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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.[citation needed] Magee (2014) describes a two-measure three-chord harmonic loop: F–Fo7—C7–C7.[1] About this soundPlay 

The progression (About this soundPlay ) is based on the last section of the piece, bars 57 to 64 in the original sheet music for piano[2] or the Fake Book lead sheet,[3] where the chords for the last ten bars of the piece are:

| G Go | D7/A D7 | G Go | D7/A D7 |
| G7 Go | D/A Ao Bm D/A | Go G | D/F Bm Ao D/A |
| Go G6 D/F A | D9

In pieces where the progression is repeated, this becomes something like:[citation needed]

∥: G7 Go7 | D7/A D7 | G7 Go7 | D7/A D7 |
| G7 Go7 | D7/A B7 | E7 | A7 D7 :∥

which is, ignoring the temporary tonicization of G,[citation needed] and treating the key as that of the trio and stomp sections, D:[4]

∥: IV7 ivo7 | I7(4
I7 | IV7 ivo7 | I7(4
I7 |
| IV7 ivo7 | I7(4
VI7 | II7 | V7 I7 :∥

The last two measures contain the ragtime progression.

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".[5] Examples include Benny Carter's "Everybody Shuffle" (1934).[5] See contrafact.

Other examples include:


  1. ^ a b Magee, Jeffrey (2004). The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz, np. Oxford. ISBN 9780190282363.
  2. ^ Magee (2001), 28, cites: Morton, Ferd "Jelly Roll" (1924). "King Porter Stomp". Edwin H. Morris & Company. MPL Communications, Inc.
  3. ^ Rodin, Sid; Sonny Burke; Ferdinand "Jelly Roll" Morton (1987). "King Porter Stomp". Jazz Fake Book (unofficial compilation) (3 ed.). Edwin H. Morris & Company, a division of MPL Communications. p. 208.
  4. ^ Magee (2001), p.27.[verification needed]
  5. ^ a b c d e Magee, Jeffrey. ""'King Porter Stomp' and the Jazz Tradition"". Archived from the original on December 20, 2012. Retrieved 2018-06-03.CS1 maint: BOT: original-url status unknown (link), p.46, Current Musicology, 71-73 (Spring 2001-Spring 2002), p. 22-53.
  6. ^ 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.