Nikhil Hogan Show

We have a very special guest here today! Daniel Spreadbury, who is the Dorico Product Marketing Manager is here today to talk about Dorico 3, the latest update to Steinberg’s music notation software program. ----- 1:01 Talking about condensing 3:19 Do you have a grand plan for features? 4:20 What kind of modern technology is being utilized in Dorico? 6:29 How many people work in the Dorico programming team? 8:00 Will the condensing feature be refined in later updates? 9:41 Soundiron’s Olympus Choir Micro integration 11:20 What’s the state of playback? 13:51 How’s the reception with Note Performer? 15:12 What’s your pitch to someone on Sibelius to switch to Dorico? 18:13 Talking about Alan Silvestri’s interview and are there other composers who use Dorico? 19:34 Is Dorico seeing more adoption in education? 21:01 With the excitement around Partimento, is figured bass on the radar for the next update? 23:12 What sort of learning materials can a new user find to improve their skill with Dorico? 24:57 Are some of the videos on the YouTube channel out of date? 26:10 What’s a common question that you get all the time that’s actually an easy fix? 28:57 When’s the next update? What’s the pipeline for 2020? 30:33 Wrapping Up

So happy to introduce my guest today, Classical Pianist, Music Theorist and Improviser, Professor Karst de Jong! Karst de Jong studied classical Piano and Music Theory at the Royal Conservatory of The Hague. In 1991 he was appointed as a professor of music theoretical subjects at the Conservatory of Amsterdam and the Royal Conservatory of The Hague. He specialized in piano improvisation and the relation between analysis and interpretation of the piano literature. Since 2003 he has been appointed professor of improvisation and composition-techniques at the ESMUC in Barcelona. He regularly gives concerts with classical and jazz improvisations, both as a soloist and with different instrumental combinations. He has performed concerts in various countries in Europe, the US, China and Japan. He published articles on improvisation and music theory and appeared at numerous conferences. He is a cofounder and board member of the Dutch Belgian society of Music Theory and was an editor of the Dutch Journal of Music Theory. Karst de Jong has taught many masterclasses of improvisation at internationally renowned festivals. As an educator he was closely involved in two important European Erasmus+ strategic partnerships: METRIC, which deals with improvisation in the curricula of higher music education in Europe and NAIP, the European Master of New Audiences and Innovative Practices. He released two CD's with solo-piano improvisations, Improdisiac I & II. During the first semester of the academic year 2019-2020 Karst de Jong will be a visiting professor at the Yong Siew Toh Conservatory of the National University of Singapore. ----- 2:16 What’s your musical background? 3:20 Do you have Absolute or Perfect Pitch? 4:04 Were you always experimenting and improvising from the beginning? 4:48 What sort of things would you improvise? 5:36 What kind of music were you listening to growing up? 6:26 Did you receive a pretty standard approach to learning classical repertoire? 7:10 How many years did you have lessons? How many teachers? 7:57 What’s it like to grow up in Holland, musically? 8:59 Did you keep your improvising going into your teenage years? Did you also play jazz? 9:58 What was your understanding of theory growing up? 11:19 What was your music theory training like? 13:22 Did you agree with all the theory that you were taught? 14:05 What did your teachers do differently from conventional teachers? 15:03 How does the mind work differently in improvisation? 15:56 When did that insight click for you? 17:31 How do you get kids to integrate theory when they’ve never really thought about it? 19:26 What are the common mistakes students make when trying to learn to improvise? 20:03 What would students be trying to hear from you in call and response? 20:28 How would students know what would be the right response, in call and response? 20:47 Would a pianist play two hands? 21:34 As an example, what’s a challenge for another instrument? 22:16 After call and response, what’s next for students? 23:03 More on transposition 23:18 How about changing from the major to the minor? 23:30 Is there any implied bass to the melodic ideas you are playing? 24:21 Do string players imagine the bass while playing? 25:20 Are the counterpoint rules still in place during live playing? 26:05 What advice can you give to other teachers who want to run a classical improvisational model 27:34 What would you do in a 1 hour class with an ensemble? 