It’s a new year! That means a whole new list of musical compositions, books, art, and films enter the public domain. Here are five songs that became part of the public domain on January 1, 2026, which you can now arrange, quote, and incorporate into your own compositions.
1. I Got Rhythm
by George & Ira Gershwin
“I Got Rhythm,” composed by George Gershwin with lyrics by Ira Gershwin for the 1930 musical Girl Crazy, is a cornerstone of the American songbook. Its 32-bar AABA form and harmonic framework—later called “rhythm changes”—became one of the most pervasive structural templates in jazz composition and improvisation.
2. Dream a Little Dream of Me
by Gus Kahn, Fabian Andre and Wilbur Schwandt
“Dream a Little Dream of Me,” with lyrics by Gus Kahn and music by Fabian André and Wilbur Schwandt, is a 1931 popular song that blends gentle romantic imagery with a lilting, lullaby-like melody. The song’s simple, diatonic harmony and slow, intimate tempo have made it especially adaptable to close vocal harmonies and expressive rubato. Its enduring appeal is reflected in its many reinterpretations across jazz, pop, and folk traditions, from Ozzie Nelson’s early recordings to later iconic versions by Ella Fitzgerald and the Mamas & the Papas.
3. Body and Soul
by Edward Heyman, Robert Sour, Frank Eyton, and Johnny Green
“Body and Soul,” composed by Johnny Green with lyrics by Edward Heyman, Robert Sour, and Frank Eyton, is a 1930 ballad renowned for its harmonically rich, chromatic progression. The song became a landmark of jazz interpretation through Coleman Hawkins’s 1939 recording, which largely abandons the melody in favor of extended harmonic improvisation. Since then, it has stood as a touchstone for ballad playing, prized for its demanding voice leading and expressive potential.
4. Georgia on My Mind
by Stuart Gorrell and Hoagy Carmichael
“Georgia on My Mind,” composed by Hoagy Carmichael with lyrics by Stuart Gorrell, is a 1930 popular song noted for its supple melody and subtly shifting harmonies. Its AABA form and expressive use of secondary dominants and modulations have made it a favorite vehicle for personalized phrasing and reharmonization in jazz and popular performance. The song’s legacy was cemented through iconic interpretations—most famously Ray Charles’s—while remaining a staple of the Great American Songbook.
5. The Royal Welch Fusiliers
by John Philip Sousa
“The Royal Welch Fusiliers” is a military march composed by John Philip Sousa in 1923 in honor of the British Army regiment of the same name. Stylistically, it blends Sousa’s characteristic American march idiom—clear strains, buoyant rhythms, and a lyrical trio—with a ceremonial dignity befitting its British subject. The piece reflects Sousa’s international reputation and his frequent engagement with military traditions beyond the United States.
