{"title":"《我的巴西美人》","authors":"Vic Hobson","doi":"10.14325/mississippi/9781496819772.003.0006","DOIUrl":null,"url":null,"abstract":"This chapter explores Armstrong’s quartet’s theme song, “My Brazilian Beauty”: a tune that is based upon a cycle of fifths chord progression that would become known as the “ragtime progression.” The actual title of the song was “Down on the Amazon” (1903). The chord progression is based on a series of dominant-seventh chords. The relationship between these chords and the barbershop “super seventh,” nineteenth century romantic composition, and what theorists describe as “funnel tonality” is discussed.","PeriodicalId":412217,"journal":{"name":"Creating the Jazz Solo","volume":"11 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“My Brazilian Beauty”\",\"authors\":\"Vic Hobson\",\"doi\":\"10.14325/mississippi/9781496819772.003.0006\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter explores Armstrong’s quartet’s theme song, “My Brazilian Beauty”: a tune that is based upon a cycle of fifths chord progression that would become known as the “ragtime progression.” The actual title of the song was “Down on the Amazon” (1903). The chord progression is based on a series of dominant-seventh chords. The relationship between these chords and the barbershop “super seventh,” nineteenth century romantic composition, and what theorists describe as “funnel tonality” is discussed.\",\"PeriodicalId\":412217,\"journal\":{\"name\":\"Creating the Jazz Solo\",\"volume\":\"11 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-10-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Creating the Jazz Solo\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.14325/mississippi/9781496819772.003.0006\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Creating the Jazz Solo","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14325/mississippi/9781496819772.003.0006","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本章探讨了阿姆斯特朗四重奏的主题曲“我的巴西美人”:这首曲子是基于五度和弦进行的循环,后来被称为“拉格泰姆节奏”。这首歌的真正名字是“Down on The Amazon”(1903年)。和弦进行是基于一系列七和弦属音。这些和弦与理发店的“超级第七”,19世纪的浪漫主义作曲,以及理论家所描述的“漏斗调性”之间的关系进行了讨论。
This chapter explores Armstrong’s quartet’s theme song, “My Brazilian Beauty”: a tune that is based upon a cycle of fifths chord progression that would become known as the “ragtime progression.” The actual title of the song was “Down on the Amazon” (1903). The chord progression is based on a series of dominant-seventh chords. The relationship between these chords and the barbershop “super seventh,” nineteenth century romantic composition, and what theorists describe as “funnel tonality” is discussed.