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Showing posts with label Chris Reilley (pianist). Show all posts
Showing posts with label Chris Reilley (pianist). Show all posts

10 January 2016

Post 351: COMPLEX CHORDS - BY GUEST WRITER CHRIS REILLEY

Today : another article from guest writer Chris Reilley (pianist)
Chris Reilley
Back in April this year Ivan published my contribution article on “Improvising in Traditional Jazz” in which I mentioned “The understanding of Chords is a whole different subject which is not being enlarged on here. Suffice it to say that not even the Chord symbols used are common throughout musical notation and some of the more complicated chords require the use of 7 notes."

In an effort to explain that statement and to make this easier to understand, I have listed most of the chords that I have seen used whilst playing Jazz, also showing the representative note intervals. These can be applied to any key, but I have shown the chord name only in the Key of C for this example:-

Note where an interval is shown as “b3” or “bb3” or “#5” that interval should be flattened (or double flattened in the case of ”bb”) or sharpened as shown. (Click on the chart to see it enlarged.)

Note the figures shown in red are the notes in a chord that are recommended to be dropped for musicians playing a 4 stringed instrument eg 4 string Guitar or 4 string.

 Banjo, Ukulele etc.

 As the reader can see the extended notes (11th and 13th) can also be flattened or sharpened as shown with the Flattened and Sharpened 9th Chord. As can be seen, there are numerous Chord Shapes which need to be learnt to grasp a full knowledge of those available – and they are not all of them, I'm afraid!

 To simplify the chords some notes can be dropped. The 5th is usually the first to go, as it is generally considered not to add any special character or essential function to the chord. This, believe it or not, can include the root especially when playing with a full band where the bass player would have that covered.

 Really, the most important notes of any chord are the 3rd and 7th. These are known as "guide tones". Some layouts of extended chords may include nothing more than the root, 3rd, 7th, plus the extension. But this is down to personal choice.

 As I do not profess to be a 4 Stringed Instrumentalist, I have not included Chord Charts for those instruments, but for the benefit of Banjo Players this is dealt with very successfully by Andy Allinger on his Web Site:-
http://www.13olive.net/chords/plectrum_inversions.html.

 There are also similar sites for the Guitar and Ukulele players.

 For the Piano or Keyboard Players the problem of 7 note chords is not difficult to deal with if the musician is playing the full chord with both hands. This is not so easy if the musician is a soloist, where they may need to play the Melody Line or improvise with the Right Hand, whilst the Left Hand is playing the chord. There are several different methods of achieving this end which have been used by the Ragtime Pianists and the “Vamping Pianists” (e.g. Fats Waller, James P. Johnston, etc.) who in most cases could easily span a 10th with their left hand (so were able to play the 9th extension of most chords anyway). When it came to the 11th and 13th Chords and all their varieties, they employed several different techniques, one of which was to “roll the chord” as a Glissando from Root to the extended note or to split chord over 2 beats playing the first 4 notes of the chord on the first beat and remaining 3 (or how many were left to play or however they decided to split it) on the second beat. Both of these methods obviously cannot be used if the Chord is to be played as single beat only (see “That's All” below). In those cases the musician would have to play a “cut down” version (similar to the 4 stringed Instruments mentioned above) of the chord in their left hand, whilst playing the melody (or improvisation) in their Right Hand. 


For those playing in a Band, the problem is slightly different because very often the original music will contain the 9th., 11th., or 13th. notes in the melody line, which is the salient bit of the Lead Instruments part. In this case if both Piano (Keyboard) and (say) Trumpet were to play the same note at the same time this would be unnecessary or “messy”. So, (for my choice only) I choose to play the Chord in its 7th form and let the lead Instrument play the extended note(s) which can also be part of their improvisation, with possibly the other front line instrumentalist playing the 9th. and 11th as part of their harmony in the case of a 13th being played by the Lead. Anyway the extended notes in the Music are usually a very important and individual part of the Melody, so it may be wisest to leave it to the Lead instrument to accentuate that note.

 Following on from the above I choose to show (below) a couple of examples (amongst many available) of where extended chords have been included in tunes together with example of the use of chords in rapid succession. For the beginner this can be a difficult task, but with practice is achievable. However again in a Band Line up, the rhythm instrumentalists have got to be really on the ball if they decide that they are all going to play the same multi chord parts in a bar together, without losing time and being exactly in sync. For simplicity it might be decided for 2 or more chording Instruments (say Banjo and Piano) to play the chords only on both the first and last beats of a single Bar where 4 chords are shown in the music. In these examples the Band/Musicians may also choose to play these in different key.

 The Last 4 Bars of the Song “Sugar” in G Major (click on to see enlarged):


Below the last 8 Bars the song “That's All” in C Major
I understand that the character “Bp” indicates a Double B flat (or the chord of “A Major”) and the chord shown as “F#Ø” is F Sharp, Half Diminished (otherwise known as F# Minor Seventh, Flattened Fifth). Some practice will be required to play the bars with 3 or 4 chords in each.

