Description
Book SynopsisA 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.
Trade ReviewIJzerman 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 *
Table of ContentsContents 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 Family 6.6 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: Workbook Realizations of the Exercises Manual for Teachers Midi Sound Files of the Examples Preface
