Larry-LaRue – Booker Little

With its soaring melody and bittersweet mood, Larry-LaRue is a Booker Little classic. The relatively simple lyricism of the melody makes it a great place to start exploring Booker's compositions before moving on to his more intricate, advanced works. The form of Larry-LaRue consists of two 18-measure sections (A1 and A2 in our lead sheets and parts), which are the same until the last six measures. Our lead sheets and parts have no key signature; the general key center is B♭ minor, but the end of A2 resolves to B♭ major. Both sections are harmonically based on a descending series of II-V7s, with a few chord substitutions especially in the head. The solo form is like the head but slightly simplified.

There is a 10-measure intro, unrelated to the head and at a slightly slower tempo. The bass pedals on beats 2 and 4 in the first four measures of this intro, and the next six measures are filled with a chromatic descending chord progression. The coda is a repeat of the last six measures of the head.

About the arrangement: We have a full score and parts for the three-horn, piano-less arrangement. The horns are intricately arranged, with lines of counterpoint weaving around each other through the changes, which makes the full score very helpful. Many of the tenor sax and tuba lines fill in half and quarter notes around the whole notes of the trumpet melody. In several places the lines come together rhythmically and then split off again; the trumpet and tenor start the A section in octaves and split off in the third measure.

Our lead sheets are also the first horn parts. There is often more than an octave between two of the lines, so the counterpoint still works if the octave has to be changed to accommodate the 2nd or 3rd part instrument's range. Our trumpet 2nd and tenor sax 3rd parts have some lines moved up an octave. The tuba 3rd part certainly works on trombone.

Although this was recorded as a 3-front line quintet, this arrangement also works great in a quartet format.

On the recording, bassist Art Davis plays the same walking line on both A sections of the in and out heads. Bassists can certainly play other lines on this song; our bass part has slashes, but Art's lines are shown in the bass staff on the full score.

This song was recorded without piano. Pianists who want to play this song, with or without the arrangement, should read the C lead sheet.