the music critics who did not detect that a woman was at the keyboard on those early Kirk recordings. Fortified with a thorough musical schooling. Bob Crosby. Now she not only plays boogie woogie like a veteran but through application of her wide knowledge of harmony. unaffected. Louis Armstrong. and which she still considers her home town. . That was in Pittsburgh. She has also scored arrangements for Benny Goodman. who had taken over T. Mary Lou has consistently contributed a great deal to the success of Kirk's band. She began the study of piano when five years old. Kirk's Clouds of Joy had smooth sailing from then on. preferring to free lance." and Swingin'. As a composer she also has gained wide recognition. During a tour of the Keith Orpheum circuit she married John Williams. has augmented the style with some of the artistic little tricks that have long made her blues style a favorite among musicians. Andy Kirk. She answers their musical questions personally by letter. for she first began playing the style in 1936. had many Mary Lou is quiet. The organization made its headquarters in Kansas City. On the opposite page is an example of Mary Lou's boogie woogie style in her composition "Overhand. Mary Lou with her solid style of piano playing. Vaudeville called her and she joined the act of Seymour and Jeanette as pianist.

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and should be thoroughly mastered before progressing to the examples of Meade Lux Lewis. Exponents of the style usually have several "standard" addition to some of their own invention. When these ideas usually played in the keys wherein the least number of black keys (C. yet insuring a degree of practice in the division of thought needed to play The damper pedal should not be used in playing boogie woogie. Johnson. By experimenting at various tempos. you are in for some good "kicks. However. boogie more complex patterns. repeat these same examples applying some of with treble ideas of your own. For this reason I have written all the following examples in the key of C. I have written the examples in this fashion. you can determine In the following examples. as either is correct." For those who haven't had a great deal of experience in playing boogie woogie. therefore. I have purposely simplified the treble part to provide adequate development of the left hand.14 Because of the vast number of possible combinations. and Mary Lou Williams. At this point you should also begin experimenting start developing. The majority of boogie woogie pianists prefer to play the bass figures in dotted eighth and sixteenth notes. This is entirely like best. the effect you . it might be well to remember that the left hand should become so automatic that it operates without conscious thought. Because of the more simplified fingering. figures in make excellent preparatory exercises. a matter of taste. are encountered boogie woogie is After mastering the Lewis. This can best be attained by practicing with the left hand alone. and F). especially in the faster tempos. these examples woogie bass figures can be created in almost unlimited numbers. As mentioned before. and Williams compositions patterns and noting carefully the structure of the treble therein. Ammons. beginning at slow tempo and gradually increasing the speed. the treble ideas of these artists. Pete Johnson. Albert Ammons. G. thus leaving the mind free to create right hand patterns. some prefer the use of straight eighth notes.

or harmony chord. G Seventh (GB D F) j \ · · fl I ~ I t.Basic Form of Boogie Woogie fI t. chords measure ten may are the above represents the basic chords form. innumerable changes may be made in harmonic (B~). The F seventh to permit the 9th (D). · · F Seventh (FAC E~) fl J ~ 7. An addition in the second measure of all three gives the effect changed of a thirteenth the F seventh to C major with or C seventh nine. C Major (CEG) F Seventh (FAC E~) C Major (CEG) 15 J I ~ t J 2.. F ninth and G ninth the use of a two chord in measure To any of the C major often used to replace is sometimes to G seventh may be added the sixth and G seventh (A). 3. C "lick" in measures be changed one and two.8 817 . C Major (CEG) · · While structure. · · fl \u I 4. F Seventh (FAC E~) 11. C M a jor (CEG) 9. F Seventh (FAC E~) 6. C Major (CEG) 5. the minor seventh chords. C Major (CEG) 8. C Major (CEG) 12. For the same reason to correspond measure the F seventh t. l 10.J 1.

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. iT ~ -::» ~ VI/ · 4t. '"r <:»: ++1 I ~~ - · .> ".." ·- f} tJ ~ . - . .4t~ ...· ~ ~.~#.STYLE No..- ~. ~ _l . 1ii · .. f} II tJ . . ~ -'--" I fl ~ .. · . . - 1 . . v- . - -...»: ~.. ...t 1) .. ~ <c:»: · ~ ~ · · •• • 1"- ·• ·<c.. ~#Y' .t . .~~~ .~~ . · · . ~ ~ -' "'--" I .. <c:»: · ~ ttJ < · · -'--"- -- ~ '--" · .. I.. 3 t 1 :... .· 4 1 ... .. ~ ~ <:»: j · · •• • 1"- . jl · · ~. ·• · ~ ....~~1t ... ~ . . ~ #? 1) 1) · ...4 - ""4'- ••• -:. -~ ~ '--" · · .~~ •. ~ ~ <c.... . ._.20 35 fl u · ·~.. .. 1'1' I ~.. 1 1 ~... ~. ~ ~ ~.~# . .. 2 - ·• . .· -:J. ~~ ... - ..4t .. • . ...

