POST 601: 'ROCK ME'; AND A BEREAVEMENT

Here's a sad tale. In 1932, Nettie Dorsey, the wife of Thomas A. Dorsey,  died in childbirth; and two days later their new-born son died too.

In his grief, Thomas A. Dorsey composed Precious Lord, Take My Hand - a tune which remains popular with traditional jazz bands to this day.

Thomas Andrew Dorsey

Who was Dorsey? Not to be confused with Tommy Dorsey (1905 - 1956), the famous trombonist and band-leader, he was always known as Thomas A. Dorsey. He lived from 1899 to 1993.

Thomas A. Dorsey was already well-known at the time of his wife's death. He was an established blues pianist, band-leader and composer. He had performed as 'Georgia Tom'. He had a hit record in 1928 with It's Tight Like That. His band had accompanied Ma Rainey. He founded the first black gospel music publishing company. He was in later life to be considered the Father of Black Gospel Music. 

A gospel number for which he is also specially known is the 1937 composition Peace in the Valley.

But what prompts me to tell you all this is that I listened earlier today to Erika Lewis singing Rock Me on Tuba Skinny's first album - the album simply called 'Tuba Skinny' and issued in 2010. Rock Me was made famous when it was recorded by Sister Rosetta Tharpe in 1938; but the song was originally composed by Thomas A. Dorsey under the title Hide Me In Thy Bosom.

Rosetta sang it in the key of Bb; Tuba Skinny prefer Ab.

You can hear Rosetta's recording BY CLICKING HERE.

To hear Erika Lewis singing the song in the early days of Tuba Skinny, you should buy the album. But if you would like to see a live version, filmed as long ago as 2010, CLICK HERE.  At the time, Tuba Skinny was in its infancy and still had no reed player; but you can hear a wonderful little solo chorus from Shaye Cohn at 2 minutes 20 seconds  that foretells the greatness to come.

We have to thank the video-maker codenamed digitalalexa for recording this early performance.

I decided to try playing Rock Me on my keyboard and trumpet. What I then discovered is that it is a 32-bar tune (you could consider it as a 16-bar Verse with a 16-bar Chorus). Also, I found the first 16 bars have virtually the same simple chord progression as the second 16 bars. Moreover, all four sets of eight bars begin with The Magnolia Chord Progression [ I  -  I7  -  IV  -  IVm ].

The Magnolia Chord progression is found at the beginning of so many of the tunes we play. Other examples are:

After My Laughter Came Tears 

Mississippi River Blues 

Brown Skin Mamma 

Carolina Moon 

Cherry Red 

'Deed I Do 

Does Jesus Care? 

Girl of My Dreams 

If I Had You 

I'll See You in the Spring

I May Be Wrong But I Think You're Wonderful 

I'm Gonna Meet My Sweetie Now 

I'm Putting All My Eggs in One Basket 

In the Upper Garden 

I Want a Little Girl to Call My Own 

I Would Do Most Anything for You

Lonesome Road 

Louisiana Fairytale 

Magnolia's Wedding Day 

My Mother's Eyes 

Old Rocking Chair 

Red Sails in the Sunset

Rolling Round the World 

Show Me The Way To Go Home

Stevedore Stomp [final strain] 

When the Swallows Come Back to Capistrano

You Were Only Passing Time With Me

Post 271: 'BROKEN-HEARTED BLUES' AND THE MAGNOLIA CHORD PROGRESSION

One of the loveliest uses of the Magnolia Chord Progression is to be heard in Broken-Hearted Blues, the 2009 composition written and sung by Erika Lewis with Tuba Skinny. This song is played in the key of C and the Magnolia Progression occurs several times. You can hear Erika perform the song on their 2009 CD or by watching this video. Click here to view. It is a pity the audience noise is so loud, but we have to be grateful to Peter Butler for filming it for us, as this seems to be the only version available on YouTube. (By the way, the other Broken-Hearted Blues - the quite different song composed in 1937 by Lil Johnson - is also played by Tuba Skinny and there are  several videos of that song. Don't be confused.)

