How to Write Dixieland Songs

Want to write a Dixieland song that sounds like a brass band shoved a trumpet into your chest and left you grinning forever? Good. We are officially friends. Dixieland is loud, cheeky, soulful, and often smells faintly of beignets. It is the party music of New Orleans early jazz and it has a very specific set of rules that make it feel like jubilation on two feet. This guide gives you those rules, a cheat sheet for melody and arrangement, and a practical plan to write and arrange songs that musicians will actually want to play.

This is written for modern players who want authentic style without the dusty museum vibe. Expect practical templates, real life examples, and exercises you can use in a rehearsal or a late night jam. We will explain terms like head, comping, and tailgate trombone so you stop pretending you know what everyone else means while Googling furiously during practice.

What Is Dixieland Anyway

Dixieland is an early jazz style that grew out of New Orleans in the early 1900s. It features a front line of trumpet or cornet, clarinet, and trombone. The rhythm section holds everything together with drums, bass or tuba, banjo or guitar, and sometimes piano. Two things make Dixieland distinct. The first is collective improvisation. That means multiple musicians improvise together using a shared melody and harmonic map. The second is the feel. The music can be bright, bouncy, and full of rhythmic push.

Important term alert. Head means the main melody of the tune. In Dixieland practice you play the head, then trade choruses where different musicians solo or everyone improvises at once, and then you return to the head for the ending. Chorus means one pass through the song form. When people say play four choruses they mean four passes through the structure, not four minutes of dramatic staring at the drummer.

Why You Should Learn This Style

• It teaches you how to write melody that sings without complex harmony.
• It forces you to think about arrangement for small bands rather than relying on studio tricks.
• It is fun at gigs. People clap. People dance. People take pictures of you like you are a walking festival.
• If you plan to busk, wedding, or play festival sets, a solid Dixieland tune is a reliable crowd pleaser.

Core Features of a Dixieland Song

• Front line melody that is direct and singable.
• Collective improvisation where trumpet states melody while clarinet weaves above and trombone punctuates below.
• Two beat and four feel rhythmic options. Two beat means bass or tuba plays on beats one and three. Four feel means walking bass on every beat. Both work depending on tempo and mood.
• Simple harmony often based on common jazz progressions and blues forms.
• Shout chorus optional section with arranged hits and unison lines that raise the energy.

Start with Form

Dixieland tunes use many forms. The most common are 12 bar blues and 32 bar AABA. Standards like When the Saints Go Marching In are essentially strophic with short repeated verses. Pick a form first. That gives you a harmonic roadmap and makes decisions about chorus length obvious.

Common Forms

• 12 bar blues. Classic, flexible, and perfect for collective improvisation. It is a three line form with predictable chord points that everyone knows. Write a catchy head and let solos ride on the groove.
• 32 bar A A B A. This is the Tin Pan Alley standard. Good for tunes that need a lyrical middle eight. Use the B section for a change of mood or a shout chorus idea.
• Strophic songs. These repeat the same melody and chord structure for multiple verses. They work great for sing along numbers at parties.

Pick Your Instrumentation Like a Boss

You can write a Dixieland tune for five players or fifteen. The small band rules and the big brass band rules are similar but have different considerations.

• Basic small group. Trumpet or cornet, clarinet, trombone, piano, banjo or guitar, tuba or string bass, and drums. This is a classic lineup for a tight parade on a sidewalk.
• Brass band. Several trumpets and trombones, saxophones if you want a bridge into modern sounds, sousaphone or tuba, snare and bass drums. Write stronger unison lines for big impact.
• Front line roles. Trumpet carries the melody. Clarinet improvises an upper woody countermelody. Trombone uses tailgate style slides and punctuations. If you write for vocals add the singer as a lead trumpet that can also chat with the band.

Melody Writing: How to Create a Head

Your head must be memorable. It must outline the harmony so players can improvise, and it must have space for collective movement. The head does not need to be flashy. It needs to be singable and full of phrase shape.

Melody Ingredients

• Strong opening motif. Start with a short phrase the band can recognize instantly. Think four notes or less that you can repeat with variation.
• Call and response. The melody will read like a conversation. The trumpet can say something and the clarinet answers. That is literal within the arrangement and helpful for improvisers.
• Blue notes and chromatic grace. Use flatted thirds and flatted sevenths for a bluesy feel. Slide into notes with small chromatic neighbor tones. That creates New Orleans authenticity.
• Rhythmic syncopation. Pick rhythms that push against the beat. Jazz eighth notes are swung. Swing means the first eighth in a pair is longer and the second is shorter. If someone asks you what swing is tell them it is not binary. It is feel and it is addicting.

