Cloptn, Onn
THEBOOGIEV/CCGIESTYLE 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 3yncopofionsogoinst 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.
Color ord Effrctr 03 Boogic Woogic ir on intimofc pcrrcnol cxprcrlion, Ycrf rich in "ctfilQdt" ruch lhc rhythm, color, powcr, clc. Whcn lcsr convcntionol nolcs orc ulcd ogoinst this boss, ond vorying rhodcr of Boogic Woogic "colo/' comc ouf. Nolc thc rhyfhmic forcc, color, powcr in thcs. chordst
From loco
"&ass
On Top"
6y tlfeade "Lu.s"
Leuti.s
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C o p y r i g hOt 1 9 4 1S O N G SO F U N I V E R S A LI N , C CopyrightRenewed All RightsReserved Used by Permission
Boogie Woogie hor no melody o( ils own in the 3cn3c tho? o populor song hoc o melody. lt is bosed on o simplc chord potlern consisting ol twelve meosurcs. A Boogie Woogie improvisolion or composition consistsof differcni voriolions boscd on ?hir chord pottern.
Boogie Woogie chord Pottcrn The pottern is built oround the ihrec fundomentol chords of o scole,the l, lV, ond
v
In rne '\ey or L, Tne I ts
the lV is
ond the V i3
Thesechords follow eoch other i n t h e s e q u e n c el , l V , l , V , l . P l o y t h i s s e q u e n c eo n t h c p i o n o o n d n o t e h o w e o s i l y o n d f o m i l i o r l y t h e c h o r d sf o l l o w e o c h o t h e r . I chord
U
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o lV chord
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I chord
a)
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V
chord
,,-. (6) \_-,/ fl-Frt
@
=f-f-t
I chord
O f t e n m e o s u r e s( 2 ) o n d ( 1 0 ) c h o n g e t o t h e f V c h o r d .
@
A Typicol BoogieWoogie Chorus T h e f o f l o w i n g i s t h e f i r s t c h o r u s o f P e t e J o h n s o n ' sv e r s i o n o l K o y c e e o n M y M i n d . M edium B oogi e W o o g i e T e mP o
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C o p y n g hI t 1 9 4 1S O N G SO F U N I V E R S A LI 'N C '
Arr RishrsSgtJ'Sit?r"*"0*#""'.n'.",on This chorus is rich in Boogie Woogie efiecls. Note the rhphm ond color in ihe right hond. Note the syncopotions in meosures (4) ond (10), the "lremolo" in meosure (8), the o f f - c o l o r c h o r d s i n m e o s u r e ( 4 ) , o n d t h e v o r i e t y o f s i x t e e n t h - n o l ed e c o r o l i o n s i n m e o l u r e s (1) (6) ond (10).
.1
Suggcrllonr Bcfore you con ot?empt to ploy Boogie Woogie lcorn how to get the most out listeningto it. of
( I ) lool
o t m u s i c _ mok i n g os on expression, rother lhon simply os on ottempt lo c r eole b e o u ty . l f y o u h o v e o stondord conceplion ,,good of piono lone,, os being " beoulifu 1 " ,,, c l i n g i n g ,,,,,s w e e l ,,, e l c" ond oppfy i hi s concepti on to off musi c-regordress the form ond expression of of rhe music in ques?ion-ger rid of ihis notion quickfy. When you heor c ho rd s l i k e th e fo l l o w i n g ,
Fron
" B a s s On Top,t 6y i f ead e ' 2orr,
.Leu,i s
8 u o 6ussa lo lhe en'd
Cqyngft@ 1941 SONGS OF UNTVEBSAL.tNc.
ArB,ghts rgJS t#ffr"-o";"
"
don't listcn jor o,'beovtitvl,, or ,,clinging,, lonc.In this po'_ sogG' from A4code tux tcwis's Sosson Top,thc cffcct intendcd wos nor beoufy. ff ,hc chords wGre hcld longer or ployed "bcourfivily",rhcy woufd bc,,corn y,, ondlhc originor composition would be hopclcssfy out of losle. As o mo'cr or iocl, o ,,corny,, rendirionis onc which feolurcs orfificiof effecls-efiects which thc performcr did not hovc o genuinc feering for exprcssing' ond which he threw in tostcfcssfy ond pointlcssly. This ir why Jozzr3 difficult for the unlolcnlcd ,o ond so simpfc for rhc torcntcd-ony music which is not fert properly ond is not performcd in torre comes ovi,,corny,,:.
