141: Job IJzerman (Harmony, Counterpoint, Partimento)

0:00 Intro

0:36 Start

1:29 Refinements in approach to teaching with "Harmony, Counterpoint, Partimento" since last interview

6:21 Understanding the patterns in the book as "pure sounds"

9:59 Domenico Scarlatti: Sonata K. 82

10:25 Thinking of cadences as schema and things that are polyphonic rather than modern terminology like PAC or IAC

16:58 Joseph Haydn: "Surprise" Symphony No. 94

18:41 Thinking of 3-part harmony as complete instead of 4-part harmony missing a voice?

26:52 Antonio Vivaldi: La Primavera

39:32 Where do you typically take your musical examples from in the book?

41:08 Joseph Haydn: Symphony No. 43 ("Mercury"), 4th mvt

47:09 How does someone learn the different ways to accompany a melody line?

50:16 Francesco Durante partimento

52:28 Francesco Durante partimento realized as a duo live example

55:35 Arcangelo Corelli: tempo di gavotta

56:41 Arcangelo Corelli: tempo di gavotta, live example

1:01:16 In the early 18th-century, nobody spoke of "half cadences", which was a term that didn't exist

1:03:39 Did they think in terms of modes in the early 18th-century for composition?

1:04:43 The Discant Cadence

1:06:43 Job plays Bach BWV928 excerpt live

1:10:47 On the fluidity of voices dropping in and out versus strictly having 4-voices SATB "chorale-style"

1:13:13 Richard Wagner: Tristan Vorspiel

1:18:58 Richard Wagner was a musical great-grandchild of Padre Martini

1:24:13 Robert Schumann

1:25:29 Johannes Brahms

 1:26:47 Tchaikovsky

1:29:52 How do new conservatory students react to your method?

1:32:29 How have other colleagues and professors reacted to your method?

1:34:20 Some conservatories have taken HCP as a compulsory book for 1st and 2nd year students

1:36:55 EXCLUSIVE: New Renaissance Counterpoint Book announced!

1:39:07 Wrapping Up

1:39:35 Outro