 Chris Reilley
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7 December 2015

Post 324: CHORDS - THOUGHT-PROVOKING STUFF FROM A GUEST WRITER

Following my own ramblings and speculations about chords, I have received this contribution from the traditional jazz pianist Chris Reilley.
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Chris writes: -

In my case learning about chords started when I took an interest in playing Boogie Woogie, so the chord shapes in that case were fairly simple first-inversion major triad shapes. From then on it was only a matter of making slight amendments to the chords for the simplest of Jazz Tunes to be able to play Traditional and New Orleans Jazz tunes.

 In recent years I have found that some tunes suggest the use of much more complicated chords – some of which are almost impossible to play with the left hand only. I am referring to those chords that require a span of more than one octave or more than the use of five notes in the chord.

 I bought a Chord Chart Book in the 1950s which showed all of the most common chord shapes in use and since then I have referred to this and to a book commonly known as the “French Chord Book”. Both of these list the details of a number of different chords some of which either require the use of six fingers or for the chord to be missing a note (usually the root). This is because the chord would normally be played as a split bar with the root being played on the first and third beats and the chord (less the "Root") on the second and fourth beats.

 One interesting point made in the Chord Chart Book regarding “Inversions” is the suggestion that chords played on the Piano should ideally be centred over middle C in order to get the fullest sound. This means that some chords should not necessarily be played in the first inversion but maybe in either second or third inversions to obtain the fullest sound.

 There is no doubt that some chords use the same notes as other chords in a different key but in a different inversion; this can be confusing and the only way I know to resolve this issue is to make sure that the chord used is in the same key as the tune (unless there is intended to be a change of key at that point).

 Another point in chord use is to take into account the unfortunate limitations of some instruments like for example the Banjo and Guitar which in many cases only have four strings.

 I have been asked to play “eleventh” or “thirteenth” chords in certain places in tunes and when I have looked at the melody I usually have found that the notes of the “eleventh” or “thirteenth” are actually in the melody. Now as I want to be able to use my right hand for improvisation and harmonic accompaniment, I excuse myself of that task by playing all the notes except the “eleventh” or “thirteenth” notes of the chord and let the melody instruments sound that.

 To add to the above there is also the interesting use of Lead-in notes and Chords (e.g. the Dominant Seventh or Augmented Fifth) and the final Chords (e.g. Dominant Seventh, Major Seventh or Major Sixth as well as chordal sequences) being the most common. Also in some tunes there appears what is commonly called the “magic” Chord (in the key of Bb there might appear the chord of Db prior to playing an Eb chord). In the case of the well-known Boogie Woogie composer Jimmy Yancy, he used to finish many of his tunes with a bar or two in a totally different Key.

 I hope you find this interesting.


Cheers,

Chris.
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Thanks, Chris. I certainly did. You have made some points that had not occurred to me before.
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13 August 2015

Post 247: GUEST WRITER CHRIS REILLEY ON SETTING THE KEY, THE TEMPO, AND THE VOLUME

Pianist Chris Reilley has submitted articles for use in this Blog before - most recently on the subject of Boogie-Woogie.

Chris has now emailed the article below to me. I hope you will find it of interest.

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Part two of the various Devices: Breaks, Stops, Riffs, Rhythms and More article which I submitted in February this year, I would like to cover three other aspects which could be considered whilst playing Traditional Jazz namely Key choice and changes Tempo and Volume.

Choosing the Key and Key Changes

Recently I was enthralled by a recording made by the Shotgun Jazz band called “You Always Hurt The One You Love” with the vocal being taken by Marla Dixon (trumpet and leader). In this recording the ensemble is played to begin with and just before the band goes into the Vocal they change key – normally this would be to suit the singer's choice of key for singing. However the band revert back to the original key for the following ensemble and then lo-and-behold Marla sings again in the ensemble key.

For me this is the first time that I have heard any vocalist attempt to do this, as usually the reason for the change of key is because the melody line is outside the vocalist's range.


More often than not a proposed change from the original composed key (say from one of the sharp keys) is to make the tune easier to play for Bb Instruments. For example Concert G Major (1#), D Major (2#'s), A Major (3#'s) etc. would normally be transposed to the nearest (or easiest) flattened keys:- Concert F major (1b) or Ab Major (4b's), C Major (natural) or Eb Major (3b's), Bb Major (2b's) or Ab Major (4b's). Note these are all shown in Concert Keys whereas the Bb Instruments reading their parts would refer the key of Bb major to their key as C Major.
(Note I found this so confusing when I started to learn to play both Clarinet and Trombone that I thereafter memorised the note names on my instrument as the Concert key names.)