28:34 Can you give an example of working on 1 idea 29:54 Talk about your new approach to harmonic analysis 32:56 Why did you choose the minor 3rd as a strong progression? 33:31 Is that the same with C to Eb? 34:46 How effective has it been with students? 35:40 How does someone learn music theory with the goal of practical composition and improvisation 37:28 How does this change your perception of traditional harmony 38:01 If a parent wanted to start their child’s music journey correctly, what should they do? 39:36 How should somebody look at a piece they’ve played, break it down and play around with it? 40:25 Would you analyze late romantic music with your new method of analysis? 41:09 What materials someone can check out online about improvisation in classical music? 43:05 Talking about YST Classified where Karst plays 3 jazz standards in a classical virtuoso style 44:09 Were those performances completely improvised? 44:45 Do you still maintain the basso continuo? 45:13 Do you have to maintain the jazz harmony? 46:12 How do you improvise in the style of Bach? 46:48 What kind of ideas do you commonly use? 48:00 Is counterpoint the basis of it all and what’s the best way to learn it? 48:52 What counterpoint resources can you recommend? 49:29 How would we start introducing improvisation into earlier music education? 50:30 How has the culture around classical improvisation changed over the last few decades? 52:18 How does the audience respond to improvisation vs standard repertoire? 53:52 Does the audience listen closer when the performer is improvising? 54:47 What do you see for the future of classical music? 56:02 Wrapping Up

I’m so happy to introduce my guest today, Concert Pianist, Researcher, and Teacher, Professor David Dolan! In his solo and chamber music performances, he incorporates improvisation into the relevant concert repertoire in repeats, cadenzas, as well as in preludes, fantasias, and improvises on themes provided by the audience. In addition to performing worldwide, He is the Professor of Classical Improvisation and its various applications to solo and ensemble performance at the Guildhall School of Music and Drama in London, David has been heading the Centre for Creative Performance & Classical Improvisation since 2005. He also teaches at the Yehudi Menuhin School. Since 2011 David is running a programme of classical improvisation applied to performance at the Australian National Academy of Music (ANAM) in Melbourne based on annual intensive residencies. ----- 1:46 what’s your musical background? 2:14 When did you start playing the piano? 2:48 What were you improvising when young, what kind of music was in the house at the time? 3:06 Did your parents improvise? 3:25 Did your first teacher teach you the basics of playing the piano? 4:37 Do you have Absolute or Perfect pitch? 4:54 Did you still maintain your improvisation while doing your standard piano training? 6:02 Did you listen to traditional Israeli or Arabic music growing up? 7:04 What style of Classical music did you predominantly play in your training? 8:12 Were you the only one growing up that could improvise among your teachers and peers? 9:00 Did Haim Alexander hear you improvise? 10:40 What materials did Haim Alexander use to teach you? 11:20 What was a typical lesson with Haim Alexander look like? 13:24 Was his music theory conventional or did he have his own method? 14:13 Was the ear training Fixed Do or Moveable Do 14:52 What were your Masters and PhD studies about? 17:08 How would describe angry speech in music? 19:01 What year was this research? 19:22 Did you have peers or colleagues that you could relate to and talk to regarding improvisation as a professional, or were you alone? 20:01 Do you know Robert Levin? 20:15 What was it like meeting Robert Levin for the first time? 20:40 Is it very rare to meet another improvising musician? 21:39 Is the scene much different from what it used to be? 22:00 The reason that you’re in the UK is because of Yehudi Menuhin? 22:47 What did you play at that concert, that Yehudi Menuhin watched? 23:54 What did Yehudi Menuhin mean by,”Survive this quartet”? 24:37 What did you make the quartet do, to teach them to improvise? 25:33 Given that you had been teaching classical improvisation since 1990, were you ready for any ensemble teaching situation? 26:41 Do you have set Classical forms or harmonic progressions to get students to improvise with? 27:34 What is a periodic structure? 28:38 How do you tell your students what notes to choose in the response portion of “Call and response”? 29:20 What do you mean by wrong notes? 