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Blues shuffle or boogie played on guitar in E major[1] (Playⓘ).

Boogie is a repetitive, swung note or shuffle rhythm,[2] "groove" or pattern used in blues which was originally played on the piano in boogie-woogie music. The characteristic rhythm and feel of the boogie was then adapted to guitar, double bass, and other instruments. The earliest recorded boogie-woogie song was in 1916.[citation needed] By the 1930s, swing bands such as Benny Goodman, Glenn Miller, Tommy Dorsey and Louis Jordan all had boogie hits. By the 1950s, boogie became incorporated into the emerging rockabilly and rock and roll styles. In the late 1980s and the early 1990s country bands released country boogies. Today, the term "boogie" usually refers to dancing to pop, disco, or rock music.

History

[edit]

The boogie was originally played on the piano in boogie-woogie music and adapted to guitar. Boogie-woogie is a style of blues piano playing characterized by an up-tempo rhythm, a repeated melodic pattern in the bass, and a series of improvised variations in the treble.[3] Boogie woogie developed from a piano style that developed in the rough barrelhouse bars in the Southern states, where a piano player performed for the hard-drinking patrons.

The origin of the term boogie-woogie is unknown, according to Webster's Third New International Dictionary. The Oxford English Dictionary states that the word is a redoubling of boogie, which was used for rent parties as early as 1913.[4] The term may be derived from Black West African English, from the Sierra Leone term "bogi", which means "to dance"; as well, it may be akin to the phrase "hausa buga", which means "to beat drums".[3][4] In the late 1920s and early 1930s, the term "could mean anything from a racy style of dance to a raucous party or to a sexually transmitted disease."[5][4] In Peter Silvester's book on boogie woogie, Left Hand Like God – the Story of Boogie Woogie he states that, in 1929, "boogie-woogie is used to mean either dancing or music in the city of Detroit".[6]

Boogie hit the charts with Pine Top Smith's Pine Top's Boogie in 1929, which garnered the number 20 spot. In the late 1930s, boogie became part of the then popular Swing style, as big bands such as "Glenn Miller, Tommy Dorsey, and Louis Jordan...all had boogie hits." Swing big band audiences expected to hear boogie tunes, because the beat could be used for the then-popular dances such as the jitterbug and the Lindy Hop. As well, country artists began playing boogie woogie in the late 1930s, when Johnny Barfield recorded "Boogie Woogie". The Delmore Brothers "Freight Train Boogie" shows how country music and blues were being blended to form the genre which would become known as rockabilly. The Sun Records-era rockabilly sound used "wild country boogie piano" as part of its sound.[7]

By the early 1950s, boogie became less popular, but the new rock and roll sometimes incorporated its patterns.[8] In the 1960s, a new form, boogie rock, emerged.[8] However, it did not rely on the same patterns as the earlier styles.[8] By the mid-1970s, the meaning of the term returned to its roots, in a certain sense, as during the disco era, "to boogie" meant "to dance in a disco style" with one hit song in particular sung by the Euro disco group Silver Convention, "Get Up and Boogie".[citation needed]

Usage

[edit]

The boogie groove is often used in rock and roll and country music. A simple rhythm guitar or accompaniment boogie pattern, sometimes called country boogie, is as follows:[2]

simple rhythm guitar boogie pattern on a D major chord

The "B" and "C" notes are played by stretching the fourth finger from the "A" two and three frets up to "B" and "C" respectively on the same string. This pattern is an elaboration or decoration of the chord or level and is the same on all the primary triads (I, IV, V), although the dominant, or any chord, may include the seventh on the third beat[2] (see also, degree (music)).

"Rhythm Boogie"
A basic boogie rhythm riff (0:19; Ogg Vorbis, 154 KB)
Problems playing this file? See media help.

A simple lead guitar boogie pattern is as follows:[9]

simple lead guitar boogie pattern on a G major chord

"Lead Boogie"
A basic boogie lead riff (0:15; Ogg Vorbis, 134 KB)
Problems playing this file? See media help.