All of these choices have to be moderated by the musical range of both the instrument and musician. Some tunes require a very large range with some instruments naturally limited to something like one and a half octaves (not counting the musician's limitations) and in some cases the top end of the available notes might be slightly out of tune (this is especially a problem with Keyed Instruments where the musician has to “bend” the note to keep in tune).

There is no doubt that being able to play in numerous keys is very desirable but it is far easier playing those tunes that are more natural to the instrument and it makes improvising (a salient part of playing Jazz) far easier as well.
Unfortunately the obvious choice for many Jazz Bands is to play a lot of tunes in the easiest keys of concert Bb, Eb and F Major. Whilst this might be the easiest of choices it tends to make for a “Repetitive” range of sound and for those who want to “stand out from the crowd” it might be wise to include tunes in other more uncommon keys.

The use of a change of key whilst playing a chorus (or the main theme) can add interest to the tune for the listener. One example of this can be heard when some Bands play a tune like Tiger Rag where the last chorus is played say a whole tone up from the previous chorus. Eg. the penultimate chorus is in Ab and the last chorus is in Bb. There are numerous examples of this which can be accessed on YouTube.

Another way for Bands to stretch their ability is to play tunes that include several parts, such as those that have a verse (usually in a different key from the chorus), or the more complicated Rags, Stomps or Marches. Not only do these change key from part to part, but the original arrangement (if followed) has other features including “Breaks”, “Riffs”, “Stops” Tempo Change, Latin Rhythms, Minor Strains, etc.

A good guide is to listen to recordings of the Masters playing the tunes you enjoy, but take into account that the equipment used in the early days was not as accurate in respect of timing compared with more modern day so that some recordings could be as much as a tone different to the live performance, so for example if a recording appears to be in D Major, it was probably recorded in Db, if it appears to be recorded in Db it was probably recorded in C Major and most commonly if it appears to be recorded in B major, it was probably recorded in Bb.
Fortunately we are now blessed with Computer Software that can easily correct this deficiency.
Choosing the Tempo

As this can be a more contentious subject, I would like to re-iterate that these words represent my view only and hopefully others will agree.

The first point I would like to make is that the tempo a tune is played at out reflects how the Band intend it to be heard i.e. “Fast”, “Medium” or “Slow” and all the varieties in between. This is usually decided by the leader of the Band and either counted or “tapped in”. Another criterion I would consider important is that of “Swing”. (One way I have found helpful to listen for the “Swing Element” is to listen to the tune being played - or play it solo yourself - and see if you can feel the rhythm throughout.)
I use an example which I have used before of Wynton Marsalis playing “Buddy Bolden's Blues”:-
It is not necessary to watch the Video because you can feel the “swing” from just the audio.
I think most Dancers would prefer that any tune would be easier to dance to if it “swings” as this is the natural rhythm of the tune. As Jazz was more often a “dance music”, I think we ought to be guided by that.
The most common problem I have come across is that of playing a tune too quickly (racing) or at the other end of the scale, playing it too slowly (dragging). With the faster tunes there are several considerations to be made:-
  1. If there are established complicated many-note solos or ensembles required (for example High Society where the Clarinet plays the famous Alphonse Picou solo) the tempo needs to take this into account.
    As a guide watch the Video on YouTube in which he plays this solo at some extraordinary age of about 90 years. https://www.youtube.com/watch?v=_ftr_knt4D8
  2. If there is a Vocal in the tune, the speed has to take account of the singer being able to sing all the words throughout the song without difficulty. As examples, here are two approaches to two different tunes, each played at different tempos:-
    Two versions of “There'll be Hot Time in the Old Town Tonight:-
    Two versions of “Down in Honky Tonk Town”
    Using the “dancing to” yardstick I cannot see anyone preferring the faster of the two tunes. This is however my own personal opinion.
  1. Some of the slower tunes conversely should not be played so slow that they “drag” and yet nor played too quickly and lose the finesse of the melody.
  2. A very great bone of contention for me is when a Band loses control of a steady tempo of any tune, excitement creeps in and away it goes. I confess to being guilty of this myself, but I have learnt to try and control it and as part of the Rhythm Section it is part of our job to try and steady any “racing” down. It is most helpful for the “front line” if the rhythm is kept steady as they want to be able to play their improvisation neatly around the rhythmic accompaniment.
Choosing the Volume