The Magnolia Chord Progression is one with which several of the good old songs begin: start on the tonic chord; then the tonic 7th; then the chord of the 4th note in the scale; and then the 4th minor (or sometimes diminished).

So, in the Key of C, this means:

   C  :  C7 :  F :  Fm

It's known to jazzmen as The Magnolia Progression because it was used to begin the chorus of the famous 1928 Jimmy McHugh and Dorothy Fields jazz tune Magnolia's Wedding Day.

As you can see from the chords, it makes for a bright, positive start in the home key but gets you into a minor - with possibly just a hint of sadness - by the fourth bar.

This effect is particularly noticeable in the opening chords of  Cherry Red and Big Boat (both of them 8-bar blues), Girl of My Dreams, Got a Mind to Ramble, In the Upper Garden, My Mother's Eyes, Old Rocking Chair, When the Moon Comes Over the Mountain, When You and I Were Young, Maggie, When the Swallows Come Back to Capistrano, I'll See You in the Spring, Does Jesus Care?, Lonesome Road, Louisiana Fairytale, I May Be Wrong But I Think You're Wonderful, You Were Only Passing Time With Me, If I Had You, After My Laughter Came Tears, and Carolina Moon - all of which start with the Magnolia Progression.

It is also used in some tunes where the 'saddening' effect is less obvious, though this is because they are generally brighter and faster. Examples are 'Deed I Do, Cornet Chop Suey, I'm Gonna Meet My Sweetie Now, I Want a Little Girl to Call My Own, I'm Putting All My Eggs in One Basket, Brown Skin Mamma, the final theme of Stevedore Stomp, not to mention Magnolia's Wedding Day itself.

Here is the Magnolia Progression illustrated, in this case in the opening chords of the tune My Mother's Eyes:

Post 117: THE MEMPHIS JUG BAND

The links between the early 'jug bands' and traditional jazz are much stronger than you may think. Their repertoires and playing styles overlapped, as did their instrumentation. Also the jug bands tended to play tunes based on simple, familiar chord sequences - just the sort of thing that appeals to many traditional jazz musicians.

And don't be put off by the thought of 'jugs'. You may be picturing someone trying to make 'music' by blowing into a jug and producing a sound like a constipated tuba. But in fact jug bands comprised various mixtures of fine musicians playing guitars, banjos, mandolins, violins, pianos - in fact all manner of instruments (yes, often including a jug). There could be anything from two to eight players in the band.

It's called a 'Jug Band' but there's only one jug.

These bands flourished in the late 1920s and early 1930s, especially in the regions of Memphis and Chicago.

In recent years, they have had a big influence on the young generation of busking traditional jazz players and string bands in the streets of New Orleans; and there are also numerous modern jug bands playing material taken from the 1920s.

Think for example of the following tunes in the repertoire of the great young jazz band, Tuba Skinny. They were all learned from the records made by The Memphis Jug Band:
I'll See You In The Spring

Papa's Got Your Bathwater On
Fourth Street Mess Around
Memphis Shakedown
Come Along Little Children
Bumble Bee
Ambulance Man

Care to try one? Listen to a performance of I'll See You in the Spring by Tuba Skinny. You can see them play it in Ab (a wee bit low for Erika's voice) if you CLICK ON HERE.

In later performances, they switched to Bb. In this version, the words are helpfully very clear: Click on here.

And for a recent relaxed al fresco performance:

click here.

Compare it with The Memphis Jug Band's original by clicking here. Don't be fooled into thinking it i just a repetitive 16-bar tune. Listen out for the curious 14-bar Interlude, starting on the Dominant 7th.