30:00 Are the bass lines fixed or do you ask them to come up with their own? 31:03 Is this connected with basso continuo? 31:54 Is that how a string player can learn to improvise, by having the bass in their ear or mind? 32:39 Does that enable you to have multiple musicians performing at the same time? 33:34 How would a brand new student, who’s never improvised before, learn to improvise in their first year of Guildhall? 35:07 Let’s say they have no fear in improvising, what would they work on? 38:00 Is this all ensemble or solo? 38:34 Is the singing in solfege? 39:23 How do you distinguish between improvisation and composition? 40:42 What are some differences among the different classical eras? 43:02 So that is a lot of vocabulary to internalize? 44:15 Do you incorporate teaching other non-classical styles of music? 46:54 Has music changed and become more difficult from earlier eras, harmonically? 47:59 As an example, is Messiaen more complex than earlier music? 48:47 What are some common mistakes to learning classical improvisation? 51:38 If a parent is about to start their child learning music, how should they start? 52:52 What would you say to the thousands of children who are practicing for their graded music exams about the pieces they are playing? 54:40 Are there other things culturally that have changed in the music culture compared to previous eras? 56:55 What classical improvisation resources can you recommend for interested people? 58:43 If you could reform music education around the world, what would you do? 1:00:41 Wrapping Up

I’m so pleased today to talk to my guest today, Music theorist, historian, pianist and singer, Dr. Marco Pollaci! Following his studies as a pianist and singer, he graduated in a "Liberal arts - Music and Performing Arts degree - " from the University of Tor Vergata in Rome with Dr. Giorgio Sanguinetti and went on to receive his PhD in Music from the University of Nottingham in 2018. 
Dr. Pollaci's research focuses on eighteenth and nineteenth-century opera and music history. He is interested in sketch studies, music theory and music analysis. Further research interests include Partimento Studies and Italian compositional practice in eighteenth and nineteenth century music. He is currently working as an assistant researcher for a Partimento project for the Department of Musicology of Pavia. He runs the popular Facebook Group, "The Art of Partimento". ----- 1:52 What’s your musical background? 4:16 Are these articles and books you mentioned new? 5:13 What were the gaps that people had in understanding before? 6:25 Talking about the German and French influence in the Neapolitan Partimento tradition? 7:57 On the secretiveness of the Neapolitans 9:20 Did Fugal writing lessen as 19th century Romantic harmony took over? 11:46 Was writing Opera the main goal for young Italian composers? 14:15 Who were the “Giovane Scuola” (Young School)? 15:59 Weren’t the Young School more associated with the Milan tradition rather than the Neapolitan tradition? 20:41 The Romantic view of composers and Bellini 22:06 What kind of training did Bellini undergo? 22:45 The famous teachers of Naples 24:58 Can you see traces of Partimento Exercises in Bellini operas? 26:28 On Bellini being greatly admired by his contemporaries 27:28 Talking about the Bellini revival with Maria Callas 29:33 Can Bellini’s famous long melodies be connected with the Partimento tradition 32:53 Does the Paris Conservatory have a similarities to the Partimento tradition? 35:07 How did Germany harmony affect Partimento? 35:58 Talking about the separation of Counterpoint and Harmony 37:46 How did the Partimento tradition change with 19th century Harmony 40:19 Can you analyze 19th century romantic music with a Partimento lens 42:17 Using the Prelude to Wagner’s Tristan und Isolde as an example 43:24 Talking about Giuseppe Verdi 46:15 Was Italian music as or more influential than German music during the 18th and 19th century 47:32 What has surprised you about your research? 48:44 Did non-Italian composers absorb these musical patterns without the Neapolitan training? 50:41 Was it difficult to access the Neapolitan archives because of their secretive reputation? 53:15 How much material is in these archives and is there a lot more left to study? 54:42 Do you have favorite Partimenti exercises? 55:19 What’s appealing about Durante? 56:43 How widespread were Fenaroli’s exercises in Europe? 58:09 On the progressive difficulty of the Fenaroli partimenti 59:28 How can partimento assist in understanding music of the 19th century? 1:01:17 Should we still keep Roman Numerals and traditional tonal analysis 1:02:29 Wrapping up and Upcoming projects/events