In days gone by there was no such thing as Amplification or Electronic Instruments on a Concert Stand, Dance Hall, Concert Hall, Marching Band instrumentalists were positioned (in most cases) according to how loud they were. In the Recording Studio a similar approach was taken with the weakest-sounding instruments being closest to the “Recording Horn”. From photographs of Jazz Bands performing on Stage it can be seen that a common line up position was arrived at with the line up usually being (facing the Band: “front line” left – Trombone, Centre – Trumpet/Cornet, Right – Reeds (Clarinet/Alto Sax/Tenor Sax). “back line” left – Drums, to his right (with a four piece back line) String Bass/Brass Bass, next right - Piano next right and sometimes part of the “front line” - Banjo/Guitar. The leader would usually be the Horn Player and he/she would usually call the tune to play and set the Tempo. The overall sound would be adjusted most likely by the Drummer who would bring the volume down for the quietest instruments – Clarinet, Bass, Piano and Banjo solos and/or vocals.
At some point the playing volume might change to allow for the larger auditorium and towards the end of a tune. I suspect much of this detail was sorted out at a practice when all arrangements were thrashed out as well.
Then came along electronic amplification and everybody was “miced up” and thereafter the Band Sound was in the hands of the “mixer boys” or in the more hospitable venues, the band used their own portable gear (sometimes less than great) and had to check the sound mid-session.
In my experience the audience soon let you know if you are playing too loudly.

I hope this information does not discourage anyone who may be reading this and who is interested in starting or joining a Jazz Band. I can assure you that playing jazz with other people in a band can be very enjoyable, particularly when it goes well.


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17 June 2015

Post 228: DEVICES, BREAKS, STOPS, RIFFS, RHYTHMS

Chris Reilley
I have received an article for publication written by my friend Chris Reilley, who has played piano in bands here in the English Midlands for several decades. Thank you, Chris, and I hope many readers will find this technical material very informative. Here is the article.
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Devices: Breaks, Stops, Riffs, Rhythms and More


One of the most interesting aspects to me in playing Jazz (Jass) music is the playing of the above types of additions to the tune arrangements as these additions bring new excitement and anticipation both to listeners and dancers which is not heard in any other form of Dance Music.

 In my case and in bands I have played with I have used the “Break” in one of my solos independently of the established “Break point” by calling “Break” to the rest of the Rhythm section at a point of my own choice and this can change from performance to performance. Sometimes other members of the front line do the same with a direct signal during their solo. This can be risky on occasion and we all have to be on our toes, but the unexpected act can create a thrilling spontaneous effect.

 Now to explain each term used becomes somewhat more difficult as these “terms” are used mostly in jazz music and so far I have not found a book which deals with this in any way whatsoever. The “AB Guide To Music Theory" by Eric Taylor which I have used on past occasions makes no mention of the terms “Breaks”, “Stops” or “Riffs” and anyway I suspect that these terms are more likely covered by books on Musical Arrangement (which I do not own). So the following are my interpretation of these terms:-



Break:- A rhythmical pause in the music which allows one (or more) instruments to play an improvised passage of arranged length without accompaniment.


For example see:- Jelly Roll Morton's Red Hot Peppers – Doctor Jazz:
The breaks start in the first 8 Bars of the introduction and continue throughout the rest of the tune, including the vocal. See my Chords – below.
An interesting comparison is the same recording by Joe “King” Oliver – the composer of this tune can be heard on:-
where the arrangement is slightly different and they also play the verse.

Also a fine example of a “Split Break” where two instrumentalists share an 8-beat Break, the first taking 1 Bar followed rapidly by the other. For example see:- Bix Beiderbecke and His Gang, 1927 – At The Jazz Band Ball
For those as long in the tooth as I am, a treat from 1954 with a well-known British band: Humphrey Lyttelton's The Onions. Originally recorded by Sidney Bechet, one of the few tunes to feature an Audience Vocal Break:-

Stops:- A series of one or several beat notes played as short breaks played behind a soloist by the rest of the band in rhythm.

For example see Louis Armstrong and his Hot Five – Once in a While (not the well-known song)
This also features breaks as well. It is interesting to hear even the great Kid Ory drops a “Cod” on this not easy “Stops” passage near the end.

Another example is by Clarence Williams' Washboard Four – Candy Lips
The stops come in on the Washboard Solo again near the end.

Riffs:- A riff is more commonly associated with swing bands, but it is used with many smaller jazz bands as well. You may suggest that there is no difference between Stops and a Riff. My response would be that the Stops usually include the Rhythm section but with a Riff the rhythm is not broken. 

It is found usually when a solo is being taken by a member of the band and the remaining front line (and sometimes part of the rhythm section also) will play a rhythmic passage (i.e. in the form of an “Answer” theme) behind the soloist. Sometimes just repeating a single note of the chord. For example see Duke Ellington playing Cotton Club Stomp:

For a later recording by Sidney Bechet of All Of Me see:-

The Riffs at the beginning and end are long notes only, whereas in the Trumpet's and Bechet's solo they are repeating notes.

Rhythms:- Apart from the most common which is the Waltz, most Traditional Jazz Tunes have been composed in Common time, i.e. 4/4. There are some notable exceptions, for example the verse of Saint Louis Blues by W.C. Handy where the verse is played in a Minor key and with a Latin Rhythm. 

N.B. “Latin Rhythm” is a generic term which covers a wide range of styles, some of which are referenced below.