But who exactly were The Memphis Jug Band? Like many of today's young street bands, they did not have a fixed personnel. The driving force was Will Shade (also known as Son Brimmer or Sun Brimmer): he was a singer who played guitar and harmonica. He composed several of the band's songs. From 1926, he convened the band and managed such gigs as they attracted. He drew on a pool of fourteen musicians who could play banjo, guitar, mandolin, washboard, kazoo, violin, jug, drums and piano. They included Vol Stevens, Charlie Nickerson and Ben Ramey. Four lady singers (notably Hattie Hart and Memphis Minnie) also appeared at various times on the recordings. They played blues, ballads, novelty humorous numbers and pop songs of the day. They produced a distinctive, addictive sound, partly because the jug and kazoo respectively performed the roles of trombone and trumpet in a traditional jazz band. They are believed to have made almost 100 recordings (some of which you can find on YouTube). The band also occasionally recorded under different names (such as The Memphis Sheiks, The Carolina Peanut Boys and The Dallas Jug Band).

Overlapping other local jug bands at this time were The South Memphis Jug Band, Gus Cannon's Jug Stompers and Jed Davenport's Beale Street Jug Band.

The Memphis Jug Band went on, widening its styles and membership, over many years; but it is the early recordings that have most influenced traditional jazz today. Of course, the band's legacy to pop and rock music has been even greater.

Among its repertoire, let me recommend these (all of which I believe you can find on YouTube). Note that many of its tunes were 12-bar blues.

On The Road Again

Cocaine Habit Blues

Stealin' Stealin' (a 32-bar  a  -  a  -  b  -  a)

Round and Round (great fun)

Kansas City Blues
Memphis Shakedown

Move That Thing (rather like It's Tight Like That)

He's in the Jailhouse Now (series of verses about criminals who have been punished, each followed by the 'He's in the Jailhouse Now' 16-bar chorus)

K.C. Moan (a very simple blues, but in 16 bars)

Papa's Got Your Bathwater On (sung as a duet, and with lyrics alleged to refer to an ancient voodoo practice)

Gator Wobble (standard 12-bar)
I'll See You In The Spring (mentioned above - a lovely 8+8 bar sung structure, using the Magnolia Chord Sequence, with a curious 14-bar instrumental intermezzo [faithfully retained in the Tuba Skinny version] between the vocals)
She Done Sold It Out (standard 12-bar)
Fourth Street Mess Around (great sung number, 16+16 bar structure; with an amusing Coda)
Bumble Bee (archetypical 12-bar country blues. Singing by Memphis Minnie makes it something special)
Ambulance Man (another 12-bar duet)
I'm Looking For The Bully of the Town (Despite its off-putting title, this up-tempo song from 1927 is surprisingly catchy.)

Post 41: OPENING CHORD PROGRESSIONS

When you are about to play a traditional jazz tune, it helps (especially for improvising) if you know the chord sequence with which the tune starts. If you begin well, the rest of the tune seems to look after itself. Not only that, if you know the chord progression of the first few bars, the chances are you will be able to use it again later in the tune - espcially in tunes with an a - a - b - a structure. Each one of the 'a' sections is likely to begin with the same chord progression.

Just as chess players have certain well-known ways of making their opening moves ('opening gambits'), so traditional jazz musicians come to recognise that there are groups of tunes that all begin with the same chord progression.

And just as a chess player may surprise everybody by making unusual opening moves so (just as rarely) a tune will begin with a chord progression that seems hardly to appear anywhere else.

I have written on this subject before - but the topic became so complicated and unwieldy that I decided to try again - this time with some simplification. So here goes. These are the most useful seventeen patterns.

PATTERN 1: The Four-Leaf Progression

 I  |   II7  |  V7  |   1    [ usually two bars of each  ]

Examples

Ain’t Gonna Give Nobody None Of My Jelly Roll 

Ain't We Got Fun
All By Myself in the Moonlight

Big Butter and Egg Man
Big Chief Battleaxe (Main Theme)

Button Up Your Overcoat 

By the Light of the Silvery Moon

Congratulations 

Darktown Strutters Ball 

Destination Moon

Dodo Blues (Nothing can be right...)
Don’t Sweetheart Me 

Down In Honky Tonk Town [with four bars on each of the chords] 

Down In Jungle Town 

Eccentric [first theme]
Exactly Like You 

Four or Five Times [chorus]
Grandpa's Spells [main theme]
I Can't Escape 

I Double Dare You

If You Were The Only Girl In The World 

I Like Bananas Because They Have No Bones 

I Love You So Much It Hurts Me
I'm a Yankee Doodle Dandy
I’m Looking Over A Four-Leaf Clover 

