Harmony, Counterpoint, Partimento: A New Method Inspired by Old Masters

A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes:the hardcopy text, providing essential stylistic and technical information and repertoire discussion;an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others,along with arrangements of eighteenth- and nineteenth-century compositions;an online instructor's manual providing additional information and realizations of all exercises.Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint.The eBook offers a mobile experience and convenient access along with functionality tools, navigation features and links that offer extra learning support: Find the eBook on VitalSource.

Table of Contents:
ContentsPrefacePart 1 Harmony in Two and Three PartsChapter 1 Two-Part Scale Realization1.1 Parallel Thirds and Parallel Sixths1.2 Alternation of Thirds and Sixths1.3 Suspensions: Sevenths and Seconds1.4 Alternative Voice Leading of Suspension PatternsChapter 2 Three-Part Scale Realization2.1 The Fauxbourdon2.2 The Monte and the 7-6 Fauxbourdon2.3 The Stepwise Romanesca2.4 Fifth Down Fourth Up2.5 The Tied BassChapter 3 The Three-Part Cadence3.1 The Simple Cadence3.2 The Compound Cadence3.3 The Double Cadence3.4 The Galant Cadence3.5 The Neapolitan CadenceChapter 4 The Rule of the Octave4.1 The Ascending Pentachord4.2 The Descending Pentachord4.3 The Ascending Tetrachord4.4 The Descending TetrachordChapter 5 Galant Schemata5.1 The Leaping Romanesca5.2 The Quiescenza5.3 The Prinner5.4 The Monte Romanesca5.5 The Fenaroli5.6 The FoliaPart Two Harmony in Four PartsChapter 6 Fundamentals of Four-Part Harmony6.1 The Compound Cadence (II)6.2 The Galant Cadence (II)6.3 The Discant Cadence6.4 The Dominant Seventh Chord6.5 The Dominant Seventh Family6.6 The Four-Part Rule of the OctaveChapter 7 Beyond the Rule of the Octave7.1 The Diminished Seventh Family7.2 Fifth Down Fourth Up and Third Down Second Up7.3 The Tied Bass (II)7.4 Descending Thirds7.5 The Folia (II)Chapter 8 Chromaticism8.1. The Fonte8.2 The Chromatic Monte8.3 Tonicization in Descending Thirds8.4 The Chromatic Tetrachord: The Lamento8.5 The Chromatic Tetrachord: Advanced Realizations8.6 The Chain of DominantsChapter 9 Enharmonization9.1 The Minor Seventh and the Augmented Sixth9.2 The Augmented Sixth and the Minor Seventh9.3 Enharmonizations of the Diminished Seventh Chord9.4 Enharmonizations of the Augmented-Fifth Triad9.5 The OmnibusAppendix I Chord ConstructionAppendix II CadencesOnline Supplements:WorkbookRealizations of the ExercisesManual for TeachersMidi Sound Files of the ExamplesPreface

About the Author :
Job IJzerman has graduated in piano and music theory. He teaches music theory at the Conservatory of Amsterdam. A scholarship granted by the Dutch Department of Education, Culture and Science allowed him to perform research into the field of partimento and schema theory. The textbook Harmony, Counterpoint, Partimento is its final outcome.

Review :
"IJzerman has developed a historically informed approach to eighteenth- and nineteenth-century harmony and counterpoint, one which takes advantage of the old keyboard exercises known as partimenti. The benefits of those lessons are well known, but until now no one had put together a text that adapted them for the modern classroom. IJzerman covers the era from Bach through Brahms, provides a teacher's manual, and an extensive workbook. If you have bright students, this is the text they would want if they had the choice." -- Robert O. Gjerdingen, Professor Emeritus at The School of Music, Northwestern University "Drawing on recent research on partimento and eighteenth-century schemata, IJzerman's Harmony, Counterpoint, Partimento is unlike any other textbook on the market.  Its emphasis on the bass line as the driver of harmonic motion is especially praiseworthy." -- Roger Graybill, New England Conservatory