An example of this is:- St. Louis Blues. Blues legend Bessie Smith's only film appearance. Uncut 1929. See:-

Some Bands play the Latin Rhythm Verse first. Others go into it after playing the Chorus. The above film gives a rare insight into Bessie Smith performing in moving picture form. 

There is also a tune called Mamanita by Jelly Roll Morton. See:-

Jelly Roll Morton used many “Devices” which he describes in the Jelly Roll Morton Library of Congress recordings which are worth a listen, including Latin Rhythms. See:- 

One very sadly missed English trumpet player – Dan Pawson - took great pride in playing unusual tunes in his own inimitable style, some of which were hits from the early days of Music Hall and he played several tunes in a Latin Rhythm. One of these is by Dan Pawson's Artesian Hall Stompers, called Take Her To Jamaica. See:-
Yet another by the same band is Amor. See:- 

Another source of Latin Rhythm is heard in some New Orleans Parade Bands. This example is of The Treme Brass Band at the Red Beans and Rice Parade – 2013 playing Big Chief. See:-

March Time (2/4) – commonly called “two beat”. Again a very general term but below are some examples:-

One of these is a very well-known performance of a pseudo March. It can be heard in the Glen Miller version of Saint Louis Blues. See:- 

In New Orleans there are still “Parade Bands” that play very authentic New Orleans March Styles. An early example of this is the recording of Eureka Brass Band - Lady Be Good. See:- 

As these bands were more often followed by a “second line” (dancers), the March Style had to be played with a grand amount of “swing”.

Introductions and Endings

Introductions

From the earliest Rags originally composed for Piano. See The Entertainer (Piano Ragtime, Joplin):

and The Ragtime Dance - (Scott Joplin, 1906):

......to a modern film score with both tunes. The Entertainer/Rag Time Dance:-

Most early composers incorporated a “Scored Introduction” into their composition. It has been suggested that the reason for the “Introduction” was for the dancers to appreciate being given an idea of what the tune was called, its style (e.g. “One Step”, “Two Step”, “Waltz” or even “Latin”) and its tempo, before deciding to take part in the dance. This followed the arrangements of earlier formal dance types (e.g. barcarolle, mazurka and polonaise).

From the early days of classic jazz bands (e.g. Joe “King” Oliver, Jelly Roll Morton, Louis Armstrong, etc.) the bands would play the “scored” arrangement, or play the last 4 or 8 Bars of the Chorus instead.

See the Bunk Johnson version of I Wish I Could Shimmy Like My Sister Kate:
or the Graham Bell Version – same tune with verse:-
or by Wild Bill Davidson – with verse, using a very common (some say “corny”) ending:-
See My Chords:-
Endings

These tend to follow a similar framework to the “Introductions”, with a repeat of the last 8, 4 or even 2 Bars of the Chorus. There are, however some notable exceptions:-

For instance an example from Jimmy Yancey, playing Yancey Stomp, where the ending bars are in a different key:-

Bouncing Around by A.J. Piron:-

My chords with New Orleans Hot Shots arrangement:-
or by Piron again New Orleans Wiggle:-

As A.J. Piron and Peter Bocage composed both of these tunes, the sheet music would have had not only the Ending but also the Introduction as recorded.

Also see Sister Kate by Wild Bill Davidson – above.

For standard 32 Bar tunes with no arranged ending, the lead (normally the Horn) will signal to the rest of the Band when he/she would like the tune to end and will wind up with a well-established phrase, usually copied from a well-known instrumentalist in a previous time.

There are numerous examples, of which I relate only a few:-

You Tell Me Your Dream by the Mardi Gras Jazz Band :-

Any Time by Kid Thomas:-

Percy Humphrey's Crescent City Joy Makers - Over In The Gloryland:-
https://www.youtube.com/watch?v=QV8F2JpThYY 

Louis Armstrong & His Hot Five - Knee Drops 1928:-

Dinah - Muggsy Spanier and his Ragtime Band:-

See My Chords:-
Poor Butterfly - Bunk Johnson & Don Ewell:-

Ken Colyer: Postman´s Lament:-

Wynton Marsalis plays Buddy Bolden Blues:-

Tempo Change

The effect of Tempo Change can be a bit disconcerting for those who wish to dance to a tune being played by a jazz band (or for that matter any dance band ) as the dancers have to be prepared for it.

Two examples:- Bix Beiderbecke - Since My Best Girl Turned Me Down:
and
Dinah - Muggsy Spanier and his Ragtime Band:-

Again the reader might know of many other recordings which have this feature.

Please note the chords included are from my own personal collection (still building from existing 800+ tunes). Any enquires for availability can be made through this Blog.

