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Great American Boogie Woogie: Piano Sheet

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Great American Boogie Woogie Cover Image

Great American Boogie Woogie: Piano Sheet

By Catherine Rollin

Level: Late Intermediate

Item: 00-3643

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Additional Details
Publisher: Alfred Music
Page Count: 4
UPC: 038081044699
SKU: 00-3643

More about this title

About the Composer: Catherine Rollin

Catherine Rollin

Catherine Rollin balances an active composing practice with mentoring students who regularly win competitions and recognition. She has built an international reputation, delivering masterclasses and workshops across North America and Asia while maintaining her own performing schedule.

Rollin earned her Bachelor of Musical Arts degree with distinction from the University of Michigan and her Master of Music from Oakland University School of Performing Arts. Her compositions have been commissioned by MTNA, the Michigan Music Teachers Association, and Clavier Companion magazine, and multiple works appear in the National Federation of Music Clubs Festivals Bulletin. She has served as a national judge for the MTNA Student Composition Competition and the Lynn Freeman Olson Composition Contest. In 2018, MTNA commissioned Suite Detroit, a trio for flute, alto saxophone, and piano, which premiered at the national conference. Her Museum Masterpieces series earned an ASCAP award and was featured in a multimedia presentation by the Steinway Society.

Why we love this

Rollin's approach to boogie woogie grounds itself in authentic jazz idiom while remaining fully accessible to late intermediate pianists. The piece captures the energy and character of the style without requiring advanced technique, making it a genuine crowd-pleaser for recitals and festivals.

What to expect

Energetic and rhythmically infectious, this boogie woogie captures the exuberance of American jazz piano tradition. The driving left-hand pulse and playful right-hand lines create momentum that feels both fun to play and satisfying to perform.

Who it's for

Late intermediate pianists developing independence between hands and exploring jazz-influenced idioms. This piece works well for students ready to tackle blues and swing vocabularies in a structured, notated context.

How to get the most out of it

  • Keep the left-hand ostinato steady and even; the groove depends on rhythmic confidence rather than speed
  • Shape the right-hand melody with clear articulation so it sings above the driving accompaniment
  • Let the piece breathe during any dynamic changes rather than rushing into the next section
  • Pay attention to the swing feel implied by the style; consult the score for specific rhythmic notation and articulation markings

How to use it

Program this as a standalone recital piece to show range beyond classical repertoire, or pair it with other American or jazz-influenced works to create a thematic concert section. It works equally well in casual performance settings or more formal competitions.

Skills your students will build

  • Left-hand ostinato patterns and rhythmic independence
  • Swing rhythm interpretation and jazz articulation
  • Balancing melody and accompaniment at tempo
  • Stylistic authenticity in American vernacular music

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