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

\

I

\

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Copyr igh t O 1941 UNIVERSAL MUSIC CORPCopyright Renewed

All Righls Reserved Used by Permission

\

Johnson

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boogie woogie for beginners

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