Practical Melody Exercise

1. Choose a key the band can play in without strain. Brass players often like keys with open trumpet fingerings like B flat. Piano players prefer keys with manageable fingering. Communicate.
2. Write a four bar motif using notes mainly from the tonic chord. Repeat it with a slight variation for bars five through eight.
3. For bars nine through twelve change the shape and introduce a blue note or a chromatic approach to lead back home.
4. Sing it out loud. If you cannot sing it while walking it will not read as a street swagger. Make it sing friendly.

Harmony and Chord Choices

Dixieland harmony is not about complicated reharmonization. It is about clear movement that supports collective improvisation. Use standard jazz progressions and do not overcomplicate things unless you know what you are doing.

Useful Progressions

• 12 bar blues progression. It gives a comfortable grid and works for both vocal and instrumental tunes.
• II V I progressions. They are the backbone of jazz harmony and provide clear tension and release. In a 32 bar AABA write II V sequences as the connectors between phrases.
• Turnarounds. Use simple turnarounds at the end of a chorus to bring the band back to the top with momentum. A turn back to the tonic on beat one is all you need.

Explain the term II V I. II V I is a common chord progression where you play the chord built on the second scale degree then the fifth then the first. For example in the key of C major the II chord is D minor, the V is G major or G dominant, and the I is C major. Players know this as shorthand. It is shorthand so learn it and start using it instead of writing the whole tree every time.

Rhythm Section Essentials

The rhythm section decides whether your tune swings like a brass band or slogs like a wedding reception that forgot the playlist. Rhythm section players need clear directions and space to create momentum.

Bass or Tuba

Decide two beat feel or four beat walking feel. Two beat places emphasis on beats one and three with a bounce. Four feel is a walking bass where the bassist plays one note per beat moving through the chord tones. Tuba works beautifully for two beat head sections in outdoor settings. If you want a smoother inside club sound use a string bass walking on four beats.

Banjo or Guitar

Banjo uses percussive chordal hits and is historically accurate for the style. Guitar can play the same rhythmic role with a lighter tone. The idea is to comp which means play chords in a rhythmic way that supports the soloists. Do not overplay. Let the melody live. Comp with simple chord stabs and occasional stride moves on the piano.

Piano

Piano players can comp, provide fills, and take solos. Keep left hand stride patterns tasteful and right hand simple. Avoid big lush modern voicings unless you are intentionally updating the sound. Classic voicings are triads or triads with an added sixth or ninth on top.

Drums

Drumming in Dixieland is about time keeping and color. Use bass drum on beats and snare for press rolls and punctuation. A lot of New Orleans feel comes from syncopated snare accents and cymbal flourishes. If the drummer is not sure where to be, give them a reference phrase on the chart like open solo with wash on ride cymbal and back in on last two bars.

Collective Improvisation and Solos

One of the defining traits of Dixieland is collective improvisation. That can terrify soloists who are used to quiet backing. The trick is to write a head that leaves space for countermelodies and to give clear cues for when everyone moves into a solo or a shout chorus.

How to Write for Collective Improvisation

• Write the head with slots where clarinet can weave above the trumpet line. Use stem notes that leave room for ornamentation.
• Give the trombone punctuations on beats two and four to create a tailgate style. Tailgate means the trombone plays sliding glissando figures that land as punctuation.
• Decide which chorus is collective and which are solo choruses. Common pattern is head, solo choruses, collective chorus, head. Write those directions on the chart.
• Use dynamics and arrangement cues so the band knows when to pull back and when to go full steam ahead.

Arranging Templates You Can Steal

Here are proven maps. Pick one and customize. Think in terms of choruses rather than minutes. Musicians count choruses, not Instagram reels.