Boogie patterns are played with a swing or shuffle rhythm and generally follow the "one finger per fret" rule, where, as in the case directly above, if the third finger always covers the notes on the third fret, the second finger going only on the second fret, etc.[9]

The swung notes or shuffle note are a rhythmic device in which the duration of the initial note in a pair is augmented and that of the second is diminished. Also known as "notes inégales", swung notes are widely used in jazz music and other jazz-influenced music such as blues and Western swing. A swing or shuffle rhythm is the rhythm produced by playing repeated pairs of notes in this way.

See also

[edit]

References

[edit]
[edit]
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Boogie

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from Grokipedia
Boogie is an energetic and rhythmic style of , often rock or blues-based, designed to inspire dancing, as well as the informal act of dancing energetically to such music. The term derives from , a highly percussive form of that emerged in the late 1800s among African American musicians in Southern U.S. barrelhouses and juke joints, featuring a driving, repetitive eight-note bass line in the left hand and syncopated, improvisational riffs in the right hand. This style, influenced by and rural , gained widespread popularity in the and through recordings by artists such as Clarence "Pinetop" Smith, whose 1928 hit "Pinetop's Boogie Woogie" helped popularize the genre, and later performers like and Meade "Lux" Lewis. Boogie-woogie's infectious rhythm profoundly shaped subsequent genres, including swing jazz, rhythm and blues, and early rock 'n' roll, with elements appearing in works by Count Basie, Little Richard, and later blues-rock groups like Canned Heat. In the dance realm, "boogie" evolved to describe freestyle or partnered movements to fast-paced music, and Boogie Woogie emerged as a distinct partner dance in the mid-20th century. It later developed into a competitive discipline under the World Rock'n'Roll Confederation (founded 1984), emphasizing spontaneous footwork, couple harmony, and improvisation to 1940s–1950s rock and roll beats without fixed choreography.

Etymology and Definition

Origins of the Term

The term "boogie" in its musical context has been traced by etymologists and music historians to possible African linguistic roots, reflecting the genre's ties to African American cultural traditions. One proposed derivation comes from the of , where "bogi" signifies "to dance with hip movements," suggesting an association with rhythmic, bodily expression. Another likely source is the Hausa word "buge-buge," meaning "continued or repeated beatings," which aligns with the percussive drive of early piano styles, as noted in analyses of vernacular. However, the precise origin of the term "boogie-woogie" remains uncertain, with some scholars favoring its connection to rent parties over linguistic derivations. In of the early 1900s, "boogie" initially referred to non-musical social events, particularly lively gatherings known as rent parties, where tenants hosted dances and music sessions to raise funds for housing costs in urban areas like and New York. These events, documented as early as in slang usage, often featured impromptu piano performances that foreshadowed the rhythmic intensity later formalized in music. The first documented application of boogie elements to a musical composition appeared in 1916 with George W. Thomas's publication of "New Orleans Hop Scop Blues," which incorporated a walking bass line characteristic of the emerging style, though without explicitly using the term. The word "boogie" itself entered musical nomenclature explicitly in 1928 through Clarence "Pine Top" Smith's recording of "Pine Top's ," marking the first commercial use of the phrase to describe this -based variant. This adoption solidified "boogie" within the boogie-woogie piano tradition, linking its etymological origins to a distinct American musical form.

Core Musical Elements

The boogie is defined as a repetitive, swung-note or pattern that emphasizes off-beats, often evoking a 12/8 feel through uneven eighth notes where the first is longer than the second, creating a , propulsive groove. This rhythmic foundation relies on and repetition to generate momentum, typically at lively tempos ranging from 160 to 200 beats per minute (BPM), fostering an infectious drive suitable for dance. In its classic piano form, the boogie rhythm features a left-hand ostinato bass line—often a walking pattern that ascends or descends chromatically over two bars—providing a steady, hypnotic , while the right hand delivers improvisational riffs and melodic fills that interplay with the bass for rhythmic tension. This structure formalizes in piano style, where the repeating bass anchors the swung eighth notes. Adaptations to guitar translate the pattern into a 12-bar shuffle, with strumming or picking that mimics the piano's left-hand drive through percussive downstrokes on off-beats, while bass instruments maintain the walking line for continuity. Harmonically, boogie rests on a simple I-IV-V progression, usually within a 12-bar framework, where the swung eighth notes and bass reinforce the chord changes to produce a cohesive "groove" that prioritizes feel over complexity. Drums adapt the rhythm through shuffle beats on the snare and , emphasizing accents to heighten repetition and danceability across ensembles. Though originating as piano-centric, the boogie's versatility allows seamless transfer to guitar riffs, walks, and drum patterns, all underscoring and cyclic repetition for rhythmic propulsion.