.__. .....t. ~ ..__. fJ t) · ...•• fl j ~ ~ · '_'... ·" · · • ' \lfl • ~. • . -.\~-. =~ -.. · -.__... . •• • iT .....21 fJ j ~ ~ ~ I '\'V- . ·--..J #.to -..__......-- ~ I I\~J- .-" . .. · • \1" .__. ... .__. .36 STYLE No.. · .j....-- ~ ~..... _.J#""" ·~ ~ "--' I j \ · · ....-.....-.." . .. -' ~ -7/ .... .'_' ~ 'V-- :./ I · · ... ---:... ~ . 1 .... .__..t~ . 48917 .. * ~ ~ '-" ..~# .__. ·"'.... t) -..j.... l· · ..

-w · --• ~ _. ~ 1 .. ~ c:J" I . ~ · #.:! .... 5 5 2 3 . • TT -:. .. --'----" I · · ••• · "" · ~ -tf- . ... 1 #~ ...._.. · ... .. __ ~ a s l~ . · · . 3 2 ~. fl j ~ tJ . .STYLE No.--.. <:» I . 22 fl ~tJ 37 · · . .. "" ~ '--"-- \'1JW' .. ~ · · 4·~ 43917 .. ~ -. * . --w~ •• • · ~ . --# •. . . "I ••• · 1fW" .4'4 .. ~ fl ~ ~ ~ · -'--"--F· . . #. ~ .. .• · · ~'1i #. .. 4'~ 4'4 --1·... --'--"-#. .~ . ~ < \ j I ~ 1 ''I tJ -__-# ..-w ''1'- .. '#. #. ~... 4·'4 · · rr 2 '1J I ...· · · II · ... I ~i '--" v- ·I I · · "4 • '41- · .. ~ . ~.. ~'. fl jtJ ~ · •• • I -'--"-- -v-- · .

~ tt'. =it. ~# ..... ~ . f1 I tJ v- -'--"'- / '\ · · 4J.. fI' ~ '--'" '1... ~ f} ~ <c:> t ~ --- v- .. .t #. .....STYLE No. fI' .· v- . ... · .... . -· v- .. . ........ - T ... . . · v -'--'" I · · . . · · ~ -'--'" - . .... v- ..... . . -.. . ~ <::» · ~ ~ '--'" · · .. .... . 23 f1 I tJ v- · ... · . · · ~I '--'" . · · ~ <c:> .... · ~.. 1'" .~#. .. 4J . 11'- .

. #. ~=.. . #. 1 ~. 1 ~ '--' .. . --. I... \.. v- ". ff- · • 1917 .~-. " ~ ~ -____......· ~ fI I U ....-.. r . . . tt ... .. .. ... .. ~ -~ ..... .- · · . . ~ · -____.- ).... ~.24 39 fI ~~ · · • 2 1 2 2 1 1 .. . f} j ~ ~ -____.j..... ~ ~ ____. ~ . . #.. ... ·tt- .~.-" "V- · ~ -____. . - ~. ff- .... .#...--.. ~--. ~"!. ~ ~ '"'____. ...-. v- · . ...·4J.· -- f} I ~ ~ · · I ~. . ~..~ ... .. ~. -____....STYLE No....· · -:.. ~-____.-..- . ..- · · . • • -... 1it.....

.....25 fj ~ ~ ~ · .... ~ ~..~ :~ .. • • f'l r1 I t.. v ~ '-'" I '"11 .i. ~ #. - ..:t .·~ . · · •• • ~ ---... . · · ~ .__.. .. ~ ... · · ••• 11 · · ••• · ~ <:> I v- . . ~..... j · · ... ~"-/ I I @....40 STYLE No.. :t . --- .. ~ ...~ ~ -'--" ~ ~ . ..~~~ 48917 .. ~ • ~ #11 .. ..... ·4:#. •. - .. ..J "1)- 2 · · #._. · ••• 'If ~ --- ... II .... ~ . • • • 1'1' . · · •.:.. ~ .- j · · · ••• .. .J · · ~..-/ I ~ ~!..... ~ -. .. .. · · -· · :... tr .• :#.. . · · · I fl ~ ~ t..:._"-/• · ... ·4:#":~. ..... • 4 ..I v- . fl ~ @.....:. . ~# . ~# .".. ~ .. ... .. .. .. v ~ <c:»: .. .• ~~ 5 5 1 3 3 (#). Il ._. .. '4' 4 ...._..... .~ ~ ~ "-/ .". • •• ~ ... ~ "'.- " . ... ~~ .. ~ - ". '4' .. -.... ...

