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VORWORT FOREWORD
leses Heft mit leichten Griginal-Boogies und Boo- This book of easyor1ginals and arrangementsof Boog-
cjie-Bearbeitungen fQr Klavler zj 4 H3nden bietet al- ies for piano duet offars piano s1udent& and Boogie-
K'svierschu'err, und Boogie-Fans Qie Mogllchkeit. buffs aHke the chance to recreaTe for themselves the
er Boogie. der sich um 192Q in Chicago entwickelte. sojnd and rhythm of a sJyle thal developed in Chica-
1ypischen Klang und Rhythmus nachzuvollziehen. go in the Twenties,
Der 8oogie-Woogie (Kurzform: Boogle) ist aln beson-
erer Klavierstil des Blues, dessen Hauptkennzei- Boogie-Woogie (or jusl Boogie} is a parttcular piano
| hen eine rollende, rhythmisch gleichbleibende Qsli*
style derived from the Blues, its chief characleristic
natotigur(= hartnackig gleichbleibende Ba$figur) being the rolling, rhythmic QSfinQto (a perslstently
er linken Hand bei kontrastierenden Melodiebewe* repeating) Mgure oIten in broken chords in the left
jngen der rechten Hand ist. hand. All the melodic mterest lies in the right hand.
* ie Form des Boogie-Woogie entspricht dern 1^-Takl-
Blues3CtiEma mit fler schematisch eingeteitlen Ton- The forrn of Boogie-WoOgie is ba&ed on lhe twalve-
rtenfolge von Tonika (= l. Tonstufe) LJnd Subdomi- bar Blues, adhering to Lhe chord progression ofTonic-
( ante{= lv.Tonstufe)undDominanie(= V.TonstL-
^)
SubdominanT-Dorriinant (or l - lV - V).

e
Though il is the bass tine thal gives Boogie its life,
a der Be>ogie von dem Furidament der BaBfiguren lhe beat of the Secondo part shQj|d not be under-
bt, isl Qer Beat des Secondo-Par1s gleichma6ig, estlmated. I1 must be played strongly and surely,
cher und kraftig zu spielen, jedoch nicht rnecha- though never mechanical|y, nor too forcefully.
nisch urd ohne Aussagekraft.

B 3rden Primo-Part stelleri diese Boogies neben einer


!zvollen typi^chen 8oogiemelodJeein interessanles
rhythrriisches Training dar, denn zu den metrono-
For the performer of the Primo part, the executiori
ot s charming, (ypica! Boogie meiody can be an in-
teresting exercise in style, working as it does against
jnisch hartnackigen Qstinatvtiguren der linken Hand the Q&tinatQ bass with the msertion of pauses and
lverden durch hauHgeingeschobene Pausen Melodfe- melodic flourishes. These are precisely notated and
Blosk^in gespielt, Diesesind sehr prazis und rnitswin- should be performed with a]azzexpressJon, whereby
gender Ajsdrucksweise vor^jtragen, wobei es im it is important to accent the weak beats [counts 2
c g e : wichtig ist, mehr d1e unbelonten als cJie be- and 4, or between the down beats) rather than The
onten Takt^eiten (Zahlzeilen 2 und 4, sowie Zahl- strong,
ten zwischen den Grundschl3gen) zu
ren. Suspended noles, too, shojld be heeded with care;
They are the most 1requenJ reason for accenting the
t die ObergehaiTenen Noten sind sorgfSltig ;u be-
;hIen. Gurch sie wird am h3ufigslen die Betonung
einen schwachen Taktteil gelegt.
weak beats of the bar.

do not need the sustaining pedal in Boogie,


as Peda| wird im Boogie nichtgebraucht, hochstens
C 3i TremQto'AMQrderi am Ende einea MusikstQcKes,
m deren Scti1u6wirkung iu erhohen.
Dr den modernen Klavierunterncht sieilt diese Aus-
certainiy no mare than, say. to heighten the effect
of a trsmolQ at the end of a piece.

( jbe, neben dem Spiel anderer Mjsik. eine anregen-


3 Erg3nzung und Bereicherung dar und bringt viel
These arrangements offer an alternative to standard
modern piano lessons. Engrossing and stimuEating,
we hope thaT They will bring a lot more fun and pleas-
Spa6 und Freude am Musizieren. ure to music making.

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i I N H A L T / INDEX

CHATTANOOGACHOO-CHOO(HarryWarren/MackGordon)
Seite
4
i CUTE BOOGIE 8

i HOT BOOGIE 10

i BLUEBOOGIE

BIGBOOGIE
12

16

i INTHEMOOD(JoeGarland/AndyRa2af) . 20

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Primo l
Words by Mack Gordon
Con vivo M . M . J =I33-144
Music by Harry Warren
Arr.: Hans-Gunter Heumann
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ConvivoM.M. J=138-144
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Lyrics by Andy Razaf Music by Joe Garlandl
Arr*: Hans-Gunter Heuman"
AHegro con brio M.M. J = l38-l44

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