Historical Development

Early Recordings and Influences

Boogie-woogie emerged in African American communities in the rural South during the 1870s, particularly in lumber and turpentine camps of , where itinerant pianists adapted styles to the demanding environments of work sites. Influenced by ragtime's syncopated rhythms and the raw, percussive energy of barrelhouse traditions played in informal Southern venues, the style incorporated elements from work songs, , and African rhythmic patterns, creating a driving, repetitive bass that mirrored the of manual labor and communal expression. As the Great Migration began in the early 20th century, African American musicians carried northward, transplanting it to urban centers such as New Orleans and , where it flourished in juke joints—ramshackle rural and semi-urban establishments hosting lively music and dancing—and rent parties in Northern cities like , which helped tenants cover housing costs through admission fees and featured performances as a central attraction. These settings nurtured the style's evolution from solitary improvisations to a communal art form, with its rhythmic shuffle serving as a foundational link to broader traditions. Among the earliest known recordings featuring boogie-woogie elements are George W. Thomas's "The Rocks" and "The Fives" from February 1923, followed by Jimmy Blythe's "Chicago Stomps" in April 1924, which are recognized as pioneering examples of the style's piano-driven propulsion. A true breakthrough came in late 1928 when Clarence "Pine Top" Smith recorded "Pine Top's Boogie Woogie" in for , a track that included spoken dance instructions and peaked at number 20 on the charts upon its 1929 release, marking the first commercial success and popularization of the term. Concurrently, Meade Lux Lewis contributed to the early recorded canon around 1928–1929 with pieces like his "Honky Tonk Train Blues," helping to solidify the solo format that defined boogie-woogie's initial sound, distinct from later ensemble expansions.

Popularization in Swing and Beyond

The swing era of the 1930s marked a pivotal commercialization of earlier blues rhythms, propelling boogie-woogie into mainstream popularity through big band adaptations that infused energetic bass lines and shuffling beats into orchestral swing. A landmark event was the 1938 "From Spirituals to Swing" concert at Carnegie Hall, organized by producer John Hammond, which featured boogie-woogie pianists like Albert Ammons, Meade "Lux" Lewis, and Pete Johnson alongside swing luminaries such as Benny Goodman and Count Basie, drawing a sold-out audience and sparking national interest. Swing bands increasingly incorporated boogie rhythms to heighten danceable energy, as seen in Benny Goodman's 1937 hit "Sing, Sing, Sing," where the driving percussion and riff-based structure evoked boogie propulsion within a big band framework. Similarly, Glenn Miller's 1939 chart-topper "In the Mood" utilized a boogie-inflected riff and swinging bass to create an infectious, upbeat momentum that dominated airwaves and ballrooms. Following , boogie evolved through , blending small combo formats with horn sections to bridge swing and emerging , as exemplified by bandleaders like and . Dorsey's 1938 recording of "," reissued as a hit in 1943 and 1945, featured lively and lines that sustained boogie's appeal amid wartime morale-boosting music. 's further advanced this shift with their 1946 release "," a track with bass and humorous lyrics about post-war travel frustrations, which topped the R&B charts for 18 weeks and sold over a million copies, solidifying boogie's transition to R&B accessibility. In the , boogie's shuffling rhythm fused with and elements to fuel the explosion, particularly in , where guitar-driven arrangements amplified its propulsive feel. Bill Haley's "" (1954) adapted the boogie into a high-energy with slapping bass and upbeat , becoming the first record to top the in 1955 and selling 25 million copies worldwide. Elvis Presley's early hits, such as "" (1954) and "" (1955), drew on boogie-woogie bass patterns and phrasing to create a hybrid sound, blending white twang with Black R&B influences that propelled Presley to stardom and helped define the genre's raw vitality. Similarly, Little Richard incorporated boogie-woogie's energetic piano style into rock and roll, as evident in his 1955 hit "Tutti Frutti," blending it with gospel and R&B elements. Chuck Berry's guitar riffs were also shaped by the boogie-woogie piano of his longtime collaborator Johnnie Johnson, as seen in tracks like "Johnny B. Goode" (1958), further illustrating boogie's influence on key figures in the genre's development. By the late 1950s, pure faded as absorbed and overshadowed its core elements, though its rhythmic foundation persisted in early rock innovations. The style's decline coincided with rock's dominance, but it resurfaced in country music during the and through revivalist acts like , whose western swing-infused albums such as 10 (1987) and Keepin' Me Up Nights (1990) incorporated boogie rhythms in tracks like "Boogie Back to ," earning Grammy nominations and revitalizing the form within circuits.