:l «J n (G~) J I DJ IF ftr .10098..and "Gin }Iill Blues..Many instances could be cited wherein this style of bass has been used." Decca No. "Walking bass" might well be called the missing link between boogie woogie and the hlues.~ r ~ II ct rf rt rtl rimPntr?l . Upward in walking bass * #~ ~ tJ: . 1670 and No.fl.j 2: fi3 J I J #J MAJOR IF F II 2: J #J ~J J 1#3 .~. ¥J. tJ: 3 - J tid F I-. \ of pianists prefer to use the fourth on the black " 48817 . Deserving of special mention are Joe Sullivan's compositions." recorded by the composer on Decca No.~. 31-32.' BluebirdNo.fe-f d.~ II 2: &J d 3 ~J I ~J ~J J ~F I ~F m MAJOR A~ MAJOR r j F ~ II ~ 3 E~ MAJOR j d I ~J J F I'F II * t):JJJ&JIJ The majority b 3~J II 9: J J J bJ I J finger on the lower note of octaVtlS which occur F MAJOR rrr keys. "Just Strolling.Fats Waller has used the style on many of his recordings including his "Alligator Crawl.. ~ • J]. 1710. 600 and Commodore No._ ~.2 J eJ ~• r II-. and by the Bob Crosby Orchestra (Bob Zurke at the piano) on Decca No.: r¥r·fr:. walking bass is applicable to all chords and all keys. D MAJOR E MAJOR Downward in walking bass .E ~~ -t. All of the exercises following should also be practiced one octave lower than wrtttene PREPARATORY EXERCISES C MAJOR SCALE 4 J J J IJ J Upward in walking bass J II J J J IF • _~ G MAJOR SCALE r . Because of the simplified fingering involved. J J #J J I.. J II 2: CUrtrIc} Irlrfr+tfll tt Downward in walking bass In a like manner work out the walking bass for the following major scales. 1170. Mary Lou Williams employed it in the Andy Kirk Orchestra's recording of her composition "Little Joe from Chicago. Walking Bass (The Missing Link) 41.#F ~ --F B MAJOR A MAJOR II 2: J #3.J #3 D~ MAJOR j II II .

) ~~tf BI. MAJOR (EI. Wa lking Bass for two measures ~ ~ 6th..) .DF) #~ftH F AI. MAJOR (BI.-ljJJ. MAJOR (AI. of a <econdar-y seventh chord.j1~J. • (Chordal Tones GB DE) f): i' IrJr-frZCEIie-frtctEEIE"f-rotrYrt" and two measures B MAJOR 6th (B D# F#G#) In a like manner work out the walking bass for one measure ing Major 6th chords. ~ ~.m) 6th AI. 3g iI ~o ~o" ~d] G MAJOR (Chordal Tones GBD ) II!): § I rf Walking BassGfor .jJ.) MAJOR 6th F#A#C#D# Gl. ~tr in modern usag-e it is common- to as a major with the added .1~J. • ~ ~ rJ rh:ll1 MAJOR (F A c) In a like manner work out the walking D MAJOR A MAJOR (DF#A) (AC#E) bass for one measure E MAJOR (EG#B) of each of the following major chords."J~" ~ of G ~ . B MAJOR F# (my MAJOR (BD#F#) (F#A#C#)(GbBbDb) ~§ DI.42 Chromatic scale upward in walking bass. However. Walking Bass 7J= ~. C MAJOR (Chordal Tones C E G ) t): ! IJ a J un Walking Bass for one measure of C Major.GmC) 6th BI. one measure of Major . 6th G M· ajor .) Wtt C MAJOR 6th (Chordal Tones C EGA) . Major ~ of each of the Bass for.CEI. MAJOR (AI. C EI. FAI. MAJOR (EI.F) 6th EI. G MAJOR 6th ItJJ. D MAJOR 6th A MAJOR 6th E MAJOR 6th (DF#AB) (AC#EF#) (EG#BC#) follow- F# (GI. MAJOR (DI. MAJOR 6th (ni n FG) F MAJOR 6th (FA C D) MIF * Harmonically ly referred 48917 this chord will often chord constitute an inversion sixth. m MAJOR (mFAl.1 EI.mmEI. Walking one measure 0f Walking Bass for one measure of C Major ~ ~tf F for two measures H of C Major 6th.fn t! F ~ 6th. ~ lr-fr. G BI.

