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.[1] It was one of the most popular tunes of the swing era, and the Stomp progression was often used.Script error: No such module "Unsubst".
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.[2]
Harmonic progression
Magee (2004) describes a two-measure three-chord harmonic loop:[1]
∥: F F♯o7 | C7 C7 :∥
Putting the first C7 in second inversion produces a chromatically-ascending bass for the first three chords, so that loop (Template:ErrorTemplate:Category handler) becomes:
∥: F F♯o7 | C7/G C7 :∥
The progression is based on the last section of the piece, bars 57 to 64 in the original sheet music for piano[3] or the Fake Book lead sheet,[4] where the chords for the last ten bars of the piece are:
| G♭ ⁄ Go ⁄ | D♭7/A♭ ⁄ D♭7 ⁄ | G♭ ⁄ Go ⁄ | D♭7/A♭ ⁄ D♭7 ⁄ | | G♭7 ⁄ Go ⁄ | D♭/A♭ Ao B♭m D♭/A♭ | Go ⁄ G♭ ⁄ | D♭/F B♭m Ao D♭/A♭ | | Go G♭6 D♭/F A♭ | D♭9 ⁄ ⁄ ⁄ ∥
In pieces where the progression is repeated, this becomes something like (Template:ErrorTemplate:Category handler):Script error: No such module "Unsubst".
∥: G♭7 Go7 | D♭7/A♭ D♭7 | G♭7 Go7 | D♭7/A♭ D♭7 | | G♭7 Go7 | D♭7/A♭ B♭7 | E♭7 A♭7 | D♭7 :∥
Another variation is:
∥: G♭7 Go7 | D♭7/A♭ D♭7 | G♭7 Go7 | D♭7/A♭ D♭7 | | G♭7 Go7 | D♭7/A♭ B♭7 | E♭7 | A♭7 D♭7 :∥
which is, ignoring the temporary tonicization of G♭,Script error: No such module "Unsubst". and treating the key as that of the trio and stomp sections, D♭:[5]
∥: IV7 ♯ivo7 | I7[[Inversion (music)#Notating root position and inversions|(Template:SubSup)]] I7 | IV7 ♯ivo7 | I7(Template:SubSup) I7 | | IV7 ♯ivo7 | I7(Template:SubSup) 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".[6] Examples include Benny Carter's "Everybody Shuffle" (1934).[6] 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"[7]
- Fats Waller's "Soothin' Syrup Stomp"
- Cab Calloway's "At the Clambake Carnival"[7]
- Harry James's "Jump Town" and "Call the Porter"[7]
- Benny Goodman's "Slipped Disc"[7]
- Duke Ellington's "Bojangles (A Portrait of Bill Robinson)" (1940) chorus riff[6]
- Sy Oliver's "Well, Git It!" for Tommy Dorsey's Orchestra (1942)[6]
- Willie Bryant Orchestra's 1935 recording of George Gershwin's "Liza", eight-bar tag ending[6]
Sources
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- ↑ a b Magee, Jeffrey (2004). The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz, np. Oxford. Template:ISBN.
- ↑ Script error: No such module "template wrapper".
- ↑ Magee (2001), 28, cites: Script error: No such module "Citation/CS1".
- ↑ Script error: No such module "citation/CS1".
- ↑ Magee (2001), p.27. Script error: No such module "Unsubst".
- ↑ a b c d e Magee, Jeffrey. Script error: No such module "citation/CS1"., p.46, Current Musicology, 71-73 (Spring 2001-Spring 2002), p. 22-53.
- ↑ a b c d 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.
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