(21 Do nol oppty anl convcnlionof "rules" ol dynomics (dcArccs of foudncrs ond softncrs) to Eoogie Woogic. Thc dynomicr in Boogic Woogic orc porf of, ond contoincd in, lhc originol conccplion of idcos. (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 3cn3cof 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,hingfrom 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
I
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l t t t l
l H l t l l
r
Coleman and' Bishop Edeel Ammons
7
t \ I I \
t l
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I
Copyright O I941U p.,,.i rri on ArI Rishts t""::tJ::' ?,"J"0*o"vd
f f y ou fe e l ? h e s e n o l e s o re " w rong" Boch used "vtong"
you w i l l feel thot S i rovi nsky, R ovel , ond
even
noies. In Boogie Woogie these chomolic lones rnusl bc listened to for
whot th e y o re i n l e n d e d . A t i i m e s rhey devel op on i deo, ol other l i mes, they gi ve " color ", embellish,elc.
(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 beginn c r' s s l o g c .
cl
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Lhapte, Jwo
TOUCH How fo moke sound come out of o key is not the problem of ploying the piono. The f undom e n to l p ro b l e m i s h o w to p l oy notes consecul i vel y i n l i me. l f you hove o system o{ piono-ploying which reods for ihe most port, "don'l use lhe orm, don't use the wrist, don'l use the fingers, don'l use the keys" . . . throw it out. You con never be hoppy under such c o n d i t i o n s . A n d y o u c e r l o i n l y c o n n o i p l o y t h e p i o n o . P l o y i n g n o t e s c o n s e c u t i v e l yi n i i m e , ond with the tone desired is indeed o problem. The solution lies in reloxing ond controcti n g t h e p r o p e r m u s c l e s ,o n d i n u s i n g i h e l e o s t o m o u n t o f m u s c u l o r e x e r f i o n . A s o r e s u l t , o n y " b e o u t i f u l " o n d " s w i s h y " h o n d m o v e m e n t s o r e o s u n n e c e s s o r yo n d t i r i n g o f f h e k e y boord os they ore in brushing your hoir. Foncy hond movementsleod to lock of musculor pr epor oti o n o n d i n d u c e fo ti g u e o n d l ock of control . In foct,
these foncy hqnd-fl i tti ngs o r e
f ov or ed b y rh e " h o m" o c l o r w h e n he pl oys the rol e of o pi oni st--on o dummy pi ono.
Method Don't be ofroid of the piono. Do nof ploy feebly on top of the keyboord. Ploy "inlo ?hekeys" to ocquire o firm touch.
Hit rhe following note:
Now, when reody, hit this noie:
When
ot oll timcs The frecdom with which you executedthese three notes must be presenl more conlrol' when you plqy. T h e f o l l o w i n g e x e r c i s ei s i n s t r i c t t i m e , o n d d e m o n d s the exercise Whether you ore ploying pp or ff, ihe qttock on the key mustbe definite.Ploy il ' os slowly os you wish but be reody for eoch nole before yov ploy
Ariiculolion (clority in rhythm ond louchl Ploy eoch note with the propGr omouni of force ond hold eoch notc prcciscly for the durotion indicoted.
exercisc (l )
e x e rc i s e (2 )
exercise (3)
e x e rc i s e (4 )
C|opt,, JL,,n
THE LEFTHAND 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.nolGlor
Figurc
In thc following bogs ftgurc, for cxomple, thc bcginncr oftcn ncglects 1o sTli6ufote ficr
nolca.
Thb regufrrin 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.
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I n t r i p l c t s ' ( D o nol let the rhYthm uPset thc clcor oriiculotion of coch nole in the figurc).