2 r d· • dr--II~j-""_~j J. = J.. I.2 G' 7th ~C~Ordal Tones GBDF) 2' I I r' t • j' r rf r f II No.: ~J. or both.-I!.. ..1 and Style No. for better voice pr-og-r-esston. Walking Bass for two measures of C 7th Style No. j J..1 j J_. J I ~j' t rJ J * Note the use of chromatics .E r' • Style No.. j 13 C· £ ~r'll1. J j ].. (DF#AC) (EG#BD) (mmmF~) (B D#F#A) (nA#C#E) 2: #tf D~ 7th (D~F A~C~) II #11 A~ 7th (A~CE~m) .2. Style No.. the 6th is usually included in either the upward or downward walk.1 t.. A 7th D 7th E 7th B 7th F#(G~) 7th (AC# EG) ..__. II In a like manner work out the walking bass for one measure of each of the following chords.1 Style No. ~~ II Walking Bass for one measure of G 7th Style • Walking Bass for one measure of C 7th Style No. !: II .43 C 7th (Chordal Tones C E G B~) 2: ~ IIJ.I I I #~#D ~~f B~ 7th (B~Z> F A~) II 2: II~tJ II "tn E~ 7th (E~G B~D~) F 7th (FACE~) I btl I ~H II !zD II In playing the walking bass for two measures of a 7th chord. C 7th (CEGB~) with added 6th (A) 2: ~~""I . J~J"".

481117 .. II 2 L" f c' W j' f c' f: I r f r £ c' f r' f I r'w (B) . altered..2 j.Ae) with added 6th """-.1 ·G 7th (GBDF) with added 6th (E) ~I)J) 2: ..) II In a like manner work out the walking bass for each of the following chords. augmented._ (Ae#EG) with added 6th 9: #Ufb E 7th lUfr) (e#) II ftU£3 B 7th ----- --..2 (D F .__. Style No... L"f D 7th rEc'!1 rfc-fr'f A 7th Style No...t 411<'e) (F..Walking Bass for two measures of G7th Style No..1 and Style No..t1J1<eJ added 6th II (G) F -------- II (D) B~ 7th (B~DF A~) with II Ill§) 7th (F AeE~) with added 6th !D<el II With a knowledge of chord"spelling"the skill acquired through these exercises will enable the player to use walking bass 'on minor.. and diminished chords. II (G#) 2: (EGfBD) with added 6th .....i~ F# 7th (FlA#e#E) m 7th (mB~D~F~) I f §!td~ (BDtFlA) II #"@ D~ 7th I with added 6th i!Jtlel added 6th II 9: with added 6th with added 6th (D#) (E~) n#@ bla@ I iD(leJ added 6th II (F) "ttr~ E~ 7th (m F A~m) with (m) 4fu:<~e) D~) with added 6th II (e) A~ 7th (A~eE~G~) with (E~G ~ .

. This style. like boogie woogie. The style is very flexible and the "bass walks" may be done in many different ways. the chord.46 Application of Walking Bass Definite rules for the application of walking bass would be impractical. Avoid long jumps and. was developed by self taught musicians who depended entirely upon their "ears!' On the following pages are examples of applied walking bass. using chromatics and passing tones to improve voicing. make the bass melody pleasing to the ear.like those who developed the style. A perusal of these examples will reveal the object which is to weave upward and downward through the notes of.

...L- 11 • VlI • ~ .. 0 •• . i 0 >- 1 >- j · · ~ . 0 • .. .!! >0 >- :::::>0 11.. Symbol 2.8917 D 7th (~...:T (qjt · · flu ~ G 6th ._)1 D(I ) - 0 tt::1 i."I 0 . bi .46 Application of walk ing bas'S to a twelve measure theme from the Composition. ~ -.-.. li • = . .. "i. If • :> I 0 e. FLINGING A WRING-DING By Sharon Pease "I 1 1111 C 7th G 7th 1i • flu :::::>- =. 11' -'-'- . bll 0 "i' which · · G 6th = 11 l1~o #~ 0 To #T •• \tt) . i~ (q)i '" 0 ....:: "'I -o "'II • #~ ===r 0 #~ 0 4 (q~)l · · ::. 0 0 .!II!! DI C 7th lio "i . marking . tJ~ !6th..i denotes the chordon wa lk ing' bass is built.. 11 • - · · flu ~ C 7th L . ... .. .. "i0 #"40 . .... 0 G 6th f ..101 D 7th ~ A aug 7th (~~ 7th 1 G 6th (q)•• #tJi A#dim . ~ A :::::>0 - G6th t - li. -.. Players 4. :::::>- 0 = .. .. :::::>- '" 11 • ..J =.. 11 • .. h.•.. >- li.. 2 lie "4' :> I 0 - .--". 4' = . ""! • > · · 1. with small hands may omit top nota.