I'm Nobody's Baby

Jersey Bounce
Kiss Me Sweet

Lulu's Back in Town [follows the pattern in half-bars] 

Ma, He's Making Eyes At Me 

Memories 

My Cutie's Due at Two to Two

Oh, You Beautiful Doll 

On Treasure Island 

Ory's Creole Trombone [main theme]
Peg o' My Heart 

Put on Your Old Grey Bonnet [the verse, not the refrain]

Red Hot Mamma

Six or Seven Times
Somebody Else Is Taking My Place 

Toot Toot Tootsie

Ugly Child
Underneath the Arches

Walking y Baby Back Home
You Made Me Love You

PATTERN 2 : The Sweet Sue Progression

[   V7  -  1  - often repeated    ]

Examples

April Showers 

Auf Wiedersehen 

Avalon 

Black Bottom Stomp [final strain] 

Dallas Rag

Do What Ory Say 

For Me and My Gal (The Bells are Ringing)
Gatemouth

Heebie Jeebies

His Eye Is On The Sparrow 

I Wish I Could Shimmy Like My Sister Kate 

Jealous 

Louisiana

Maple Leaf Rag (2nd, 3rd & 4th themes)
Martinique
Memphis Blues (Verse)

Miss Annabelle Lee 

My Life Will Be Sweeter Some Day

Papa De-Da-Da (chorus)

Pretty Baby 

Red Light Rag
Sailing Down the Chesapeake Bay

Say Si Si 

Says My Heart

Smiles

Smokey Mokes (main improvising theme)

So Do I 

South [second strain] 

Sweet Sue 

Tom Cat Blues

Up Jumped the Devil

Wabash Blues
Way Down Yonder In New Orleans

We Just Couldn't Say Goodbye

Willy The Weeper [second strain] 

Winin’ Boy Blues

You Were Meant For Me

PATTERN 3 : The JaDa Progression

[   I  -  VI7  -  and then usually  II7  -  V7  ]

Examples

It Had To Be You

Barefoot Days
Ja Da

Crazy

Porter's Love Song to a Chambermaid

Japanese Sandman

Coney Island Washboard

Deep Purple
Give It Up

The Gypsy

Don't Get Around Much Any More

Don't Go Away Nobody

Goodbye, Don't Cry
Honeysuckle and the Bee,
I'm Alone Because I Love You
I'm Dreaming of a White Christmas

I'm So Blue [The Erika Lewis composition]
I'm Sorry I Made You Cry
If I Had My Way Dear

I Never Knew What a Good Girl Could Do
That's a Plenty [main theme]

If You Don't, I Know Who Will

My Very Good Friend the Milkman
Nobody's Sweetheart Now

Meet Me Tonight in Dreamland

Paper Doll

Somebody Else is Taking My Place
When You Wish Upon a Star

Wot'S It

PATTERN 4 : The Apple Tree Progression

[  I   -   IV   -  I   ]

Examples

After the Ball is Over 

Amazing Grace 

Blame It On The Blues [main theme] 

Bugle Boy March [main theme] 

Delia's Gone 

Easter Parade
Gettysburg March 

Higher Ground
Hush! Hush! Somebody's Calling My Name
I Love You Because

I'm Sitting On Top Of The World 

In The Sweet By and By 

In the Shade of the Old Apple Tree
I Want a Girl Just Like The Girl
I Wish'T I Was in Peoria

Lady Be Good 

Marching Through Georgia 

My Gal Sal 

My Old Kentucky Home 

Poor Old Joe

Precious Lord, Lead Me On

Red Sails In The Sunset 

Salutation March [main theme] 

Shine
Sometimes My Burden Is Too Hard To Bear 

The Rose Room 

Wait Till The Sun Shines, Nellie 

Walking With the King

Way Down Upon The Swanee River (aka The Old Folks At Home)