Usage Across Genres

In Blues and Boogie-Woogie

Boogie holds a foundational role in the tradition, particularly as the driving force behind , a -based subgenre that emerged in the early 20th century among African American musicians in the South and Midwest. This style typically employs eight-bar or forms, characterized by repetitive bass lines in the left hand that create a relentless, rolling propulsion, while the right hand delivers syncopated riffs and improvisations. Clarence "Pinetop" Smith pioneered these innovations in his seminal 1928 recording "Pinetop's ," which introduced the term "" to describe the energetic, danceable and featured an infectious bass pattern that became a template for the genre. The swung rhythm inherent to provides its defining groove, infusing the music with a lively, offbeat swing that distinguishes it within broader practices. In Delta and , boogie elements were adapted beyond to guitar, enhancing the genre's rhythmic drive during the and . , a key figure in this transition, incorporated boogie riffs into his guitar work, as heard in tracks like "Big Bill Blues" (recorded around 1928), where walking bass-like patterns on the guitar emulate the ostinatos of while maintaining the raw intensity of rural Delta influences as he moved to urban settings. These adaptations helped bridge Southern folk with the more structured urban sound, allowing boogie propulsion to energize ensemble performances. Structurally, boogie bass lines in blues emphasize forward momentum through repeating eighth-note patterns that outline chord tones, often supporting the AAB lyrical form—a poetic structure where the first line (A) is repeated, followed by a concluding response line (B). This form aligns with the call-and-response tradition rooted in African American musical heritage, where the bass or instrumental riffs "respond" to vocal phrases, creating a interplay that heightens and rhythmic tension. In , these elements converge to produce a , dance-oriented energy distinct from slower variants. Prominent exponents of boogie-woogie include , whose subtle, house-rent party style featured intricate bass variations in pieces like "Yancey Special," and Cow Cow Davenport, an early innovator whose 1920s recordings such as "Cow Cow Blues" established the ostinato-driven piano blueprint for the subgenre. The style gained national prominence through the 1938 "From Spirituals to Swing" concert at , organized by John Hammond, where pianists , Pete Johnson, and Meade "Lux" Lewis performed electrifying sets that showcased boogie-woogie's virtuosity and propelled it into mainstream awareness.

In Rock, Country, and Disco

In , the boogie shuffle rhythm provided a propulsive foundation during the genre's formative years in the 1950s, adapting piano-driven patterns to riffs for high-energy drive. Chuck Berry's "," released in 1958, exemplifies this through its signature opening riff, directly inspired by the piano style of Berry's longtime collaborator Johnnie Johnson. By the early 1960s, acts like further popularized these guitar boogie patterns in their repertoire; their 1963 cover of "" employs a repetitive shuffle beat and riffing to build relentless momentum, bridging early energy into broader pop appeal. This adaptation from 1950s roots helped solidify boogie's role as a rhythmic staple in rock's evolution. Country boogie developed as a lively fusion with in the mid-, incorporating shuffled bass lines and upbeat tempos suited to rural dance halls. and His Texas Playboys' "New Rose," a 1940 hit, blended boogie rhythms with swing's horn sections and fiddles, creating a hybrid sound that propelled Wills to national fame. The style saw revivals in the late , with Brooks & Dunn's "" (1991) channeling boogie through its stomping shuffle and twangy guitars, topping country charts and inspiring widespread line dancing. During the 1970s disco boom, boogie transformed into a sleek groove, adapting its repetitive, energetic patterns to steady four-on-the-floor bass drums for club-friendly propulsion. KC and the Sunshine Band's "Get Down Tonight" (1975) captures this in its funky, horn-accented rhythm, which drove the track to No. 1 on the and epitomized 's feel-good ethos. Similarly, Silver Convention's "Fly, Robin, Fly" (1975) integrates minimalist phrasing over orchestral beats, achieving three weeks at No. 1 and highlighting the genre's emphasis on hypnotic, body-moving repetition. Boogie's repetitive shuffle endures in contemporary music, particularly within jam bands and , where it supports extended live and raw energy. frequently extends boogie grooves in performances of Stevie Wonder's "Boogie On Reggae Woman," using the song's shuffling as a launchpad for layered, exploratory jams that can stretch over 15-20 minutes, as in their 1999 and 2009 renditions. In , the style persists through bands like , whose modern blues-infused tracks revive boogie shuffles for gritty, guitar-driven urgency. The tradition continues in dedicated scenes, with events like the International Boogie Woogie Festival (as of 2024) featuring pianists such as Luca Sestak and Carl Sonny Leyland.

