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.

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.

• Contents Preface Part 1 Harmony in Two and Three Parts Chapter 1 Two-Part Scale Realization 1.1 Parallel Thirds and Parallel Sixths 1.2 Alternation of Thirds and Sixths 1.3 Suspensions: Sevenths and Seconds 1.4 Alternative Voice Leading of Suspension Patterns Chapter 2 Three-Part Scale Realization 2.1 The Fauxbourdon 2.2 The Monte and the 7-6 Fauxbourdon 2.3 The Stepwise Romanesca 2.4 Fifth Down Fourth Up 2.5 The Tied Bass Chapter 3 The Three-Part Cadence 3.1 The Simple Cadence 3.2 The Compound Cadence 3.3 The Double Cadence 3.4 The Galant Cadence 3.5 The Neapolitan Cadence Chapter 4 The Rule of the Octave 4.1 The Ascending Pentachord 4.2 The Descending Pentachord 4.3 The Ascending Tetrachord 4.4 The Descending Tetrachord Chapter 5 Galant Schemata 5.1 The Leaping Romanesca 5.2 The Quiescenza 5.3 The Prinner 5.4 The Monte Romanesca 5.5 The Fenaroli 5.6 The Folia Part Two Harmony in Four Parts Chapter 6 Fundamentals of Four-Part Harmony 6.1 The Compound Cadence (II) 6.2 The Galant Cadence (II) 6.3 The Discant Cadence 6.4 The Dominant Seventh Chord 6.5 The Dominant Seventh Family6.6 The Four-Part Rule of the Octave Chapter 7 Beyond the Rule of the Octave 7.1 The Diminished Seventh Family 7.2 Fifth Down Fourth Up and Third Down Second Up 7.3 The Tied Bass (II) 7.4 Descending Thirds 7.5 The Folia (II) Chapter 8 Chromaticism 8.1. The Fonte 8.2 The Chromatic Monte 8.3 Tonicization in Descending Thirds 8.4 The Chromatic Tetrachord: The Lamento 8.5 The Chromatic Tetrachord: Advanced Realizations 8.6 The Chain of Dominants Chapter 9 Enharmonization 9.1 The Minor Seventh and the Augmented Sixth 9.2 The Augmented Sixth and the Minor Seventh 9.3 Enharmonizations of the Diminished Seventh Chord 9.4 Enharmonizations of the Augmented-Fifth Triad 9.5 The Omnibus Appendix I Chord Construction Appendix II Cadences Online Supplements: WorkbookRealizations of the ExercisesManual for TeachersMidi Sound Files of the ExamplesPreface

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.

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.

• Contents Preface Part 1 Harmony in Two and Three Parts Chapter 1 Two-Part Scale Realization 1.1 Parallel Thirds and Parallel Sixths 1.2 Alternation of Thirds and Sixths 1.3 Suspensions: Sevenths and Seconds 1.4 Alternative Voice Leading of Suspension Patterns Chapter 2 Three-Part Scale Realization 2.1 The Fauxbourdon 2.2 The Monte and the 7-6 Fauxbourdon 2.3 The Stepwise Romanesca 2.4 Fifth Down Fourth Up 2.5 The Tied Bass Chapter 3 The Three-Part Cadence 3.1 The Simple Cadence 3.2 The Compound Cadence 3.3 The Double Cadence 3.4 The Galant Cadence 3.5 The Neapolitan Cadence Chapter 4 The Rule of the Octave 4.1 The Ascending Pentachord 4.2 The Descending Pentachord 4.3 The Ascending Tetrachord 4.4 The Descending Tetrachord Chapter 5 Galant Schemata 5.1 The Leaping Romanesca 5.2 The Quiescenza 5.3 The Prinner 5.4 The Monte Romanesca 5.5 The Fenaroli 5.6 The Folia Part Two Harmony in Four Parts Chapter 6 Fundamentals of Four-Part Harmony 6.1 The Compound Cadence (II) 6.2 The Galant Cadence (II) 6.3 The Discant Cadence 6.4 The Dominant Seventh Chord 6.5 The Dominant Seventh Family6.6 The Four-Part Rule of the Octave Chapter 7 Beyond the Rule of the Octave 7.1 The Diminished Seventh Family 7.2 Fifth Down Fourth Up and Third Down Second Up 7.3 The Tied Bass (II) 7.4 Descending Thirds 7.5 The Folia (II) Chapter 8 Chromaticism 8.1. The Fonte 8.2 The Chromatic Monte 8.3 Tonicization in Descending Thirds 8.4 The Chromatic Tetrachord: The Lamento 8.5 The Chromatic Tetrachord: Advanced Realizations 8.6 The Chain of Dominants Chapter 9 Enharmonization 9.1 The Minor Seventh and the Augmented Sixth 9.2 The Augmented Sixth and the Minor Seventh 9.3 Enharmonizations of the Diminished Seventh Chord 9.4 Enharmonizations of the Augmented-Fifth Triad 9.5 The Omnibus Appendix I Chord Construction Appendix II Cadences Online Supplements: WorkbookRealizations of the ExercisesManual for TeachersMidi Sound Files of the ExamplesPreface

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.

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.

• Contents Preface Part 1 Harmony in Two and Three Parts Chapter 1 Two-Part Scale Realization 1.1 Parallel Thirds and Parallel Sixths 1.2 Alternation of Thirds and Sixths 1.3 Suspensions: Sevenths and Seconds 1.4 Alternative Voice Leading of Suspension Patterns Chapter 2 Three-Part Scale Realization 2.1 The Fauxbourdon 2.2 The Monte and the 7-6 Fauxbourdon 2.3 The Stepwise Romanesca 2.4 Fifth Down Fourth Up 2.5 The Tied Bass Chapter 3 The Three-Part Cadence 3.1 The Simple Cadence 3.2 The Compound Cadence 3.3 The Double Cadence 3.4 The Galant Cadence 3.5 The Neapolitan Cadence Chapter 4 The Rule of the Octave 4.1 The Ascending Pentachord 4.2 The Descending Pentachord 4.3 The Ascending Tetrachord 4.4 The Descending Tetrachord Chapter 5 Galant Schemata 5.1 The Leaping Romanesca 5.2 The Quiescenza 5.3 The Prinner 5.4 The Monte Romanesca 5.5 The Fenaroli 5.6 The Folia Part Two Harmony in Four Parts Chapter 6 Fundamentals of Four-Part Harmony 6.1 The Compound Cadence (II) 6.2 The Galant Cadence (II) 6.3 The Discant Cadence 6.4 The Dominant Seventh Chord 6.5 The Dominant Seventh Family6.6 The Four-Part Rule of the Octave Chapter 7 Beyond the Rule of the Octave 7.1 The Diminished Seventh Family 7.2 Fifth Down Fourth Up and Third Down Second Up 7.3 The Tied Bass (II) 7.4 Descending Thirds 7.5 The Folia (II) Chapter 8 Chromaticism 8.1. The Fonte 8.2 The Chromatic Monte 8.3 Tonicization in Descending Thirds 8.4 The Chromatic Tetrachord: The Lamento 8.5 The Chromatic Tetrachord: Advanced Realizations 8.6 The Chain of Dominants Chapter 9 Enharmonization 9.1 The Minor Seventh and the Augmented Sixth 9.2 The Augmented Sixth and the Minor Seventh 9.3 Enharmonizations of the Diminished Seventh Chord 9.4 Enharmonizations of the Augmented-Fifth Triad 9.5 The Omnibus Appendix I Chord Construction Appendix II Cadences Online Supplements: WorkbookRealizations of the ExercisesManual for TeachersMidi Sound Files of the ExamplesPreface