“Stompin’ at the Savoy” was composed by Edgar Sampson, with credits also to Benny Goodman and Chick Webb, and became a swing-era hit in 1934 to 1936. Named after Harlem’s Savoy Ballroom, it’s a classic of the big band era.
The form is a 32-bar AABA, usually in Db major. The A sections alternate between the tonic and a bluesy chord, while the bridge moves through ii-Vs in other keys before returning. The melody is a riff-based swing tune.
For improvisation, swing hard with riffs and blues phrases over the A sections, and outline the ii-Vs in the bridge with guide tones.
Practice at medium swing. Learn the melody by ear from Benny Goodman’s or Chick Webb’s version.
Section by section: the A sections alternate between the tonic and a bluesy chord, so use riffs and blues phrases that emphasize the change. The bridge moves through ii-V progressions in other keys; outline them with guide tones and arpeggios. In the final A, return to riff-based playing to set up the next soloist or the head. Swing-era players kept their phrases short and rhythmic, leaving plenty of space for the band.
Practice tip: play along with Benny Goodman’s recording and try to match the band’s swing feel exactly, focusing on accents and phrasing. Swing-era style is all about feel, and imitation is the fastest way to learn it.
Getting the most from the Stompin’ at the Savoy Lead Sheet PDF: start by reading the chord symbols without your instrument and humming the roots. Then circle any chord you can’t yet voice or arpeggiate, and make those your warm-up for the week before you play the whole form.
Is it hard to play? It’s intermediate. Recordings to study: Benny Goodman, Chick Webb and Ella Fitzgerald. Learn more about the composer on Edgar Sampson’s Wikipedia page, and find more swing-era lead sheets on Minedit.