j • =....... · qt~ "'I :> r· ill • ..C. · '. . -. . ::>::> -. · · ~ = 11 • ~~..bi · · · :> • :> ~ . ::> :> :> ~~ . . · · 10 .. · · .. · "t. ·· G 6th '11 • -I . 1 :> . 'it '. • · . :> ill • -.~. .. ~.--.111 . . .= :> i. · · -. ..47 Fur-ther development of the treble by use of a "lick" throughout the first eight measures. • > · · II! 4t ~q'q)J · · 4891'7 D 7th '" G 6th (q) •• 11 • VlI • 4.. . G (q)lI • · ·- G 7th = "iI.. b7J • ::> - v- = fi . .... =i • #~ .'(~)18 · .= ~ '11 • .. 4 >- 'i.r . 112 :. #~ ..G G 6th · · = i. :> ._.. . . 4iJ · · ~~ / C ·· · '(\J). II 11 • li . · · C 7th :> ~ .--.#~ .... . #.J. :> \ eJ < J tt :: A aug 7th ( )-e- #~ ·1 G 6th (q)i • #ttJ A. · · 11· i. = = 11. :> -• "i -.r:. I ::> ::> G 6th - · · · · ·q"__:..... >- -• "4 . ::> :> .--.... . .J.. :> I'" -.. (\J)-:____ . ::> oj • iii C 7th -· . IIJ.. " I_ •• · · · . ::> - · · · · -iI • . · I'1 • ill • • G 6th ·· · · .c...:: 11 • . ::> .. .. II~ ::> ~> tJ · · ..... :> ~..~ 11 • ~~ .dim I · · fI~ D 7th D 7th -. !l f'lJ.

.. >I li. . .. . . 4 >- >- t D 7th A aug 7th (#)~ D 7th I G 6th #H:t A'dim · •• >- li. !I .. - #•. "4... ~I~ ~ ... .. . >- - . >tt .. - ~i. . r • >. = 11· lEI ~. •• >- iii 11 • - 111· • ~ . = = ~~ .. 12 1'1 ... • . >r r G 6th r .. •• .. .. C 7th III i· -I -~ ~ .. = 11 • 11 • . . L >- b. . _!I G 6th i. II I~·M_ G 6th · = 11· 11 • .. ~ :~ . • . "1- ~~ 4J .. ~ - . • ~ G 6th 111· b. = 11 • bi . .... . . (~5 •• >- i.. =t . #~ .. • .!! G 6th i. #-- •• \It.I r - . "i • · · =• 11 ~~. I 'l~ < I • · · ..• J' Ioi" . . C7th >- >- - · · li. = = "i... ..!! I I . . . C 7th -= ~ i •• . #4· · · 111... :> _. bi . -. >- . 1 . . ~...48 Introducing the Dixieland uLilt flJif eJ · · •• G 7th >- .. tt.. . ~ >- . t ~~D)1 · · 48917 D 7th (~) .. .. • 1 - i. 1 r ~ -.

'l011111. INC.the profess'ona' p'arer. ~~rg~~~I:~~I:~ . The perfeGtt.hows rou how easllr BOOGIE arran"emenfs mar be appll_ 'fo popular fallorlfes. BOOGIE WOOGIE COMPOSITIONS In B008'E "'008'E PlIlNO SlYLES No. A.xt booll for the student-the teacher.2.f!'lfltltfl 1!&U. FORSTER MUSIC PUBLISHER. S. SHARON PEASE. BOOGIE WOOGIE PIANO STYLES No.2 Shows you the ProFessionalusc of ANTECEDENTS AND CONSEQUENT PHRASES BELL CHORDS RHYTHM PAmRNS AND PRINCIPLES RIFFS AT FAST TEMPO ENDINGS HARMONIC VARIATIONS SINGLE TONE MELODIES THIRDS • INVERTED THIRDS INTERLARDS TREMOLOS • TRILLS MINOR BOOGtE . BOOGIE WOOGIE PIANO STYLES No. analyzes the clements of BOOGIE WOOGIE so completely and thoroughly that you will be Ible to compose your own BOOGIE WOOGIE seledions..2 PRICE $1. Icclaimed the leading authority on the subject.25 IN U.