Re: secondary dominants (in classic music theory)

"Matthew Fields" <spam@[EMAIL PROTECTED]
> wrote in message
news:qD7Ce.395$Ut5.208@[EMAIL PROTECTED]
> In article <slrnddhb0c.b0o.slvrmn@[EMAIL PROTECTED]
>,
> Albert Silverman  <slvrmn@[EMAIL PROTECTED]
> wrote:
> >On 2005-07-15, thomas schönsgibl <ilovespam@[EMAIL PROTECTED]
> wrote:
> >> hi,
> >> in jazz the secondary dominants ie in the key of C major are:
> >> A7 -->Dm7
> >> B7 -->Em7
> >> C7 -->Fmaj7
> >> D7 -->G7
> >> E7 -->Am7
> >> (F#7 -->Bm7b5) is not used
> >>     what are secondary dominants in classic music theory?
> >
> >I will make it easy for you! There aren't any.
> >
> >The "secondary dominant" is a figment of Ancient imagination.
> >
> >read that: *irrelevant*
> >
> >
> >Albert Silverman
> >(Al is in Wonderland!)
> >where relevance is irrelevant
>
> Wrong.

Al's solipsy is getting to classical pro****tions lately.
Anything not a member of the set of { Albert definitions by fiat}  is
defined as "irrelevant"

RJ Pease