# Stomp progression

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In [music](/source/music) and [jazz harmony](/source/jazz_harmony), the '''Stomp progression''' is an eight-bar [chord progression](/source/chord_progression) named for its use in the "stomp" section of the composition "[King Porter Stomp](/source/King_Porter_Stomp)" (1923) by [Jelly Roll Morton](/source/Jelly_Roll_Morton). The composition was later arranged by [Fletcher Henderson](/source/Fletcher_Henderson), adding greater emphasis on the Trio section, containing a highly similar harmonic loop to that found in the Stomp section.<ref name="Magee2014">Magee, Jeffrey (2004). ''The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz'', np. Oxford. {{ISBN|9780190282363}}.</ref> It was one of the most popular tunes of the [swing era](/source/swing_era), and the Stomp progression was often used.{{citation needed|date=September 2012}}

Following the success of "King Porter Stomp", many other compositions were named after the tune, although many of these "stomps" did not necessarily employ the stomp progression.<ref>{{cite Grove
  |last1 = Schuller
  |first1 = Gunther
  |author-link1 = Gunther Schuller
  |date = 2002
  |title = Stomp
  |url=https://doi.org/10.1093/gmo/9781561592630.article.J430400
  |url-access=subscription
}}</ref>

==Harmonic progression==
Magee (2004) describes a two-measure three-chord harmonic loop:<ref name="Magee2014"/>

:{|style="text-align:center"
| | ∥: ||width=35px| F || width="35px" | [F{{music|#}}{{music|dim}}<sup>7</sup>](/source/Diminished_seventh_chord)|| | {{!}} ||width=35px| C<sup>7</sup> || width="35px" | C<sup>7</sup> || | :∥ 
|}

Putting the first C<sup>7</sup> in [second inversion](/source/second_inversion) produces a chromatically-ascending bass for the first three chords, so that loop ({{audio|Stomp progression block chords F.mid|Play}}) becomes:

:{|style="text-align:center"
| | ∥: ||width=35px| F || width="35px" | F{{music|#}}{{music|dim}}<sup>7</sup> || | {{!}} ||width=35px| C<sup>7</sup><small>/G</small>|| width="35px" | C<sup>7</sup> || | :∥ 
|}

The progression is based on the last section of the piece, [bars](/source/bar_(music)) 57 to 64 in the original [sheet music](/source/sheet_music) for piano<ref name="Morton">Magee (2001), 28, cites: {{Cite journal
  | last = Morton
  | first = Ferd "Jelly Roll"
  | title = King Porter Stomp
  | journal = Edwin H. Morris & Company
  | publisher = MPL Communications, Inc.
  | year = 1924}}</ref> or the ''Fake Book'' [lead sheet](/source/lead_sheet),<ref>{{cite book|last=Rodin|first=Sid|author2=Sonny Burke|author3=Ferdinand "Jelly Roll" Morton|article=King Porter Stomp|title=Jazz Fake Book (unofficial compilation)|year=<!--1924, 1956-->1987|edition=3|page=208|publisher=Edwin H. Morris & Company, a division of MPL Communications}}</ref> where the chords for the last ten bars of the piece are:
:{|style="text-align:center"
| | {{!}} ||width=35px| G{{music|b}} ||width=35px| ⁄ ||width=35px| G{{music|dim}} ||width=35px| ⁄ || | {{!}} ||width=35px| D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> ||width=35px| ⁄ ||width=35px| D{{music|b}}<sup>7</sup> ||width=35px| ⁄ || | {{!}} ||width=35px| G{{music|b}} ||width=35px| ⁄ ||width=35px| G{{music|dim}} ||width=35px| ⁄ || | {{!}} ||width=35px| D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> ||width=35px| ⁄ ||width=35px| D{{music|b}}<sup>7</sup> ||width=35px| ⁄ || | {{!}}
|-
| | {{!}} || G{{music|b}}<sup>7</sup> ||| ⁄ ||| G{{music|dim}} ||| ⁄ || | {{!}} || | D{{music|b}}<small>/A{{music|b}}</small> || | A{{music|dim}} || | B{{music|b}}m || | D{{music|b}}<small>/A{{music|b}}</small> || | {{!}} || | G{{music|dim}} || | ⁄ || | G{{music|b}} || | ⁄ || | {{!}} || | D{{music|b}}<small>/F</small> || | B{{music|b}}m || | A{{music|dim}} || | D{{music|b}}<small>/A{{music|b}}</small> || | {{!}}
|-
| | {{!}} || | G{{music|dim}} || | G{{music|b}}<sup>6</sup> || | D{{music|b}}<small>/F</small> || | A{{music|b}} || | {{!}} || | D{{music|b}}<sup>9</sup> || | ⁄ || | ⁄ || | ⁄ || | ∥
|}
In pieces where the progression is repeated, this becomes something like ({{audio|Stomp progression block chords.mid|Play}}):{{citation needed|date=September 2012}}

:{|style="text-align:center"
| | ∥: ||width=35px| G{{music|b}}<sup>7</sup> ||width=35px| G{{music|dim}}<sup>7</sup> || | {{!}} ||width=35px| D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> ||width=35px| D{{music|b}}<sup>7</sup> || | {{!}} ||width=35px| G{{music|b}}<sup>7</sup> ||width=35px| G{{music|dim}}<sup>7</sup> || | {{!}} ||width=35px| D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> ||width=35px| D{{music|b}}<sup>7</sup> || | {{!}}
|-
| | {{!}} || | G{{music|b}}<sup>7</sup> || | G{{music|dim}}<sup>7</sup> || | {{!}} || | D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> || | B{{music|b}}<sup>7</sup> || | {{!}} || | E{{music|b}}<sup>7</sup> || | A{{music|b}}<sup>7</sup>|| | {{!}} || | D{{music|b}}<sup>7</sup>|| | || | :∥
|}

