Stomp progression

In music and jazz harmony, the '''Stomp progression''' is an eight-bar chord progression named for its use in the "stomp" section of the composition "King Porter Stomp" (1923) by Jelly Roll Morton. The composition was later arranged by 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, 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}}⁷|| | {{!}} ||width=35px| C⁷ || width="35px" | C⁷ || | :∥ |}

Putting the first C⁷ in 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}}⁷ || | {{!}} ||width=35px| C⁷<small>/G</small>|| width="35px" | C⁷ || | :∥ |}

The progression is based on the last section of the piece, bars 57 to 64 in the original 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,<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}}⁷<small>/A{{music|b}}</small> ||width=35px| ⁄ ||width=35px| D{{music|b}}⁷ ||width=35px| ⁄ || | {{!}} ||width=35px| G{{music|b}} ||width=35px| ⁄ ||width=35px| G{{music|dim}} ||width=35px| ⁄ || | {{!}} ||width=35px| D{{music|b}}⁷<small>/A{{music|b}}</small> ||width=35px| ⁄ ||width=35px| D{{music|b}}⁷ ||width=35px| ⁄ || | {{!}} |- | | {{!}} || G{{music|b}}⁷ ||| ⁄ ||| 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}}⁶ || | D{{music|b}}<small>/F</small> || | A{{music|b}} || | {{!}} || | D{{music|b}}⁹ || | ⁄ || | ⁄ || | ⁄ || | ∥ |} 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}}⁷ ||width=35px| G{{music|dim}}⁷ || | {{!}} ||width=35px| D{{music|b}}⁷<small>/A{{music|b}}</small> ||width=35px| D{{music|b}}⁷ || | {{!}} ||width=35px| G{{music|b}}⁷ ||width=35px| G{{music|dim}}⁷ || | {{!}} ||width=35px| D{{music|b}}⁷<small>/A{{music|b}}</small> ||width=35px| D{{music|b}}⁷ || | {{!}} |- | | {{!}} || | G{{music|b}}⁷ || | G{{music|dim}}⁷ || | {{!}} || | D{{music|b}}⁷<small>/A{{music|b}}</small> || | B{{music|b}}⁷ || | {{!}} || | E{{music|b}}⁷ || | A{{music|b}}⁷|| | {{!}} || | D{{music|b}}⁷|| | || | :∥ |}

Another variation is:

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

which is, ignoring the temporary tonicization of G{{music|b}},{{citation needed|date=September 2012}} and treating the key as that of the trio 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| IV⁷ ||width=35px| {{music|#}}iv{{music|dim}}⁷ || | {{!}} ||width=35px| I⁷({{SubSup||3|4}}) ||width=35px| I⁷ || | {{!}} ||width=35px| IV⁷ ||width=35px| {{music|#}}iv{{music|dim}}⁷ || | {{!}} ||width=35px| I⁷({{SubSup||3|4}}) ||width=35px| I⁷ || | {{!}} |- | | {{!}} || | IV⁷ || | {{music|#}}iv{{music|dim}}⁷ || | {{!}} || | I⁷({{SubSup||3|4}}) || | VI⁷ || | {{!}} || | II⁷ || | || | {{!}} || | V⁷ || | I⁷ || | :∥ |} The last two measures contain the ragtime progression.

==Influence== Many bands and composers have used the Stomp chord progression to write new compositions, writing new head tunes or melodies, 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's "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 in jazz.

Other examples include: *Larry Clinton and Bunny Berigan's "Study in Brown"<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's "Soothin' Syrup Stomp" *Cab Calloway's "At the Clambake Carnival"<ref name="S&W"/> *Harry James's "Jump Town" and "Call the Porter"<ref name="S&W"/> *Benny Goodman's "Slipped Disc"<ref name="S&W"/> *Duke Ellington's "Bojangles (A Portrait of Bill Robinson)" (1940) chorus riff<ref name="Magee"/> *Sy Oliver's "Well, Git It!" for Tommy Dorsey's ''Orchestra'' (1942)<ref name="Magee"/> *Willie Bryant Orchestra's 1935 recording of George Gershwin's "Liza", eight-bar tag ending<ref name="Magee"/>

==Sources== {{reflist}}

{{Chord progressions}}

Category:Major-key chord progressions