I have chosen all the “Devices” which are of the most interest to me as a piano player. I have not included references to “Key Changes” as this might be covered at a later date and it tends to be more complicated, but if the reader has any additional ideas that he/she would like to be added, please let me know.
                Chris Reilley. (February, 2015)
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13 May 2015

Post 210: PLAYING BOOGIE WOOGIE

I am publishing this article which has been e-mailed to me by Chris Reilley. Chris is a traditional jazz pianist and boogie-woogie enthusiast from the English Midlands. Please note: Chris later sent a supplementary article on Jimmy Yancey, so this has been added at the end.
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Playing Boogie Woogie

Before I start with the main work on this subject I would like to pay tribute to a very sadly-missed, long-standing and great friend of mine, Don Case, who died on the 25th August, 2013.
Don and I knew each other as school friends and from about 1950 played jazz together, firstly on the piano playing boogie-woogie and after that traditional jazz in a small band with Don playing trumpet whilst I played clarinet (and later still trombone).

 He continued playing piano up until his death, composing most of his own tunes, continually advancing his style, but still maintaining a link to blues and boogie-woogie.

 Although a fairly shy musician, Don did make the occasional public performance which was usually very well received. However I am the only person that I know of who recorded his playing which at some point in the future I hope to publish.

 His work in this music has to be heard to be appreciated, but I personally rate him as one of the best English boogie-woogie musicians who have lived in the UK.

 Among the most interesting things that Don did was to compose some tunes in non-standard keys. For example he would compose some boogie-woogie tunes in the keys of A, E and D Major and Minor as well as the more common keys of C, F and G. I think he decided to do this for the common reason that he found it easier to sing in those keys.

 I, personally, found it difficult enough to play in the more common keys with some of the repetitive left-hand boogie patterns being required to be played throughout any tune, never mind playing in those other keys.

 Don and I had many a long hour playing duets and playing each other's solo pieces, bouncing ideas off each other. One major benefit for me was to hone my ability to listen to what was being played at the same time as adding to it to get a great combined sound.

 I miss Don very much.

 Boogie-woogie has a long history dating back to the 1870's and the days when African Americans used to entertain themselves making basic instruments, playing and singing music. Derived from the standard 8 or 12-Bar Blues Pattern, it has been suggested that it started with piano playing in the lumber and turpentine camps where there was usually a piano available. However, as can be heard from many a well-known guitar blues player, a similar style was being used on that instrument at the same time. Who influenced who, is open to debate.

 To play boogie-woogie well has the same demands as for playing any instrument – practice, practice and more practice! It is also very useful to learn all the correct fingering positions, the scales, arpeggios (as taught by piano teachers) and boogie patterns. Added to this it is absolutely imperative to maintain a steady rhythm, unless there is an intended change made which can be heard as being 'intended'.


One common error in my view is for the pianist to play too quickly. The early boogie-woogie piano players would make the tune 'swing' even at a 'walking pace'.



In my quest to aid and try and improve my performance, many years ago I purchased both books shown below. 

I do not know if these are still available. If they are, the reader would no doubt benefit from obtaining a copy of each.
The book on Chord Charts illustrates the notes used for many different chord shapes in each of the 3 inversions. This can be helpful in working out riffs, leading notes and phrases for the right-hand improvisation.

Reading music for me was a bane so I had to get help. In the book on boogie-woogie there are 25 different bass patterns shown. However, I learned more listening to recorded music and copying the bits I liked. For example some the tunes of the Greats of recorded Boogie Woogie, like Clarence 'Pine Top' Smith, Mead Lux Lewis, Albert Ammonds, Pete Johnson, Jimmy Yancey, Mary Lou Williams, James P. Johnson and many more are worth studying (see the YouTube link examples below).

 Once a steady bass rhythm is mastered, the player can then develop the right hand using the 12-bar Blues as a basis for tune, then improvisation on the chords. This can be a variety of Blues patterns ranging from 8 to 12 Bars or even 11 or 13 Bars. There are also many recordings of standard boogie-woogie accompaniment given to pop tunes of the day.

 Using sheet music as an aid for playing most forms of jazz, but boogie-woogie in particular, shows up the deficiencies of the scored music, which is usually accepted to be only a 'guide' and is open to the performer's interpretation. This is (in my view) a very serious drawback for the novice who has to rely on the recordings which nowadays can be accessed from the internet as there are very few teachers around for this genre.

 I was lucky enough in my early years of learning to play boogie-woogie to come across the books shown above and also sheet music for the Mead Lux Lewis's 'Honky Tonk Train Blues' and Clarence 'Pine Top' Smith's 'Jump Steady Blues' as shown below:-




Whilst the sheet music might be helpful for those that are experienced in reading music, I believe it cannot accurately represent the performance in at least one respect and that is rhythmically. For example, the way the bass is played not only at a constant tempo but also with a 'lilt' (a very slight deviance from the beat) and at the same time as syncopating both left and right hands.