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l n dotted eighths o n d cixteenths:(Attock the sixteenth with o definiie strokc).
potAftcr hoving studied the boss figure in thesc rhphms try to ploy thc boss in thc chord tern. Eoch note must be even. Pfoy in stricf time ond tokc Yovr own ?empo'
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Work ouf o similor exerciro employing the difierenl rhythms on the following borsert
Don'l be ofroid of ploying on block keys. Unlessyou becomo occustomedto 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
stroight eigh?hs:
sixteenths:
Reversc:
P l o y t h e f o l l o w i n g w o l k i n g b o s s in the Boogie Woogie chord potlern, olwoys ot o consistentspeed. When you feel you con ploy it fostcr do so, but ot o consistcntsteody speed. After ploying in eighths iry it in dotted eighths ond sixteenlhs.Don't ncalecl ihe orticuloiion of the sixteenth notes.
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 s o u n d sl i k e r h i s : 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
ed
Figurlr
thcm os suggcsi' most frequentry uscd. study The forowing boss figures ore thc oncs fiem 03 you os indicored. You moy fingcr in this chopter. They orc usuolly fingcrcd
wish, but keep the fingering consislent'
1 3
56
2
I 6
7ll 666
tl 66
56
lI
E lls
-l
/"t
Chapte, Jon,
THE RIGHT HAND Rhythm ond Dynomics
Oftcn the beginner kills ony choncesof 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.
fl
*-d
-
-
\
-
:>
-
\
\
\-
:>
>
>
>
>
>
>
>
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\
\.-
\-
-
-
>
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.
ft
d
The bcAinnershouldrcolizethot the right hond hos o musicollife of its own which connotbe dominoiedby the left hond. The right hond keepsin "swing"with the left hond, but refoinsits own personolity.
-
Heftod to build thc hobit of The mcthod for dcvcloping rhe right hond consistsin the ottcmpt ond of orticuloting coch fcjing ihc cxoct mconing, dynomics, ond rhphm, of coch notc, figurotions occording to ihc noro cxoctry o3 you fccr it. proctice ihc foilowing righi hond so thot lhc porsogcl phroring, ond dynomicg indicotcd. Articulolc cxoclly ond clconly, 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 suggesfeduse one slroke ond use the some finger'
(2) "Crushed" nole to o single note
T h i s p o s 3 o g e o r i g i n o l l y s o u n d sl i k e t h i s '
To goin the effect-ploy lhe "crushed" nole os close os possible to the note if decorotcs with the somc finger, using onc strokc.
Dccorolions
'^e phrose writtcn
sounds like
The phrose written
sounds like
The phrose written
s o u n d sl i k e
The phrose writlen
rounds likc
Trcmolor
The phrosc writicn
is ploycd
The phrasewritten
sounds likc
Remcmberthot thc speed ond swing of o compositionhos much to do with the besf woy to ftt in there efiectr.
Erercirei
on Boogie Woogie Effeclr
Don'l let rhe effccr upret the rhythm.
C|optr, 3i,
BCTH HAN DS Whcn thc bcainncr morlerr fie following cxcrcircs hc will bc oblc to ploy Boogic Woogic wifi frrdom
ond with thc right "3wing". Thc inlroductory crcrcircs con-
ond eor,
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
r
m
-{d
I
!
I
-
-
l ,
I
sincc thc bcginncr hos nol cnough commond ond control of thc piono lo mokc ony Progrcsg in Boogio Woogie from guch o siondpoint thc excrciscs feolure rhythms ffiot "swing" ond hovc o musicol mconing for thc bcginncr.
3nggerllorr 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
IntroductoryExercises Exercise 1
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Boogie Woogie Exercises
Exercise 1
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Exercise 3
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Exercise 4
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Exercise 6
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Exercise 7
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Exercise I
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Exercise 10
Exercise 1l
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E x e r c i s el ?
Exercise 13
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EASY MUSICAL TERMS Pronunciationin middle column; the strong syllables underlined.A fairly accurateEnglish spelling may bc uscd ::: all the ltalian vowel soundsexcept 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.)