It’s my pleasure to introduce my guest today Music Theorist, Performer and Music Historian, Dr. Giorgio Sanguinetti! Sanguinetti teaches at the University of Rome-Tor Vergata. He gives classes and seminars in many prestigious European and American institutions, such as the Orpheus Institute in Ghent, the university of Leuven (Belgium), the Schola Cantorum Basiliensis (Switzerland), the NUI in Maynooth (Ireland), the CUNY Graduate Center (New York), Northwestern University, Indiana University at Bloomington, and the Boston University. For the winter semester 2012 he taught at the Schulich school of Music at McGill University, Montreal (CA). He was the organizer of 7th European Music Analysis Conference, Rome 2011. He has written several articles and essays on the history of Italian theory from 18th to 20th century, Schenkerian analysis, “analysis and performance, form in 18th century music” ,Opera analysis, and has worked intensively in the rediscovery of the Italian partimento tradition. In 2012 Oxford University Press published his book “The Art of Partimento: History, Theory and Practice”. Sanguinetti is also a moderator on the fast growing public Facebook Group “The Art of Partimento”. ----- 2:16 Tell me your musical background 3:08 Why did Partimento die out? 4:51 Was Fenaroli a well known name in Italy in the modern age? 5:59 So even in Italy, Partimento faded away? 7:49 Was the Paris Conservatory influenced by the Naples tradition? 8:27 Why was the Prix de Rome considered a big deal for a winning French musician? 9:05 Can we pinpoint when Partimento got replaced in the 19th century? 11:43 Are there still plenty of archival material and manuscripts left in the Naples conservatory libraries? 13:52 Are there still old masters alive in Italy who practice Partimento or is it extinct? 15:37 Do we know exactly what Naples conservatory students studied over 10 years? 17:48 Talking about free improvisation 19:41 Do we have marked exam papers in these Naples conservatories? 21:10 What was Spontini’s failed exam about? 21:24 How many Naples conservatories were there? 22:09 Were all the Naples conservatories different in their approaches in learning Partimento? 23:59 Did Haydn probably get the pure Neapolitan course of study from Nicola Porpora? 24:56 How was the Bologna tradition of music education different from Naples? 26:49 What was Rameau’s influence on the Neapolitan tradition? 28:47 How is the Rule of the Octave different from modern triadic harmony? 30:55 How rare are authentic realizations of Partimenti and what conclusions should we draw from them? 32:50 How was a student supposed to learn diminutions? 34:58 How is Imitation important in the Partimento tradition? 36:47 How should a child new to learning music learn Partimento from the very beginning? 40:33 Was Beethoven a subscriber to Choron’s compendium of Italian treatises? 42:36 What are some common mistakes when trying to learn Partimento? 43:07 What are the 3 phases of playing Partimento? 45:13 What new things have you discovered since the release of your 2012 book “The Art of Partimento”? 48:10 How do you think people should analyze music? 50:07 Who are some great Italian composers who should be ranked alongside the great German masters like Bach and Mozart? 51:37 Talking about Vincenzo Bellini and Giuseppi Verdi 52:59 If you could reform music education, what would you do? 54:03 Upcoming projects 55:20 Wrapping Up

My guest today is the internationally acclaimed pianist, organist, harpsichordist, composer, conductor and improviser, Dr. Rudolf Lutz! Lutz was organist of the church Sankt Laurenzen in St Gallen from 1973–2013, and conductor of the Bach-Chor St. Gallen from 1986–2008. Rudolf Lutz is a former lecturer for improvisation at the Schola Cantorum Basiliensis, and has taught thorough-bass at the School of Music in Basel and oratorio studies at the Zurich University of the Arts. A respected composer; Lutz’s sinfonia for cantata BWV 158 by Bach and his Christmas oratory “An English Christmas” are critically acclaimed. In 2017, his cantata in homage to Luther – a work commissioned by “Deutschlandfunk Kultur” – received its world premiere at Wartburg castle. In 2018, his second cantata based on a traditional Swiss hymn, also received its premiere. Lutz is the artistic director and conductor of the J.S. Bach Foundation. Their Choir, Orchestra and Vocal soloists are in the process of performing the complete vocal catalogue of Johann Sebastian Bach, performing 12 cantata concerts a year and this massive undertaking is estimated to conclude in 2027.