Another problem is that in some cases (I think) the music transcriber has not interpreted the recording correctly. For example in 'Honky Tonk Train Blues' on Page 2, (shown above) the first two bar triplets are not the same as the notes played in the recording! There is no doubt in my mind that in some cases in order to represent a recording accurately, it would be necessary to score it with so many very small notes that it would be too difficult to read, but without the score written in this manner, it is impossible to show very minor deviations in both rhythm and note lengths.

Except for when the bass rhythm is used to play along with a pop tune, 'learning the tune' as performed by one of the Greats becomes a matter of playing the recorded piece 'note for note', which for most Jazz musicians defeats the object of improvisation.

To resolve this dilemma, many boogie-woogie players use common 'phrases' (or 'licks') copied from recorded versions of a tune around which the performers build their own improvisation. So that although each performance may be slightly different, there are parts which are recognisable as a known tune.

In the case of musicians such as Don Case he composed virtually all the tunes he played with each unique and skilfully worked out in practice.

One of the most common errors with playing boogie-woogie for the first time is that both left hand and right hand end up playing the same notes. To overcome this common error, it is important to experiment with rhythm and 'cross rhythm' in order to syncopate the right hand with the left.

To achieve this, I suggest that the performer needs to practise playing the left-hand bass passage on its own without looking at the keyboard and hum or whistle the improvisation you would like to play with the right hand.

Hopefully, eventually. the player should be able to add his improvisation using the right hand without referring to his left-hand bass.

In composing a tune, the player should also take into account several other features:-
  1. The Introduction
  2. The Ending
  3. Choice of Key
  4. Change of Key (not common in this style of Jazz)
  5. Breaks
  6. Vocal (if valued)
Again listening to the well-known recordings will help the player to hear how these features have been used in the past.

I suggest the following to listen to from the wide selection on YouTube:-

Among these of particular note is the very famous Honky Tonk Train Blues by Mead Lux Lewis, Boogie Woogie Dream duet with Albert Ammons and Pete Johnson as well as Yancey Stomp by Jimmy Yancey.

This is My Boogie-Woogie –- Don Case

Albert Ammonds – Boogie-Woogie Stomp

Boogie-Woogie - Pete Johnson

Boogie Woogie Dream - Albert Ammons with Pete Johnson

Meade "Lux" Lewis - Honky Tonk Train Blues

Jimmy Yancey - Yancey Stomp – 1939

Jump Steady Blues – Clarence 'Pinetop' Smith 1930 

Mary's Boogie Woogie – Mary Lou Williams

Boogie Woogie Stride – James P. Johnson
https://www.youtube.com/watch?v=NQF2d9CA3gs
I offer this information based on my experience only and if others choose to differ from this, I quite understand. I am open to any suggestions which could improve this article which can be addressed to me (care of this Blog).

Chris. Reilley
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SUPPLEMENT : JIMMY YANCEY

Playing Boogie-Woogie – supplemental
This article is a supplement to my original information givien in the Blog by Pops Coffee called “Playing Traditional Jazz” http://playing-traditional-jazz.blogspot.co.uk/search?q=Boogie+woogie
Jimmy Yancey, in my view one of the most interesting of all Pianist, composers and Blues Singers of the era of this form of music.
My reasons are:-
1. Composing and playing totally original tunes in his own distinctive style.
2. Making use of both Latin Rhythms and standard 4, 8 or even 16 in the Bar patterns.
3. Playing and Singing the Blues with exceptional feeling, including with his wife, Estelle (nee Harris).
4. His “trademark” ending by changing into another Key.
5. Some tunes having original “Breaks” and changes from the standard “Boogie-Woogie pattern base into a Latin Base and back again part way through.
For those who are interested in the history of Jimmy Yancey and more in depth information about Boogie-Woogie in general, I would recommend the book “A Left Hand Like God” by Peter Silvester.
I do not believe that “pigeon holing descriptions” with regard to any particular musical style helps to describe the way that any musician plays is necessary or for that matter helpful and in the case of Jimmy Yancey although he has been labelled as a “Boogie-Woogie Player”, he is much more than that.
To illustrate my point I have given links to various tunes available on YouTube, starting with faster Boogie base numbers:-
“Rolling Stone”:- https://www.youtube.com/watch?v=m3BSIckiKyM&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn&index=3 ,
“Yancey Stomp “:- https://www.youtube.com/watch?v=c4eQbeuX2Y0&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn&index=1 and
“White Sox Stomp” https://www.youtube.com/watch?v=xUz54Y1XFNA&index=57&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
These all show a fair turn of speed and are based on his well-known base patterns to the much slower Blues numbers:-
“How Long Blues” https://www.youtube.com/watch?v=BAwM70e18s4&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn&index=2 ,
“Mournful Blues” https://www.youtube.com/watch?v=qRKPhKhuJsY&index=19&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
and
“BEAR TRAP BLUES” https://www.youtube.com/watch?v=XRQRqmdQCbQ&index=58&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
Including the recordings he made with his Wife, Estelle, “Mama” Yancey:-
“Monkey Woman Blues“ https://www.youtube.com/watch?v=PF4qD_LHEy0&index=166&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
or
Labelled as “Make me a Pallet” but this is incorrect. It should be “Four O'clock Blues“. https://www.youtube.com/watch?v=v5xqbt03m1s&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn&index=20
and Jimmy with his own vocal on:-
“I Love To Hear My Baby Call My Name“ https://www.youtube.com/watch?v=YpDIZNBehZo&index=37&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
The tunes which use a broken base pattern which changes part the way through:-
“Rolling The Stone”
https://www.youtube.com/watch?v=m3BSIckiKyM&list=RDc4eQbeuX2Y0&index=2
Then onto the tunes influenced by the Tango and Habanera (Spanish or Latin Tinge) timing:-
“Five O'clock Blues“ https://www.youtube.com/watch?v=PGK773dRczo&index=77&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
or
“Slow And Easy Blues“
https://www.youtube.com/watch?v=DNhtAdLorHA&index=91&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
and
“35th And Dearborn“ https://www.youtube.com/watch?v=ZVRD0_Zbeic&index=120&list=PLYHbESUElafqy9M5n0cLI4_nvvTntYdKn
He even recorded Ragtime with “Yanceys Everybody's Rag“ https://www.youtube.com/watch?v=np_OZDQxqVg or try https://www.youtube.com/watch?v=R1biP-XTg-A
Needless to say that there are several different tunes from those that I have mentioned from the many he recorded which could be of interest. I, personally, do not think there was a another man like him. What a Piano Man!