G E N E R A TE X P R E S S I O N S .\ss.rt Bex Cooe
(AH-sAH-Er). . . (nevx)
(e
( xoH-oen )
( ronx )
LON
DrCrpo(D.C.) ,:.. D.*r SpcNo ( D.S.) ('rj) E ( aeronr vowEt,, Eo ) Fenvere (za ) Frxe GlrssrNno (cr-Iss. ) \{olro \ox O p u s( o p , ) Orr.rv,l ( 8ve )
(DAH KAH-PoH ) ( DAHL sAYN-YoH ) (AY), (^yo) ( 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 )
Poco A Pctco Pnruo ( l' ) Scxenzo Set,rpne Sexzr, Srvn"s ( srv. ) Tpxwo ( rrx. ) Tnoppo
A great deal Well Short added section sometimesusd to end a movement or a Piece. with . Return to beginning and repeat. Return to sign and repeat. And Hold ....The end Slide through the notes. . ..Verymuch .Not A published composition Play octave higher or lower, dependingon position of sign over or under the notes. Little by little First, ai in Tempo 1o-return to first speed. A playful piece Alwavs Without The same Hold .Too much
E X P R E S S I O N SO F I O U D N E S S A N D S O F T N E S S Cnescsxoo ( cnnsc.( ) DrvtxueNDo ( onr.) )
Fonrs(t) o (fr) Fonnsstu !{rncrro (r.r,rnc. ) )Iezzo )lezzoFoRrE (^f) Mezzo PrANo(*p) Monnxoo Prrxo (p) Prexrssrvo (pp ) Sronzexn (sfz) Tne Conop Uxe Conpe
( KRAY-sHAYN-DoH ) ( DEE-MEE-Noo-AYN-DoH )I ( 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 )
Graduallylouder Graduallysofter .. Loud Very loud Emphasizethe tone Medium . Medium loud Medium soft Dying away Soft .Very soft Sharp accent Used after Una Corda to show soft pedal no longer needed. Soft p"d"l
OT SPEED EXPRESSIONS AccsLenANDo ( rccnr,. ) Aorrclo
( ex-cHAy-tJ\y-RAHN-DoH ) (eH-oeH-toH)
Gradually speeding ,tP VerY slow
t aY ruacaL
T:
s (Co'd;l'n/,.,ill
Agitated' excited -. . .( nr-pr-rrx-mn ) . AcrrAro i?U-note is unit of beat; also called cut time' ' ' . . (,rn-rex aRAY-VAY ) ALrr Bnsvn (/) Medium fast v-ron ) . "i^"-'^t** .{LLEcRErro ALLDoRo(*r-r.rv'cnon)..,'Fast Slowerandbroader . i^;-t.^t-."enx-oon) ;;;;;;(ir.renc.) Medium slow v) i^*-o Axr,rvrs , "ot-t .A bit faster than Andante I i^""-t ANDANTINo ""-ttt*"t In time (^" r^w-"on ) A TEMpo Slow and dimiffd " . i"n'rx-v'rY) " Cnrvp ............... Fairly slow ind broad . ( uurncrt-non ) l,^ncHETTo Verl slow and broad ......(unn+ox) L^nco .............. 'slow (urnr-ron) Lelrro ............... Less ' " . ..(r,,r,lv-won) Msxo...... Medium speed -nev-nrH-ron " " " . ) i^'oT Mooemro (rroo.) More (err-oo) . ...... .. nr.i fast Verv . . i"arv-sron) PREsro............... .' sbwer; usually used before change of ;;;il;it ( n,ru-r-evx-r^HN-DoH) " . Rer.r.rnr,rxpo ( neu, ) temoo oi at end of Piece. as rall' But ustd elsewherein Piece' SamL ( nee-r'rxn-o'$rx-oox) RrrenorxDo (nrr.) . Sameas above . .. . ia""-rer-noo-tou) . Rrrsxuro (nrr. ) Faster . (sr*te*-lrvr-oon ) (srruxc') .. il-";;; bii6"f tpeed; usedafter a slowdowrr or speed(TAyM-poH'REE-MoH) . Tevpo pRrvo (f.) ,rp io thoi return to ffrst sPeed' " Lively (ver-v'rncIrr) Vrvrce (vrv.)...