Tobias Cramm studied fortepiano with Edoardo Torbianelli and Geoffrey Lancester in Basel/CH (Schola Cantorum) and Canberra/Australia and holds a Bachelor of Arts in musicology and social sciences from the university of Basel. He has been involved in exploring partimento-based approaches to improvisation and composing as a performer, researcher, and teacher since 2010. Cramm is gaining a stellar reputation as a music teacher with a proven track record of teaching some truly astonishing students. From July 7 to July 16, 2019, Tobias will be running a summer academy “MentiParti 2019” for exploring improvisation and composition based on the Neapolitan Partimento method in Basel, Switzerland with other faculty members including Lydia Carlisi, Peter Van Tour and Ewald Demeyere. ----- 1:57 - What’s your background in music? 3:51 - Did you have a study of Figured Bass while playing Organ? 4:42 - When did you seriously begin studying improvisation? 6:31 - How did Rudolf Lutz practice improvisation before Partimento-based methodology and schema? 7:44 - How would Rudolf Lutz teach you these Partimento methods? 9:07 - What’s the youngest age that you accept students? 10:03 - What is your approach to teaching young children? 11:47 - Do you use any books when teaching? 12:08 - What specific musical concepts would you start off with? 13:59 - Do these melodies tie to Solfeggio? 15:05 - Do you teach Solfeggio or solmization? 15:22 - Does it matter if a student has Absolute Pitch? Does it change how you teach? 16:02 - When do you introduce new keys to students? 17:02 - Week to week, what kind of things do you want your students to work on? 18:22 - Can you give an example of solutions that students come up with? 19:50 - What Partimenti would you recommend for students to tackle first? 21:06 - Since there any many things to learn, what is a good order of things to learn in Partimento? 24:26 - Is it a mistake to memorize the Rule of the Octave without really understanding the individual voices? 25:23 - How do you deal with parallel 5ths and octaves? 26:47 - Can you explain how you improvise with your students on Skype? 27:59 - How do you tie these improvisations to Partimento? 30:02 - Is this kind of improvisation only for advanced students or can even beginners do this? 30:53 - This kind of improvisation is very approachable with a little practice 31:23 - What kind of things you need in order to do this kind of improvisation? 34:16 - How do you develop the ability create diminutions? 36:12 - What are some common mistakes students make when learning Partimento? 37:49 - What’s your approach to teaching composition? 39:34 - How does Partimento inform the way you teach repertoire? 40:47 - Can you give an example of taking a piece and creating variations or new ideas? 42:12 - mentiParti 2019 and how it’s run 45:14 - Are you seeing a big growth in interest in Partimento? 46:08 - How does Partimento affect how you teach popular music? 47:31 - On 20th century music being based more on stacking 3rds 49:25 - How would you reform music education? 51:58 - Wrapping up

On today’s show, I’m so thrilled to talk to the amazing Pianist, Composer and Improviser, Charlie Albright! Hailed as “among the most gifted musicians of his generation” with a “dazzling natural keyboard affinity” who “made quite an impression” by the Washington Post, American pianist/composer/improviser Charlie Albright has been praised for his “jaw-dropping technique and virtuosity meshed with a distinctive musicality” by The New York Times, and his “extravagance that had showmanship but never felt cheap” with his “ease and smoothness that refuses to airbrush the music, but animates it from within” by the Philadelphia Inquirer.  