Walking the Dog

The Waltz You Saved for Me
What A Friend We Have In Jesus 

When You And I Were Young, Maggie

Redwing

Yearning

PATTERN 5 : The Salty Dog Progression

[  VI7  -  II7   -   V7   -  1   ]

Examples

A Good Man Is Hard To Find 

Alabamy Bound
All I Want is a Spoonful

Any Time 

At The Jazz Band Ball [main strain] 

Balling The Jack 

Friends and Neighbours

Good Time Flat Blues (also known as Farewell to Storyville) [chorus]

Jazz Me Blues [main strain] 

Lonesome Drag
Louis-i-a-ni-a 

Rose of the Rio Grande

Salty Dog

Seems Like Old Times

Shine On Harvest Moon

Since My Best Girl Turned Me Down
Sweet Georgia Brown

Tailgate Ramble

Take a Ferryboat Down to New Orleans
There’ll Be Some Changes Made

Up A Lazy River
You Must Have Been a Beautiful Baby

You've Got The Right Key But The Wrong Keyhole

PATTERN 6 : The Christophe Progression (French), aka The Magnolia Progression

  I   |  I7  |  IV  |   IVm   

Examples

After My Laughter Came Tears 

Mississippi River Blues

Brown Skin Mamma 

Carolina Moon

Cherry Red 

'Deed I Do 

Does Jesus Care?

Girl of My Dreams 

If I Had You 

I'll See You in the Spring
I May Be Wrong But I Think You're Wonderful

I'm Gonna Meet My Sweetie Now

I'm Putting All My Eggs in One Basket 

In the Upper Garden

I Want a Little Girl to Call My Own

I Would Do Most Anything for You
Lonesome Road 

Louisiana Fairytale

Magnolia's Wedding Day 

My Mother's Eyes 

Old Rocking Chair 

Red Sails in the Sunset
Rock Me

Rolling Round the World

Show Me The Way To Go Home
Stevedore Stomp [final strain]

When the Swallows Come Back to Capistrano
You Were Only Passing Time With Me

PATTERN 7 : The Georgia Progression

   I   |  III7  |  VI7  |  II7   

Examples

All of Me 

Barefoot Boy 

Basin Street Blues[main theme] 

Black Bottom Stomp [introduction]

Charleston

Clarinet Marmalade [main theme] 

Daddy's Little Girl
Darkness On The Delta 

Do Your Duty

Georgia 

Give It Up 

Has Anybody Seen My Girl? 

Hey Look Me Over
If You Were The Only Girl In The World 

I'm Alone Because I Love You 

It’s Only A Shanty 

I've Heard That Song Before 

Lover Come Back To Me 

Martha
Please Don’t Talk About Me When I’m Gone 

Taint Nobody's Business If I Do

That Da-Da Strain [second theme]

Whenever You're Lonesome 

We’ll Meet Again 

Who’s Sorry Now

You're Nobody Till Somebody Loves You

PATTERN 8 : The Dragon Progression

 I   |     IIIm  |

Examples

Are You Lonesome Tonight?

Home in Pasadena [chorus] 

I'm Gonna Sit Right Down and Write Myself a Letter 

In Apple Blossom Time 

Puff, the Magic Dragon 

Happy Days and Lonely Nights

The White Cliffs of Dover 

When You’re Smiling 

You Always Hurt The One You Love
You Belong To Me

PATTERN 9 : The Red Roses Progression

[   I   -  VII   -  ]

Examples

Blue Turning Grey Over You
Cherry
The Curse of an Aching Heart
Dream
Home (When Shadows Fall)
Mister Sandman

Need a Little Sugar in My Bowl [in half-bars]
Red Roses For A Blue Lady

Is It True What They Say About Dixie?
Some Day You’ll Be Sorry
Sweet Emmalina
'Taint No Sin to Take Off Your Skin
When Somebody Thinks You're Wonderful
Sweet Substitute
Whispering
You Do Something to Me
You Won't Find Another Fool Like Me

PATTERN 10 : The Saints 16-bar Progression

 I   |  I   |   I   |   I

 I   |   I   |   V7  |  V7

  I  |  I7  |  IV  |   IVm

 I   |  V7  |  I  |  I

Examples

Livin' High (Chorus)

When then Saints Go Marching In 

I'll Be Glad When You're Dead, You Rascal You

Peruna

Red River Valley

Reefer Man

Roll in My Sweet Baby's Arms
The Sloop John B
Will You Sleep in My Arms Tonight, Lady?

