Buffet Crampon's - International Clarinet Association

and so on. This allows an easy analysis of
secondary dominants by naming the original
scale step and its chromatic alteration
(e.g. I 7♭7 or VI 7 1). But this manner of naming
secondary dominants has fallen out of
favor, and one is now likely to see the II 7♯ 4
described as V 7 of V.
An early indoctrination in tonal thinking
that I haven’t actually mentioned in a
previous article is contained in Example 2.
The three versions show how V, VII and
V 7 sound very similar and all function as
first classification chords leading directly
to I (the tonic).
Example 3 reviews the transposition
procedure for all of the examples that follow.
Supply the following key signatures
to line 3A to achieve the first four varieties
of seventh chord: 4 sharps = EM 7 , 3 sharps
= EMm 7 , 1 sharp = Em 7 , 1 flat = Edm 7 .
Diminished seventh chords are addressed
in Example 14.
Do not neglect the VII chord! How often have you or your students mistakenly turned a
VII chord into a V 7 because the fingers, with a mind of their own, automatically fell into the
V 7 , which has been drilled to the detriment of the poor, neglected VII triad? The routine in
Example 2 will help prevent that problem, and should, of course, be done in all major and
minor keys.
The advanced intermediate student is now ready to learn all of the seventh chords in a
three-octave range. The following exercises use the same procedures described in “Beyond
Baermann” (The Clarinet, Vol. 32, No. 2, March 2005), “Mining for Minors” (June 2005),
“Promise Her Anything but Give Her Arpeggios” (Sept. 2005), and “Etuduets” (Dec. 2005).
In order to cover a lot of ground in this article, I will keep explanations at a minimum and
ask you to consult the previous articles for details.
Transpose 3A up to achieve the same
four seventh chords with roots on F, F ♯ ,
and G ♭ . Use 3B for G, G ♯ , and A ♭ : Use 3C
for A, B ♭ and B: use 3D only for Adm7
because it has E ♭ . This requires high G for
the first time, and the best fingering to use
is LH index finger with RH fork and E ♭
key. The fork is prepared the same as it
was for F ♯ , by curving the finger close to
the rod so that it doesn’t hit the rings when
they rise upon leaving E ♭ . This is an
overblown “B”, so voicing of the tongue
and throat is required but it is surprisingly
easy because the feel is so similar to F#,
which the student has already mastered.
Use Example 3E for CM 7 , CMm 7 , C ♯ , D ♭ ,
D, and E ♭ (another high G required). Example
3F is for Cm 7 and Cdm 7 because
they have E ♭ .
March 2006 Page 9