Lester Young
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LESTER YOUNG: BOOGIE WOOGIE
Things to Note In Particular
- Contrast of major 3rd and minor 3rd
- Neighbour notes
- Pentatonic phrases that don't necessarily exactly fit the chord shape. This is common and OK in the blues
View the Quicktime score and analysis:
| Bar Number | Motif | Description |
|---|---|---|
| 1 | A1 | Opening motif - major pentatonic |
| 2 | A2 | Repeated but with minor 3rd |
| 3 | A3 | Repeated with major 3rd. |
| The juxtaposition of maj/min 3rd is very typical in blues. Often, as in this case, with chords I and IV: The major 3rd of chord I drops a semitone to the b7 of chord IV. Riffs are repeted through these changes with just that one note altered to fit the chords. (NB: the root note is common to both: the root of I is the 5th of IV. | ||
| 7-8 | Also here: Minor 3rd of key (= b7 of chord IV again) to major 3rd of chord I | |
| 10 | (Tonic) Pentatonic pattern over chord V7. This is acceptable in blues, but not so much in music where the changes should be followed more precisely. It works here because the repetitive nature of blues riffs. | |
| Second Chorus: | ||
| 1 -2 | B1 | Motif using G as diatonic lower neighbour note |
| 3 | C | Motif using same notes with G as passing note into: |
| 3 - 4 | B2 | Repeat of B |
| 4 - 5 | D | Motif starting on two notes with G as unprepared suspension |
| 8 | Phrase using two neighbour notes as "fake" leading notes | |
| 10 - 12 | Major pentatonic |