We Shall Walk Through The Gates Of The City

Who Threw the Whisky in the Well? (Chorus)

PATTERN 11 : The Anatole Progression (French), aka The Hot Nuts 16-bar Progression

   I   |    VI7   |   II7(sometimes IIm7)/V7  |   I

   I   |   VI7    |   II7        |   V7

   I...|   I7...    |  IV...      |  IVm...

   I   |   VI7    |  II7/V7   |  I  

(sometimes a 2-bar tag is added)

Examples

If It Don't Fit, Don't Force It

Droppin' Shucks

Everybody's Talking About Sammy

Forget Me Not Blues

Hot Nuts, Get 'Em from the Peanut Man

How Come You Do Me Like You Do Do Do?

Maybe Not At All

Meat on the Table (one theme)

My Sweet Lovin' Man

Must Get Mine in Front
Prove It On Me Blues
Walk Right In
Watchin' The Clock

Don't Go Away, Nobody

PATTERN 12 : The Bill Bailey 32-bar Progression

 I  |  I  |  I  |  I  |  I  |  I  |  V7 |  V7

V7 |   V7 |  V7 |  V7  |  V7 |  V7 |  1 |   I

 I  |  I |  I  |  I  |  I  |  I  |  I7  |  IV

 IV |  IVm |   I  |  VI  |  II7  |  V7  |   I  |   I 

                       (slight variations possible)

Examples

Amapola (for the first 24 bars) 

At The Mardi Gras

Baby Face 

Beer Barrel Polka[main theme] 

Bourbon Street Parade

Don't Give Up the Ship

Ciri Ciri Bin 

Golden Leaf Strut 

Hiawatha Rag (final strain) 

Hotter Than That

Knee Drops 

Market Street Stomp
Merci Beaucoup

Milenburg Joys (main theme)

My Little Girl

Over The Waves 

Pretty Audrey
Saint Bernard Waltz
Salute To Ohio State
Second Line

Spanish Eyes (almost all)
Swinging the Swing
Tiger Rag (final strain)
Tulane Swing

Won’t You Come Home, Bill Bailey?

PATTERN 13 : The 12-Bar Blues Progression

  I  |  I  |  I  |  I7 |   IV |  IV |  I |  I  | V7 |  V7 |   I  |  I 

     (variations encouraged: there are very few 12-bar blues that do not add some subtlety or sophistication to this basic pattern; and note that many tunes with the word 'blues' in their title are not in fact 12-bar structures)

Examples

Dozens of 12-bar blues

..........and note (interesting) that

The Girls Go Crazy

and

The Bucket's Got a Hole in It

use just the final eight bars of the 12-bar Blues Pattern.

PATTERN 14 : The Sunshine Progression

 IV  |  IVm   |   I    |  VI7

 II7  |   V7    |   I    |  I  

(You need to know this progression for the ENDS of many tunes)

Examples of tunes ending with the Sunshine Progression

All of Me

Amapola

April Showers

At the Jazzband Ball (second theme)

Baby Face

Beer Barrel Polka [main theme]

Beneath Hawaiian Skies

Bill Bailey

Blame it on the Blues [final theme]

Bourbon Street Parade

Bugle Boy March [main strain]

Call Out March

China Town

Ciri Ciri Bin
Coney Island Washboard

Frogimore Rag [main strain]

From Monday On

Golden Leaf Strut

Hiawatha Rag [main theme]