Classic Parade Map

• Intro two bars with drum roll and brass hit
• Head chorus played as unison melody with clarinet countermelody
• Trumpet solo chorus with rhythm section comping two beat feel
• Clarinet solo chorus with trumpet playing background motifs
• Trombone solo chorus with tailgate fills from other horns
• Collective chorus where front line improvises together
• Head out and tag with shout chorus hits

Club Set Map

• Intro vamp for eight bars to set tempo
• Head chorus with piano comping in four feel
• Solos rotating through trumpet clarinet piano
• Shout chorus arranged with unison hits and call and response
• Short drum solo or breakdown for energy
• Final head with optional fade out on last hit

Writing Lyrics for Dixieland Songs

Many Dixieland tunes are instrumental. That does not mean lyrics cannot make a song bigger. When you add words keep them simple, singable, and rooted in New Orleans imagery if you want authenticity.

Use short phrases. Let the chorus be a chantable hook. Lyrics that mention parades, riverboats, streetlights, and coffee are safe and effective. Avoid trying to be poetic in a way that drains the energy. In a Dixieland context your words should feel like an invitation to dance.

Lyric Example

Verse

We rolled out at dawn on the old river line

Trumpets laughing and the day tasted fine

Chorus

Hands up high and the bell will chime

Come on baby move like a Mardi Gras time

Short and repeatable works. You can always add a spoken line or a call for the audience to sing along.

Instrumentation Tips That Make a Band Sound Great Fast

• Write trumpet parts with open intervals and allow high notes to be optional. Brass players appreciate alternatives.
• For clarinet write fluid up and down lines that avoid long unison with trumpet. The yin yang of clarinet reaction to trumpet melody is a signature sound.
• Trombone parts should include tailgate slides and rhythmic support. Not every trombone line needs to be a solo. The harm in too much slide is more toe tapping and less noise complaints.
• Notate dynamics and balance. If everyone plays loud all the time you will have no nuance. Suggest piano and forte moments on the chart.

Notation and Charting

Write a simple lead sheet for the head. Add chord symbols and a short written out head. Then provide parts for front line with cues and for rhythm section with suggested comping patterns. Do not over notate solos. Leave space for player input.

Useful shorthand terms to write on charts.

• Tag means a short ending phrase repeated until the band ends.
• Vamp indicates repeated short chord pattern used for intros or to let a singer find the groove.
• Shout chorus indicates arranged hits and unison lines designed to raise energy.
• Comp means to play chordal rhythm to support soloist. It is short for accompany or accompaniment.

Tempo and Feel: How Fast Is Too Fast

Tempo choices change the mood drastically. Use a metronome to pick BPM which stands for beats per minute. For a bouncy street parade feel use a medium to fast tempo between 120 BPM and 160 BPM typical. For a slow functional ballad style choose 80 BPM to 100 BPM.

Decide between two beat and four feel. Two beat at a medium tempo gives a bounce that is perfect for outdoor parades and traditional gigs. Four feel walking bass at a slightly faster pace gives more harmonic drive for club solos. Tell the band before playing. Nothing kills groove faster than one bassist walking while the tuba plays only beats one and three like they are in two different historical dramas.

Recording and Production Notes

Authenticity matters. Capture room sound. Microphone placement for brass should let the bell breathe but not overwhelm the clarinet. Record a clean demo so other musicians can learn the head. Too much studio polish can erase the rough joy that makes Dixieland charming. A little tape hiss is not a crime. It is aesthetic seasoning.

Real Life Scenarios and Solutions

You are writing a tune for a four piece street band with no piano

Keep harmony simple. Write a strong unison head and provide chord symbols for the banjo. Use tuba two beat to give the bass line weight. Make the clarinet line optional as an added color for moments when the crowd claps. Less is more in public spaces where people will talk.

You are arranging for a college big band that wants a Dixieland number

Embrace shout chorus arrangements with call and response between sections. Write harmonized trumpet and trombone lines that lock with saxes. Allow a few solo choruses but keep them tight. Teach the rhythm section a steady two beat to honor the style unless you are intentionally fusing into modern jazz.

You want to modernize Dixieland without losing identity

Use classic front line voicings and add modern instrumentation like electric guitar or saxophone with contemporary phrasing. Keep the collective improvisation but add a contemporary groove on drums. Inform players that the tune is a homage and not a parody. Blend with respect.

Common Mistakes and How to Fix Them

• Too many notes in the head. Simplicity helps the band and the audience remember the melody. Fix by trimming to the strongest motif and repeating it at least once.
• Not leaving space for clarinet. Clarinet needs room to weave. Fix by arranging the melody with rests and lower register sections for the trumpet for certain bars.
• Tempo confusion. If players start racing, establish the groove with a metronome or a drum vamp before starting. Communicate a BPM.
• Overarranging solos. If you write every single note in a solo it will sound like a piano recital not a jam. Give chord changes and let players play.

