Buffet Crampon's - International Clarinet Association

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The diminished seventh chord gets special treatment because it doesn’t exist in any diatonic key and therefore requires at least one accidental. I have chosen to present it in Example 14 in its most common form, as a VII 7♯7 (with the 7th scale step raised) in minor keys. In each of the 12 staves, the key signature is given and the diminished seventh chord is spelled as it would be for that minor key. Like the augmented triad, the diminished seventh chord is symmetrical: all of the intervals are the same when spelled enharmonically. Among the minor thirds there will always be one augmented second, which can appear in four different locations. So if you compare 14A, D, G and J the sound of the chord is the same, but the function is different. 14A functions as a VII 7♯7 in F minor, 14D in G ♯ minor, 14G in B minor and 14J in D minor. It is important to become fluent reading all four spellings of each diminished seventh chord. Have the student sit at a piano keyboard and plunk out the first four notes of 14A, B, and C, noticing how they interlock to form a complete chromatic scale. In sound, there are only three diminished seventh chords, but in function each one has four possibilities, depending upon how it is spelled. Composers love the diminished seventh chord because its symmetry creates drama. Where will it take us? Like the summer hiatus of Desperate Housewives, there will be a three-month interval before Page 12 this cliffhanger can be resolved! “Seventh Heaven” will return in June. WEBSTER’S WEB Daniel Bonade — The Source Houston being the fourth largest city in the U.S. gives the Shepherd School of Music many opportunities to have guest artists. In November and December, for example, we were treated to presentations by Todd Palmer, Laura Carmichael (a fine American clarinetist who lives in the Netherlands and specializes in contemporary music for bass clarinet), and Larry Guy, who is known for his excellent handbooks on reed adjustment, embouchure. intonation, and Daniel Bonade. Since enjoying Larry’s talk about Bonade, I’ve been perusing his Daniel Bonade Workbook. It reminds me that pedagogy is continuous, as concepts are digested, filtered, and refined through generation after generation. Many ideas that we think of as being original are not, really. We bring our own personalities to them, but the debt that we owe our forebears is immense. THE CLARINET In compiling The Legacy of Daniel Bonade, a wonderful compendium of excerpts of Bonade’s orchestral career (Boston Records #BR1048CD), Larry made the wise choice of beginning with an excerpt played by Bonade’s teacher, Henri Lefebvre. You’ll never hear smoother, more perfect finger work! Recorded history doesn’t go back much further than that, but I’ll bet that if we had recordings of Mühlfeld, Baermann and Stadler, we would realize that excellence knows no boundaries in time, and that each generation has benefited from, in fact required, the accomplishments of the previous generation. Bonade was called “The Source” by his students, and nobody deserved that accolade more than he, but he had his own sources, who had their sources reaching back to the first time that J.C. Denner put a register key on a chalumeau. The unique contribution of Bonade was to be in the United States at a time when local sources were skimpy and to share his astounding mastery of the clarinet and inventive pedagogical approaches with a thirsty but relatively young musical culture. Almost every clarinetist in the U.S. has some debt to pay Daniel Bonade, and I find in reading the workbook that some of the refinements I have added to concepts of my teachers are actually identical to Bonade’s concepts. Whether I absorbed them unconsciously from my teachers or came upon them independently is impossible to say. But when each of us has a truly original thought, meaning that we come to it on our own, the chances are that someone else has already had that thought. I once attended a lecture recital by a native American flutist, who said that music is everywhere, and that if you want to compose an original song you had better take it from the air around you before someone else does. I believe that two people separated in time and space can take the same thought from the air and both be truly original. And no one was better at it than Daniel Bonade. Postlude: Many of us attended a wonderful talk given by Wayne Rapier at the Maryland <strong>Clarinet</strong>Fest® on the teaching of Marcel Tabuteau, Bonade’s Philadelphia Orchestra colleague and “The Source” of oboe teaching in the U.S. Wayne was “The Source” of Boston Records, which released Larry’s “Legacy of Daniel Bonade,” as well as a wonderful CD of Tabuteau’s teaching, and numerous performances by Harold Wright and many other distinguished clarinetists. Recently I received the unfortunate news of Wayne’s death to cancer on October 13, 2005. Larry Guy
told me how Wayne reacted to his Bonade project by saying, “Let’s do it!” without a thought about sales or profits. Wayne will be sorely missed by his Boston Symphony colleagues and the rest of us who knew him well. The wonderful catalog of Boston Records is Wayne’s legacy to the clarinet world. Your feedback and input are valuable to our readership. Please send comments and questions to: Webster’s Web at or Michael Webster, Rice University, Shepherd School of Music, MS 532, P.O. Box 1892, Houston, TX, 77251- 1892; fax 713-348-5317; Web site: March 2006 Page 13
Page 1: Volume 33 Number 2 March 2006 Buffe
Page 5: INTERNATIONAL CLARINET ASSOCIATION
Page 8 and 9: used in a classical way, combined w
Page 10 and 11: y Michael Webster Michael Webster S
Page 12 and 13: Without exception, all of these arp
Page 16 and 17: Page 14 by William Nichols One of t
Page 18 and 19: conceived heartfelt pieces with Heb
Page 20 and 21: MICHAEL NORSWORTHY AT CALIFORNIA ST
Page 22 and 23: “Historically Speaking” is a fe
Page 24 and 25: y Paul Harris Irecently gave a perf
Page 26 and 27: y Paul Globus THE NEW WORD IS “CL
Page 28 and 29: A: Don’t worry. You don’t need
Page 30 and 31: Biographies of Candidates for I.C.A
Page 32 and 33: Readers of the previous issue of Th
Page 34 and 35: As with slurred wide intervals it i
Page 36 and 37: A TRIBUTE TO Josef Horák by Henri
Page 38 and 39: Buffet Crampon’s 180th Anniversar
Page 40 and 41: y Christine A. Zimmerman For years,
Page 42 and 43: In Review The Friday morning, July
Page 44 and 45: A stunning performance of Bassi’s
Page 46 and 47: Lapa and Yoshimatsu works are espec
Page 48 and 49: No 16: Super Wind Orchestra, Michiy
Page 50: Asia, but it was a huge success tha
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Page 56 and 57: Page 54 The University of Georgia a
Page 58 and 59: Dileep Gangolli, Evanston, IL Barba
Page 60 and 61: The following is a brief report on
Page 62 and 63: I use a stock off-the-shelf Vandore
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Gervase de Peyer in his 80th Year,
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practicing. One special forthcoming
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Bernstein and the Clarinet: Stanley
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conductor, from 1970 up to 1989 whe
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PART II: INTONATION AND FINGERINGS
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TONY SCOTT Part I: The Stateside Ye
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The first installment in this serie
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Sheet music “Out of This World”
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The Mozart Partita Project First Ed
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Entry from K 6 states location of t
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An Early Performance of Messiaen’
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MUSIC REVIEWS by Himie Voxman Chris
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Innovative Music Fehr, Jorg, Ich sp
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movements have great drive and are
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(P pronounced like “th” in “t
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the program, is not to be missed. H
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Also heard on this CD are 13 record
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STUDENT… Alejandro Lozada, clarin
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INTERNATIONAL CLARINET ASSOCIATION
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