I’m Looking Over a Four-Leaf Clover

If I Had a Talking Picture

If Someone Would Only Love Me
It’s a Sin to Tell a Lie

It’s Only a Shanty

June Night

Knee Drops

Merci Beaucoup

Milenberg Joys

Mobile Stomp

My Little Girl

Over the Waves

Riverboat Shuffle

Running Wild

Salutation March

Second Line
Shine

Slow Boat to China

Somebody Else is taking My Place

Spanish Eyes

Struttin' With Some Barbeque

Tell me Your Dreams

Tiger Rag

Tulane Swing

Examples of tunes that BEGIN with the opening bars of the Sunshine Progression

After You’ve Gone

Glad Rag Doll

I Can’t Believe That You’re in Love With Me

Strut Miss Lizzie

That’s My Home

PATTERN 15 : The Blueberry Hill Progression

  IV   |    IV   |   I   |    I   |   V7   |   V7  |  I   |  I

(you can think of it as the final eight bars taken from the 12-bar blues pattern)

Examples

Blueberry Hill (1st, 2nd and final 8s)
Down By The Riverside (chorus)
Ice Cream (middle eight)
It is No Secret (the chorus)
Let The Four Winds Blow
Make Me a Pallet on the Floor
Marie (I. Berlin 1928)
New Orleans Hula
Redwing (the chorus)
The Girls Go Crazy
Uptown Bumps (chorus).
When It's Sleepy Time Down South

PATTERN 16 : The Rum'n'Coke Progression

  I (sometimes for two or more bars)  | V7  |   I
Examples

Algiers Strut

All Alone by the Telephone

All I Do is Dream of You

Am I Blue?

Among My Souvenirs

Amor

At the Codfish Ball

Beer Barrel Polka (main theme)

Beneath Hawaiian Skies

Black Bottom

Blue Eyes Crying in the Rain

Blue Room

Breeze

Call Out March

Careless Love

Ce Mossieu Qui Parle
Chinatown

Ciriciribin

Collegiate

Coquette

Cradle Song

Creole Jazz

Creole Song

Dill Pickles (final theme)

Doctor Jazz
Don't Bring Lulu

Don't Give Up the Ship

Down By The Riverside

Eh La Bas

Everywhere You Go

Faraway Blues

Give Me Your Telephone Number

Goodnight Irene

Have You Ever Been Lonely?

Heart of My Heart

How Do They Do It That Way?

Ice Cream

Ice Man

Ida

I Don't See Me in Your Eyes Any More

If I Had a Talking Picture of You

If You can't Be Good, Be Careful

I'll Be Your Sweetheart

I'm Forever Blowing Bubbles
In the Sweet By and By

Isle of Capri

I Want to Be Happy

I Wonder Who's Kissing Her Now

Jamaica March

Jambalaya

Just a Closer Walk With Thee

Lady of Spain

Last Night on the Back Porch

Let the Rest of the World Go By

Lili Marlene
Lily of the Valley

Linger Awhile
Livin' High

Love Songs of the Nile

Magic is the Moonlight

Mama Inez

Marchand de Poissons

Me and Jane in a Plane

Miner's Dream of Home

Montmartre

Move the Body Over

Muskrat Ramble (first theme)

My Darling

My Little Girl

The Old Spinning Wheel

On a  Coconut Island

Oriental Man

Over the Waves

Red River Valley

Rum and Coca Cola
Sallee Dame
The Sheik of Araby
She's Crying for Me
Should I Reveal
Sing On
Sleepy Time Girl
Spanish Eyes
Sweet Fields
Sweethearts on Parade
Take These Chains from My Heart
That Certain Party
Then I'll Be Happy
There'll Be a Hot Time in Old Town Tonight
There's Yes Yes in Your Eyes
Till We Meet Again
Together
Too Busy
Treasures Untold
We Shall Walk Through the Streets of the City
We Sure Do Need Him Now
When It's Springtime in the Rockies
When the Red Red Robin
When the Saints
Why Don't You Go Down to New Orleans?
You Rascal You

PATTERN 17 : The Picardy Progression

  IIm   |   V   |    I

It is useful for musicians to become familiar with The Picardy Chord Progression because it occurs frequently in our music.

However, it is rarely used at the beginning of tunes. Example of songs that begin with this progression are:

Forty and Tight

I Get a Kick Out of You

Prisoner of Love

Roses of Picardy

You Brought a New Kind of Love

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Footnote

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