Recipient of the prestigious Avery Fisher Career Grant and Gilmore Young Artist Award, Albright won the Ruhr Klavier Festival Young Artist Award presented by Marc-André Hamelin (Germany) and the Young Concert Artists International Auditions. In addition to performing, Albright is sought after as a speaker, masterclass instructor, teacher, and competition judge.  His debut commercial recording, Vivace, has sold thousands of copies worldwide and the first of a 3-part Schubert Series of live, all-Schubert recordings was released in 2017. Recently, he made his Main Stage Carnegie debut with the American Symphony in January, and just returned from the Bergen International Festival in Norway (he was asked to fill in for Lang Lang after an injury in 2017, and returned for a sold-out solo recital and to do the honors of performing the yearly Grieg Concerto at Grieg Concert Hall. ----- 1:45 - Did you go to piano on your own as a child? 3:17 - Do you have perfect pitch? Can you play anything you hear? 3:45 - Did you play piano for pleasure or did parents make him practice? 4:38 - Did your piano teacher help train your ear? 6:07 - You can play the organ? 6:18 - When did you start to compose and improvise? 6:58 - Did you know theory at the time or was it all by sound? 8:15 - What kind of music did you listen to growing up? 9:13 - Favorite records or albums or artists growing up? 10:27 - Was it a shock to learn to read after playing by ear? 11:53 - What pieces did your teacher assign to you? 12:55 - Did playing Chopin influence your creativity? 14:01 - Do you have knowledeg in figured bass? 14:58 - The drawbacks of music theory 16:20 - Does the sound come first instead of the analysis? 16:27 - Did you experiment with music, harmonically? 17:42 - Do you take ideas from pieces you play? 18:10 - Give an example of taking an idea from a piece of music 19:33 - Can you imitate composer's trademark sounds? 20:26 - How did the training in Harvard and New England Conservatory influence you? 22:11 - What did the teachers do to develop you? 23:04 - What's been the reaction of your peers to your improvisation? 24:22 - How much time do you devote to repertoire vs improvisation? 25:44 - How did you feel about the music theory study at university? 26:12 - How did the music theory influence your approach to composition? 27:16 - When did you start seriously composing? 27:58 - Meeting Yo-Yo Ma for the first time 29:33 - Were you an undergraduate at the time? 29:53 - What was the rehearsal like? 30:41 - Was Yo-Yo Ma aware of your improvisational ability at the time? 31:33 - Did you feel like changing notes in the score for the concert with Yo-Yo Ma? 32:03 - Any interesting Yo-Yo Ma anecdotes? 32:57 - What is your temperament like? Do you get nervous? 36:34 - Talking about Marc-André Hamelin 37:49 - Was was the phone call with Hamelin like? 38:13 - Substituting for Lang Lang in a concert 39:30 - What do you think of Grieg and his music? 40:24 - Talking about improvising cadenzas 41:38 - What is going through your mind when you improvise in a cadenza? 43:17 - Main Stage Carnegie Hall debut with the Vivian Fine Piano Concerto 44:29 - Performing Jerry Lee Lewis' "Great Balls of Fire" as an Encore at Carnegie Hall 46:41 - HOT SEAT: Top 3 Jazz Musicians 47:36 - HOT SEAT: Top 3 Classical Composers before 1900 47:59 - HOT SEAT: Top 3 Etudes 48:12 - HOT SEAT: If you could improvise with anyone in history, who would it be? 48:30 - HOT SEAT: If you could meet Chopin, what would you ask him? 49:05 - HOT SEAT: Top 3 Composers after 1900 49:16 - HOT SEAT: Proudest Music Moment 50:24 - HOT SEAT: Top 3 Piano Concertos 50:49 - HOT SEAT: Top 3 Small Piano Pieces 51:18 - Do you know many of your concert pianist peers in the world? 52:45 - Do you know Lang Lang? 52:53 - HOT SEAT: Top 3 Concert Pianists 53:21 - Talking about Emanuel Ax with the Avery Fisher Career Grant 53:47 - Advice on Classical Improvisation 55:47 - How to get started with Classical Improvisation 57:45 - Upcoming projects in 2019 58:36 - Social Media Links

