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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.Magee, Jeffrey (2004). The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz, np. Oxford. {{ISBN|9780190282363}}. 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.{{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

}}

Harmonic progression

Magee (2004) describes a two-measure three-chord harmonic loop:

:

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| | ∥:

width=35px| Fwidth="35px" | Diminished seventh chord| {{!}}width=35px| C7width="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| Fwidth="35px" | F{{music|#}}{{music|dim}}7| {{!}}width=35px| C7/Gwidth="35px" | C7| :∥

The progression is based on the last section of the piece, bars 57 to 64 in the original sheet music for pianoMagee (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}} or the Fake Book lead sheet,{{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=1987|edition=3|page=208|publisher=Edwin H. Morris & Company, a division of MPL Communications}} where the chords for the last ten bars of the piece are:

:

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| | {{!}}

width=35px| G{{music|b}}width=35px| ⁄width=35px| G{{music|dim}}width=35px| ⁄| {{!}}width=35px| D{{music|b}}7/A{{music|b}}width=35px| ⁄width=35px| D{{music|b}}7width=35px| ⁄| {{!}}width=35px| G{{music|b}}width=35px| ⁄width=35px| G{{music|dim}}width=35px| ⁄| {{!}}width=35px| D{{music|b}}7/A{{music|b}}width=35px| ⁄width=35px| D{{music|b}}7width=35px| ⁄| {{!}}
| {{!}}G{{music|b}}7| ⁄| G{{music|dim}}| ⁄| {{!}}| D{{music|b}}/A{{music|b}}| A{{music|dim}}| B{{music|b}}m| D{{music|b}}/A{{music|b}}| {{!}}| G{{music|dim}}| ⁄| G{{music|b}}| ⁄| {{!}}| D{{music|b}}/F| B{{music|b}}m| A{{music|dim}}| D{{music|b}}/A{{music|b}}| {{!}}
| {{!}}| G{{music|dim}}| G{{music|b}}6| D{{music|b}}/F| 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}}

:

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| | ∥:

width=35px| G{{music|b}}7width=35px| G{{music|dim}}7| {{!}}width=35px| D{{music|b}}7/A{{music|b}}width=35px| D{{music|b}}7| {{!}}width=35px| G{{music|b}}7width=35px| G{{music|dim}}7| {{!}}width=35px| D{{music|b}}7/A{{music|b}}width=35px| D{{music|b}}7| {{!}}
| {{!}}| G{{music|b}}7| G{{music|dim}}7| {{!}}| D{{music|b}}7/A{{music|b}}| B{{music|b}}7| {{!}}| E{{music|b}}7| A{{music|b}}7| {{!}}| D{{music|b}}7|| :∥

Another variation is:

:

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| | ∥:

width=35px| G{{music|b}}7width=35px| G{{music|dim}}7| {{!}}width=35px| D{{music|b}}7/A{{music|b}}width=35px| D{{music|b}}7| {{!}}width=35px| G{{music|b}}7width=35px| G{{music|dim}}7| {{!}}width=35px| D{{music|b}}7/A{{music|b}}width=35px| D{{music|b}}7| {{!}}
| {{!}}| G{{music|b}}7| G{{music|dim}}7| {{!}}| D{{music|b}}7/A{{music|b}}| 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}}:Magee (2001), p.27. {{verify source|date=August 2016|Quote needed.}}

:

style="text-align:center"

| | ∥:

width=35px| IV7width=35px| {{music|#}}iv{{music|dim}}7| {{!}}width=35px| I7Inversion (music)#Notating root position and inversionswidth=35px| I7| {{!}}width=35px| IV7width=35px| {{music|#}}iv{{music|dim}}7| {{!}}width=35px| I7({{SubSup3|4}})width=35px| I7| {{!}}
| {{!}}| IV7| {{music|#}}iv{{music|dim}}7| {{!}}| I7({{SubSup3|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".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. Examples include Benny Carter's "Everybody Shuffle" (1934). 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:

Sources

{{reflist}}

{{Chord progressions}}

Category:Chord progressions