E X P R E S S I O N SO F g T Y t E Ap L1nrruv ( eo rrn. ) Axturro Axrurro Bntr,r,,trrE . Crxr,rnlls
EI" ;n;;^
i;;
il;'"'"
) iAY-NAYR-IEE-K.H (^"-t"RAY-sEE.-voH )
( Esp.)
iioo-ron ) i"^^"*-DEE-oH-zoH)
Grusro Gnenproso Gnezroso LelrsNToso
Hilffi;.i
MoH-roH)
At liberty; as you wish Ltvety .r,.- - ll-t:tt ' Withbrilliance ' In a singing manner rrl.rl,
Movealong ^.1
-
with gne'rgy t r 7 ' e l
il;;";
gr"*rrvo
( rno LEE-BEE-rooM) (^"-*EE-MAH-roH)) (en-NEE-MAH-roH '(nnEe-LAHN-TAv) i*^**-teH-nnE-u'v )
(cnAH-TsEEoH-zoH ) (LAH-MAYx-roH-zoH)
. . . .. l",l:*:l;T-'""1
(rry-IAy-nox) it^tt-^vs-roH-zon ) . ( ven-srrY-REE-oH-zol) 'i"^"-sHoH-NAH-ToH) t) i;;;-;;"-" ("^t^-orvx-oon ) .
Lrccrsno(l.rcc.) M,tpsroso Mrsrnnroso Pesstorrro. pnoer.B(pBo.)(-) psRDexDo
\----
||trlllrEalr,,
pB5.rrre
iili#"
.
Rnt.rrco..............
Bw,rro ............
... (
) "^"-"AHN-TAY
.i.il--"-',"o-'lsl ( nerr-wee-xox)
.. .(.oo-arn-ron)
.( sx'rvn-tsrxx-oon ) scHErzANDo . ...........(soH-sr,tv-Noo-ron) (so6r.)...... Sosrenuro ' . i"^"'*^"-rox) srlccAlo . ........ Tmsrz .. irnee-srrv)
rrr.rt
rt^^l:-teeling With feeli
nl^-,f-.11.'
Strict GrandJy.. Gracefully Mournfully
'o'"" untilnertkevispressed r."|'iotreleased
down.
llgftty with maiesty Y-ys,tTiously Withfire (loud) ptd"l P"Tpur Dying away HeavY
a3{,ltronel/ lirm[r Khvtnmrcarlv
s.t'o,*iil':loin someof the melodynotesand rp*airig up othersto makeup the lost timc' Plavfullv In I slowittgdown and very legatomanner' The.key strick shortly Sadly
At2swer To The Prayer B y ME A D E " LU X " LE W IS . N IA R G-{ RETCO LE\ 1r '\ a n dB I S H O PE D S E LA \ i \ 1 C ' \ ' '
Medium Boogie Tempo Amm<.rns
\
I
\
l C o p y r i g hOt 1 9 4 1U N I V E R S A M L U S I CC O R P CopyrightRenewed All RighlsReserved Used by Permission
\
Johnson -
. E t
_
|
,l
|
l l
I t l
a t - t l l /
1
d
\h'-
ft-
1fit4
l l l
q"'""+^" d
L-J t-|
li'
1- +
H'--1r:?.
LEr
ta)
5
Trl--lI?t
u'z-l
t/'
Down Th,e Road A Piece \\ord: and \1rr... DO\ R\\ E
Bright Boogie tempo
C o p y r i g hOt 1 9 4 1 ,1 9 4 2U N T V E R S AMLU S I CC O R P CopyrightRenewed All RightsReserved Used bv permission
3 2
t.Sr
I
t-e
---L__-l.------L
-#
ffi
I
-t-*st'ffi--:
r^r
-VrW
1
---7r-a
-
---r-J
2
5
;T] .I
r--__l -1
I
1
c-
v-
7fr. I-
7
+
--t
1.1
+<
il3 ,btqt--
-
-
Lrkj I I
6 ;v
Il'/t isl/t
to Coda Znd time
/F\
{
3
2l
{
a--v-+1-+
3
2
r
{3
2
_o
|
I
JHrrr
l-v
-E1u---v:r,'
+
-5;
o.c.a' coDA l:l-L
* IJ'the begiann lirll',
rcttiau @ an di$tealt he nay o;t! t? aud iuntp,fnr^
$ rir eeetion@ to S ;' vcli"n @