Cultural and Artistic Impact

Association with Dance

Boogie has long been intertwined with partner dancing, particularly in the ballrooms of the 1930s and 1940s, where its energetic style supported social interactions through dances like the and variations. These forms emphasized improvisation, aerial steps, and close partnership, allowing dancers to engage rhythmically in venues such as 's . In the 1920s, boogie facilitated communal expression during rent parties, informal gatherings where African American tenants hosted music and events to raise funds for rent amid economic pressures and discrimination. These events provided spaces for collective joy and resilience, uniting neighbors in shared physical and cultural outlets that symbolized escape from daily hardships. By the , boogie evolved into freestyle dancing within club culture, where it denoted spontaneous, solo movements with hip isolations and sustained energy on crowded floors, encouraging individual yet collective participation. In discotheques, this style fostered ecstatic communal bonds among diverse groups, offering transcendence and liberation through marathon sessions that promoted uninhibited expression and social escape. Regional adaptations highlight boogie's versatility in dance practices; in post-1940s , it developed as a competitive swing derivative with acrobatic lifts and structured routines, diverging from American social forms through its emphasis on performance and rock-influenced tempos. Meanwhile, in American country contexts, boogie inspired line dancing variations like the , a group formation choreographed for synchronized steps that emphasized accessibility and fun in communal settings.

Notable Songs and Artists

One of the earliest and most influential recordings in the boogie style is Clarence "Pinetop" Smith's "Pine Top's Boogie Woogie," released in 1928 on Vocalion Records, which introduced the term "boogie woogie" to a wide audience through its infectious piano riffing. Similarly, Meade "Lux" Lewis's "Honky Tonk Train Blues," first recorded in 1927 for Paramount Records and reissued in the 1930s on labels like Bluebird, captured the rhythmic drive of boogie piano with its train-inspired ostinato patterns. In the jump blues era, Louis Jordan and His Tympany Five's "Let the Good Times Roll," a 1946 Decca single, exemplified boogie's upbeat swing with its horn-driven energy and call-and-response vocals. As boogie rhythms influenced early , and His Comets' 1954 cover of "" on transformed the original tune into a high-energy rock staple, featuring prominent guitar boogie lines and driving percussion. "Boogie Chillen'," recorded in 1948 for Modern Records, brought a raw, twist to the style with its hypnotic riff and storytelling lyrics, becoming a cornerstone of . In later decades, boogie's adaptability shone in blues-rock and contexts; B.B. King's 1964 rendition of "Rock Me Baby" on Kent Records fused improvisation with boogie rhythms, creating a timeless blues-rock anthem. Likewise, Donna Summer's "Last Dance," from the 1978 soundtrack to on , incorporated boogie basslines into disco orchestration, earning a Grammy for Best Female R&B Vocal Performance. Prominent piano pioneers Albert Ammons and Pete Johnson advanced boogie through their virtuosic solos and duets in the 1930s and 1940s, often performing at concerts that elevated the style's profile. Guitarist extended boogie's electric potential in the 1970s with tracks like "Boogie Bump" on his album Larger Than Life, blending with rock-infused rhythms. In revival efforts, contributed to boogie's modern interpretations, as heard in his New Orleans-inspired piano work on compilations like The Rough Guide to the Music of New Orleans.

References

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