At this point I would like to concentrate on the tunes with a “Latin Tinge” flavour, as I think this is the most interesting part of his output.
Yancey was by no means the first to use this timing in his music.
One of the first tunes to use a “Latin” strain was the Saint Louis Blues by W.C. Handy, published in 1914 and recorded by The Original Dixieland Jazz Band in 1921. https://www.youtube.com/watch?v=jBgYrW83fVA&list=RDjBgYrW83fVA#t=6
Following that, a recording of “New Orleans Blues“ by “Jelly Roll” Morton, recorded in 1925:- https://www.youtube.com/watch?v=4CtyQXFtu2U.
A very interesting article appears on the Pan American Jazz Web Page under the title of “The Father of Jazz: Jelly Roll Morton which gives further information on this subject:-
https://panamericanjazz.wordpress.com/the-father-of-jazz-jelly-roll-morton/ Likewise another article which appears on the “narrativesculptures“ website under the title “The Spanish tinge: a hidden treasure of blues, jazz and dance History“
is well worth a read for those interested in this subject:- https://narrativesculptures.wordpress.com/2017/03/07/the-spanish-tinge-a-hidden-treasure-of-blues-jazz-music-and-dance-history/
At a later date James P. Johnson also recorded:-
“The Dream “ recorded in 1938 https://www.youtube.com/watch?v=5v1GxVJp7QM&feature=youtu.be
Later still “Tipitina “ by Professor Longhair (Henry Roeland Byrd) composed in 1957. See The Wikipedia entry:- https://en.wikipedia.org/wiki/Professor_Longhair
In the recording he follows some spoken introduction with the now familiar Latin Base Pattern as used by Yancey. https://youtu.be/AMGewmEa0cA.
Lastly, I would like to include a Track from a CD which I produced of recordings made by my very close friend Don Case:- Don Case Track02 010195 https://youtu.be/qzyzoEBYfGA
I have recently had a discussion about the use of sheet music as a guide to playing Jazz in general and as this is a subject that might come into play when trying to learn to play Boogie Woogie, I propose to try and add my four pennith worth here. I understand most of the terms that are used in written music, but I own up I cannot read music and have to rely on listening to the recorded version of any tune. My reason (some would day excuse) for not learning to play music from sheet music is because I do not think it is accurate enough to show all the
nuances of the performed musical piece. This is particularly evident in recordings (as I explained previously about “Playing Boogie Woogie”) of Pianists playing this type of music.
My friend, Don Case asked me one day if I could show him what his playing looked like in notated form. Fortunately I had recorded part of his practice as a .midi file. As it happens this allowed me to print out the notation in the exact form as played which I then presented to him as a printed copy.
Below is part of the tune shown as 2 Pages of Score which can also be listened to in full from the YouTube:- https://www.youtube.com/watch?v=Q4cLptq22fY



Don thanked me and commented that it looked like a spider had crawled over it and it was unusable. Basically he was correct. The main problem being that to show a totally accurate
score representation can only result in a mass of notes and rests unless, one follows the maxim that “Written Music should only be followed as a guide”.
I hope the reader might find this information useful, but should anyone have other ideas regarding this subject, please do not hesitate to contact either me (care of this Blog).

Chris. Reilley
The information given here and previously in this Blog is referred to on the Boogie Woogie Facebook Page:- https://www.facebook.com/groups/218161208197534/
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