Another variation is:

:{|style="text-align:center"
| | ∥: ||width=35px| G{{music|b}}<sup>7</sup> ||width=35px| G{{music|dim}}<sup>7</sup> || | {{!}} ||width=35px| D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> ||width=35px| D{{music|b}}<sup>7</sup> || | {{!}} ||width=35px| G{{music|b}}<sup>7</sup> ||width=35px| G{{music|dim}}<sup>7</sup> || | {{!}} ||width=35px| D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> ||width=35px| D{{music|b}}<sup>7</sup> || | {{!}}
|-
| | {{!}} || | G{{music|b}}<sup>7</sup> || | G{{music|dim}}<sup>7</sup> || | {{!}} || | D{{music|b}}<sup>7</sup><small>/A{{music|b}}</small> || | B{{music|b}}<sup>7</sup> || | {{!}} || | E{{music|b}}<sup>7</sup> || | || | {{!}} || | A{{music|b}}<sup>7</sup> || | D{{music|b}}<sup>7</sup> || | :∥
|}

which is, ignoring the temporary [tonicization](/source/tonicization) of G{{music|b}},{{citation needed|date=September 2012}} and treating the [key](/source/key_(music)) as that of the [trio](/source/ternary_form) and stomp sections, D{{music|b}}:<ref>Magee (2001), p.27. {{verify source|date=August 2016|Quote needed.}}</ref>
:{|style="text-align:center"
| | ∥: ||width=35px| IV<sup>7</sup> ||width=35px| {{music|#}}iv{{music|dim}}<sup>7</sup> || | {{!}} ||width=35px| I<sup>7</sup>[({{SubSup||3|4}})](/source/Inversion_(music)) ||width=35px| I<sup>7</sup> || | {{!}} ||width=35px| IV<sup>7</sup> ||width=35px| {{music|#}}iv{{music|dim}}<sup>7</sup> || | {{!}} ||width=35px| I<sup>7</sup>({{SubSup||3|4}}) ||width=35px| I<sup>7</sup> || | {{!}}
|-
| | {{!}} || | IV<sup>7</sup> || | {{music|#}}iv{{music|dim}}<sup>7</sup> || | {{!}} || | I<sup>7</sup>({{SubSup||3|4}}) || | VI<sup>7</sup> || | {{!}} || | II<sup>7</sup> || | || | {{!}} || | V<sup>7</sup> || | I<sup>7</sup> || | :∥
|}
The last two measures contain the [ragtime progression](/source/ragtime_progression).

==Influence==
Many bands and composers have used the Stomp chord progression to write new compositions, writing new [head](/source/Head_(music)) tunes or [melodies](/source/melody), but using the chord changes to, as Morton phrased it, "make great tunes of themselves".<ref name="Magee">Magee, Jeffrey. {{cite web |url=http://jazzstudiesonline.org/?q=node%2F780 |title="'King Porter Stomp' and the Jazz Tradition" |accessdate=2018-06-03 |url-status=bot: unknown |archiveurl=https://web.archive.org/web/20121220223454/http://jazzstudiesonline.org/?q=node%2F780 |archivedate=December 20, 2012 }}, p.46, ''Current Musicology'', 71-73 (Spring 2001-Spring 2002), p. 22-53.</ref> Examples include [Benny Carter](/source/Benny_Carter)'s "[Everybody Shuffle](/source/Everybody_Shuffle)" (1934).<ref name="Magee"/> A new tune that reuses the chord progression of an earlier composition but has a new melody is called a [contrafact](/source/contrafact) in jazz.

Other examples include:
*[Larry Clinton](/source/Larry_Clinton) and [Bunny Berigan](/source/Bunny_Berigan)'s "[Study in Brown](/source/Study_in_Brown_(Bunny_Berigan_song))"<ref name="S&W">Magee (2002), cites: Schuller, Gunther and Martin Williams (1983). "Liner notes to ''Big Band Jazz: From the Beginnings to the Fifties''", p.14. Smithsonian RD 030.</ref>
*[Fats Waller](/source/Fats_Waller)'s "[Soothin' Syrup Stomp](/source/Soothin'_Syrup_Stomp)"
*[Cab Calloway](/source/Cab_Calloway)'s "[At the Clambake Carnival](/source/At_the_Clambake_Carnival)"<ref name="S&W"/>
*[Harry James](/source/Harry_James)'s "[Jump Town](/source/Jump_Town)" and "[Call the Porter](/source/Call_the_Porter)"<ref name="S&W"/>
*[Benny Goodman](/source/Benny_Goodman)'s "[Slipped Disc](/source/Slipped_Disc)"<ref name="S&W"/>
*[Duke Ellington](/source/Duke_Ellington)'s "[Bojangles (A Portrait of Bill Robinson)](/source/Bojangles_(A_Portrait_of_Bill_Robinson))" (1940) chorus riff<ref name="Magee"/>
*[Sy Oliver](/source/Sy_Oliver)'s "[Well, Git It!](/source/Well%2C_Git_It!)" for [Tommy Dorsey](/source/Tommy_Dorsey)'s ''Orchestra'' (1942)<ref name="Magee"/>
*[Willie Bryant Orchestra](/source/Willie_Bryant_Orchestra)'s 1935 recording of [George Gershwin](/source/George_Gershwin)'s "[Liza](/source/Liza_(All_the_Clouds'll_Roll_Away))", eight-bar tag ending<ref name="Magee"/>

==Sources==
{{reflist}}

{{Chord progressions}}

Category:Major-key chord progressions

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Adapted from the Wikipedia article [Stomp progression](https://en.wikipedia.org/wiki/Stomp_progression) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Stomp_progression?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.