Transcript
7/29/2019 Hans-Günter Heumann - Hot Boogie
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lVORWORT
leses Hef t mit leichten Griginal-Boogies und Boo-cjie-Bearbeitungen fQ r Klavlerzj 4 H3nden bietet al-
K ' s v i e r s c h u ' e r r , u nd Boogie-Fans Q i e Mogllchkeit.er Boogie. der sich um 192Q in Chicago entwickelte.
1ypischen Klang und R h y t h m u s nachzuvollziehen.
Der 8oogie-Woogie (Kurzform: Boogle) ist aln beson-
|
erer Klavierstil des Blues, dessen Hauptkennzei-hen eine rollende, rhythmisch gleichbleibende Qsli*
natotigur(= hartnack ig gleichbleibende Ba$figur)
*
er linken Hand bei kontrastierenden Melodiebewe*jngen der rechten Hand i s t .
ie Form des Boogie-Woogie entspricht dern 1^-Takl-Blues3CtiEma mit f ler schematisch eingeteitlen Ton-
(tenfolge von Tonika (= l. Tonstufe) LJnd Subdomi-ante{= lv.Tonstufe)undDominanie(= V.TonstL-
^ )
ea der Be>ogie von dem Fur idament der BaBf igurenbt, isQer Beat des Secondo-Par1s gleichma6ig,
che r und kraftig zu spielen, jedoch nicht rnecha-nisch urd ohne Aussagekraf t .
B3 r d e n Primo-Part stelleri diese Boogies neben einer!zvollen typi^chen 8oogiemelodJeein interessanles
rhythrriisches Training dar, denn zu den met rono-jnisch hartnackigen Qstinatvtiguren der linken Handlverden durch hauHgeingeschobene Pausen Melodfe-Blosk^in gespielt, Diesesind sehr prazis und rnitswin-
gender A j s d r u c k s w e i s e vor^jtragen, wobei es imc g e : wichtig ist, mehr d1e unbelonten als c J i e be-
onten Takt^eiten (Zahlzeilen 2 und 4, sow ie Zahl-
ten zwischen den Grundschl3gen) zuren.
tC
die ObergehaiTenen Noten sind so rg fS l t ig ;u be-;hIen. Gurch s ie wird am h3ufigslen die Betonung
einen schwachen Taktteil gelegt.
as Peda| wird im Boogie nichtgebraucht, hochstens3i TremQto'AMQrderi am Ende einea Mu s i k s t QcK e s ,m deren Scti1u6wirkung iu erhohen.
r den modernen Klavierunterncht sieilt diese Aus-jbe, neben dem Spiel anderer Mjsik. eine anregen-3 Erg3nzung und Bereicherung dar und bringt v ie l
Spa6 und Freude am Musizieren.
i
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FOREWORD
This book of easyor1ginals and arrangementsof Boog-ies for piano duet offars piano s1udent& and Boogie-bu f f s aHke the chance to recreaTe for themselves thesojnd and r hy t hm of a sJy le thal deve loped in Chica-go in the Twenties,
Boogie-Woogie (or jusl Boogie} is a parttcular pianostyle derived from the Blues, its c h i e f characleristicbeing the rolling, rhythmic QSfinQto (a perslstentlyrepeating) Mgure oIten in broken chords in the lef thand. All the melodic mterest lies in the right hand.
The forrn of Boogie-WoOgie is ba&ed on lhe twalve-bar Blues, adhering to Lhe chord prog ress ion ofTonic-SubdominanT-Dorriinant (or l - lV - V).
Though il is the bass t ine thal gives Boogie its life,lhe beat of the Secondo part shQj|d not be under-estlmated. I1 must be played strongly and surely,
though never mechanical|y, nor too f o r ce f u l l y .
For the per fo rmer of the Primo part, the executioriot s charming, (ypica! Boogie meiody can be an in-teresting exercise in style, working as it does againstthe Q&tinatQ bass with the msertion of pauses andmelodic flourishes. These are prec ise ly notated andshould be performed with a]azzexpressJon, wherebyit is important to accent the weak beats [counts 2an d 4, or be tween th e down beats) rather than Th estrong,
Suspended noles, too, shojld be heeded with care;They are the most 1requenJ reason fo r accenting th e
weak beats of the bar.
do not need the sustaining pedal in Boogie,ce r t a i n i y no mare than, say. to heighten the e f f e c tof a trsmolQ at the end of a p iece .
These a r rangements offer an alternative to s tanda rdmodern piano lessons. Engrossing and st imuEat ing,w e hope thaT They will bring a lot more fu n and pleas-u re to music making.
I N H A L T / INDEX Seite
CH AT T AN O O GACH O O -CH O O ( H a r r yW a r r e n /M a c k Gor don ) 4
CUTE BOOGIE 8
HOT BOOGIE 10
BLUEBOOG IE 12
BIGBOOGIE16
I N T H E M O O D( J oe Ga r l a nd /AndyRa 2a f ) . 20
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by Mack Gordon
Con v i v o M . M . J =I 33 - 144
Music by Harry WarrenArr . : Hans-Gunter Heumann
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A ltegro con brio M . M . J = I38-144
Music by Joe Garland
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