Stomp progression

In music and jazz harmony, the Stomp progression is an eight bar chord progression named for its use in the first strain of the composition "King Porter Stomp" (1923) by Jelly Roll Morton, later arranged by Fletcher Henderson. It is one of the most popular tunes of the Swing Era and the Stomp progression is often used.

The progression is first found in bars 9-15: I |VI⁷|ii |ii |IV-VII|I-VI⁷|ii⁷-V⁷ |I |

In C this would be:

C |A⁷ |Dm |Dm |F-B⁷|C-A⁷|Dm⁷-G⁷|C |

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. "'King Porter Stomp' and the Jazz Tradition", p.46, "Current Musicology", 71-73 (Spring 2001-Spring 2002), p. 22-53.] . Examples include Benny Carter's "Everybody Shuffle" (1934). See contrafact.

Other examples include:
*Larry Clinton and Bunny Berigan's "Study in Brown"Schuller, Gunther and Martin Williams (1983). "Liner notes to "Big Band Jazz: From the Beginnings to the Fifties", p.14. Smithsonian RD 030. Cited in Magee (2002).]
*Cab Calloway's "At the Clambake Carnival"
*Harry James's "Jump Town" and "Call the Porter"
*Benny Goodman's "Slipped Disc"
*Duke Ellington's "Bojangles (A Portrait of Bill Robinson)" (1940) chorus riff
*Sy Oliver's "Well, Git It!" for Tommy Dorsey's Orchestra(1942)
*Willie Bryant Orchestra's 1935 recording of George Gershwin's "Liza", eight-bar tag ending

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