Exercises to Write a Dixieland Tune in One Rehearsal

1. Pick a form. Choose 12 bar blues or 32 bar AABA. Time 30 seconds.
2. Pick a key. Choose something easy for trumpet and clarinet like B flat. Time 15 seconds.
3. Write a four bar motif. Sing it and repeat with variation. Time 10 minutes.
4. Expand to a full head of 12 or 32 bars using call and response. Time 30 minutes.
5. Write a simple turnaround and decide where solos happen. Time 10 minutes.
6. Create a two bar intro vamp for drums and banjo to lock the tempo. Time 5 minutes.
7. Run the tune with the band and tweak. Most fixes will be phrasing adjustments and tempo choices. Time one rehearsal.

Lyric and Theme Ideas That Work

Write about parades, rivers, small town characters, second line dances, moonlit plazas, late night coffee, and hard luck with a wink. Humor works. So does grit. Keep language concrete and direct so the band can sing along on the chorus if the lead sings off key and the crowd still loves it.

Examples and Templates

Mini example of a 12 bar blues head in words

Bars 1 to 4: Short bright motif that repeats and ends on a held note

Bars 5 to 8: Call and response where clarinet answers with runs above the trumpet

Bars 9 to 12: Walk down with a blue note approach and a turnaround that sets you back to the top

Tag example

Repeat the last two bars and add a drum roll and a final brass stab on the tonic chord. Keep the last chord ringing long enough for applause and for your tuba player to look relieved.

How to Teach a Band Your New Tune Fast

• Send a simple lead sheet with melody and chord symbols before rehearsal.
• Include a short audio demo at slow tempo so players can hear the phrasing.
• At rehearsal play the head slowly and count off the form out loud. Say the word chorus at the top to avoid confusion.
• Allow one practice run through with the rhythm section only to lock the groove then bring in the front line.

Copyright and Traditional Tunes

Many Dixieland standards are in the public domain but many are not. If you are writing an original tune you will own it. If you arrange a traditional song be careful when you sell or publish your arrangement. A new arrangement can be copyrighted if it has original creative choices but the melody may still be public domain. Talk to a music lawyer or use reliable resources before you monetize arrangements heavily.

Advanced Options for the Brave

If you want to push the style forward consider odd meter introductions, polytonal shout choruses, or adding a hip hop inspired backbeat under the traditional front line. These options will get attention. If you pull it off you will sound bold. If you pull it off badly you will sound like someone at a themed party who was convinced pizza counts as a costume. Test with a small audience and iterate.

Checklist Before You Take the Song on the Road

• Lead sheet with melody and clear chord symbols mailed to the band.
• Parts for trumpet clarinet trombone and rhythm section with optional voicings.
• Mark cues for collective chorus solos and shout chorus sections.
• Decide tempo and style and write the BPM on the chart.
• Record a quick demo even if it is your phone on a table. That helps memory and keeps the vibe consistent.

Dixieland Songwriting FAQ

What is the best key for Dixieland songs

Choose a key that suits your trumpet or cornet player and your lead vocalist if you have one. B flat is a common choice because it is instrument friendly for brass and clarinet. C and F are also fine depending on the band. Pick ease not ego. Ease wins gigs.

Does Dixieland require collective improvisation for authenticity

Collective improvisation is a hallmark of the style, but you can write a Dixieland inspired tune with solo choruses only. The core idea is interplay between instruments. If you prefer arranged solos you can still capture the spirit by writing call and response figures and arranged shout choruses.

How long should a Dixieland head be

Heads are often 12 bars or 32 bars. Keep it concise. A head that is too long risks losing the crowd. Save extended storytelling for the solos. The head is an invitation not a manifesto.

Can I write lyrics for a Dixieland song and expect people to sing them

Yes. Write a simple, repeatable chorus and make the verses vivid and short. Audiences love a sing along. Keep the chorus simple so people can join after hearing it once. Think of it as call and invite not academic poem writing.

How do I arrange a shout chorus

Write unison hits or tight harmonies for the front line. Use rhythmic stabs from the rhythm section and add a drum crescendo. The shout chorus should be louder and more arranged than the surrounding material and serve as a peak in your arrangement.

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