Harmony, Counterpoint, Partimento

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.

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.

• 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