Professor Job IJzerman, known for his book 'Harmony, Counterpoint, Partimento', discusses the need for harmony pedagogy reform, the introduction of partimento, the reception among students, the impact on conservatory method instruction, and the global response to his new method.
Learning partimento can be approached through a comprehensive book and guidance from an experienced teacher.
Hexachordal singing helps develop a sense of relative singing and tonal relationships, exploring various musical styles and periods.
Learning counterpoint involves a step-by-step approach, starting with basic harmonies and expanding to different eras.
Deep dives
Learning Partimento
Learning partimento can be approached through various methods, but one suggestion is to start with a comprehensive book that provides step-by-step guidance. Such a book can introduce exercises gradually, starting with simple two-part harmonies and progressing to more complex interactions between three or four parts. It is also recommended to seek guidance from an experienced teacher who can provide feedback and assistance in understanding the patterns and concepts. Building a solid foundation in singing and basic musical skills is important before diving into partimento. Additionally, studying counterpoint can greatly enhance one's understanding of partimento and its applications.
The Power of Hexachordal Singing
Hexachordal singing is a powerful tool in learning and understanding music. It helps develop a sense of relative singing and tonal relationships. Starting with simple melodies and gradually adding more complexity, students can acquire a deeper understanding of melodies, mutations, and the use of different syllables. Hexachordal singing can be used to explore various musical styles and periods, from Renaissance to 18th-century Italian methods. The emphasis is on internalizing music, listening, and cultivating musical intuition.
Exploring Counterpoint
Learning counterpoint involves a step-by-step approach, starting with basic two-part harmonies and gradually expanding to include three or four parts. It is essential to have some singing skills and a good sense of melodic understanding before delving into counterpoint. Following a historical perspective, studying counterpoint can help develop an appreciation for how music evolves. Teachers can guide students in writing counterpoint melodies, focusing on consonance, dissonance treatment, and harmonic progressions. Counterpoint skills are essential for understanding and interpreting music from various eras, such as the Renaissance, Baroque, and beyond.
Partimento Beyond the Common Practice Period
While partimento finds its roots in the common practice period, its principles and concepts can be applicable to different musical styles. Partimento teaching methods can help develop an understanding of patterns, harmony, counterpoint, and improvisation. Although the focus of specific partimento books may vary, incorporating partimento principles can enhance music comprehension and creativity in later repertoire. By training the ear and exploring the patterns and techniques of partimento, musicians can develop a deeper understanding of music across various styles and eras.
Looking Ahead
For Professor Jop Asscherman, the future holds the exploration of new ideas, continuous improvement, and the enjoyment of his musical journey. While the current global pandemic poses challenges, he remains focused on making progress and enhancing musical education. Professor Asscherman's passion for teaching, learning, and finding better ways to convey musical concepts ensures that his retirement will not be a barrier to his artistic pursuits. He looks forward to discovering new possibilities and enriching the field of music education.
My guest today is Professor Job IJzerman! He teaches at the Conservatorium van Amsterdam. He is known for his popular book, “Harmony, Counterpoint, Partimento” Published by Oxford University Press in 2018.
0:38 Background 1:50 Did you improvise or compose growing up? 2:12 Did you have any experience with thoroughbass or basso continuo? 2:36 Two anecdotes that highlighted the need for harmony pedagogy reform at the conservatory for IJzerman 7:07 Being introduced to Robert Gjerdingen’s work and partimento in 2007 9:09 What steps did you take to put the partimento theory into practice 10:31 Can Partimento be applied to other styles than the Galant style? 12:33 How was the reception to your new method among students? 16:55 Where did you take your partimenti and solfeggi exercises from? 19:57 What duration is the course of study in your book designed to encompass? 20:43 From your observation, how does your new method compare with the standard conservatory method instruction in harmony? 24:27 Do you examples of students who studied harmony in a different but have converted to your new method? 25:57 How have your peers in the faculty responded to the method? 28:10 Do you receive emails from professors around the world about the book and what has been the reception? 30:23 Karst de Jong 31:22 Peter van Tour 32:16 Do you separate the study of Harmony and Counterpoint? 34:57 Should musicians who are learning music of the Common Practice Era study Renaissance music? 35:54 What are the differences and overlap among the Italian Partimento, and German and French Thoroughbass traditions? 38:01 German Thoroughbass and Italian Partimento 39:19 Music Schemata Theory and Partimento 44:46 Hexachordal 18th century Italian Solfeggio 48:30 How did you jump from the 16th century hexachordal solfeggio method to the updated 18th century version? 49:33 Mutating up vs down being different 50:10 Differences and overlap with Move-able Do and 18th century Italian Solfeggio 51:36 How should someone start learning 18th century Italian Solfeggio 54:30 What’s the way to learn how to mutate between Hexachords correctly? 55:43 Understanding which syllables are part of a melisma and long diminutions 57:32 When accidentals appear in the bass and the Solfeggio changes key, do you have to change all the notes of the hexachords on the spot? 59:14 Do you use the original names of the keys like C-solfaut? 59:34 Can you navigate through a Solfeggio with the correct syllables on a first read through? 1:01:58 What is the best way to learn Partimento? 1:05:53 Job IJzerman demonstrating some patterns at the piano 1:07:40 What’s the best way to learn Counterpoint? 1:08:26 Should you sing and play music extensively first before embarking on written counterpoint? 1:09:40 IJzerman’s method of teaching Counterpoint 1:11:29 Does this lead into 18th century and 19th century Counterpoint? 1:12:21 Should we learn music at the beginning with 2 voices or 4 voices? 1:16:38 Is Partimento practice and theory useful for learning and analysing the music of later styles? 1:19:42 Wrapping Up
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