I’m so delighted to talk to my guest today, Musicologist, Music Theorist, Composer and Educator, Peter van Tour! He is the author of Counterpoint and Partimento: Methods of Teaching Composition in Late 18th century Naples 2015, The Editor of a 3 volume series entitled, “The 189 Partimenti of Nicola Sala” published 2017 and has published many peer-reviewed articles. He earned his Phd in Musicology/Music Theory at Uppsala University, Sweden. He is also a Moderator of a popular, fast growing Facebook Group called “The Art of Partimento” which is dedicated to the compositional school of Naples and the art of partimenti, a very rich resource for interested people. He has an upcoming book coming out: ““The Italian Fugue: Investigated through Young Apprentices in Eighteenth-century Naples and Bologna.” ----- 2:00 - What's the latest research on Partimento? 4:17 - Did Neapolitan students have to sing for 3 years before playing instruments? 5:08 - What type of solmization did they use? 7:15 - How difficult does Solfeggio get? 8:10 - Where do we get Solfeggio exercises? 8:48 - Is Solfeggio unaccompanied or accompanied? 9:36 - Do Neapolitan students keep singing after the 3 years? 10:43 - Differences between Southern and Northern Italian pedagogy 11:20 - Does everyone have to learn the keyboard when learning Partimento? 11:56 - Was it common for students back then to play a little keyboard, even if it wasn't their main instrument? 13:40 - Is the Neapolitan approach to Counterpoint different from Fux? 15:06 - How do the Neapolitan students navigate the rules of Counterpoint without getting bogged down? 16:33 - Cadences, Rule of the Octave, Bass Motions 19:02 - Are Cadences about Chords moving or something else? 20:21 - The 3 types of Cadences and their variations 21:42 - How do you know when to raise the 6th and 7th degrees of the melodic minor scale when using it in Partimento? 22:58 - Written Counterpoint vs Performed Counterpoint 27:08 - What's the average amount of Partimenti that would accumulate in a student's notebook? 28:06 - Is the Partimento method applicable to modern tonal music? 29:15 - The drawbacks of typical music analysis 30:09 - How early can a student begin improvising and composing using the Partimento method 31:02 - The Clef's that you should learn for Partimento 31:36 - There are no G clefs in historical Partimento manuscripts 32:10 - Peter's music pedagogical recommendations 34:10 - Is it possible to self-teach counterpoint? 35:21 - Is the Paris Conservatory tradition related to the Partimento tradition? 36:41 - How would you teach a music student from the very beginning with Partimento? 38:00 - What materials are good to start with for Partimento? 39:35 - Using Partimento towards non-partimento based compositions 40:27 - Talking about Gjerdingen's Schema 41:06 - What surprised Peter most about his Partimento research 43:34 - During the 18th century, were Italians composers famous across Europe? 44:42 - Richard Wagner and the Progressive nature of Partimento 45:58 - Beethoven and Partimento 46:39 - The modern reaction today to the recent research in Partimento 47:41 - Talking about Peter's upcoming book, The Italian Fugue. 48:56 - How good were the Italians at Fugal writing? 51:26 - Who were some famous Italian masters of the fugue? 52:06 - The School of Leo vs The School of Durante 54:39 - Did they write or improvise Fugues, or do both? 55:30 - Upcoming projects 56:22 - Mentiparti 2019 teaching

What a treat we have today, my guest is the illustrious Scholar of Music History, Theory and an expert of music in the 18th century Galant style, Dr. Robert Gjerdingen! Dr. Gjerdingen received his Bachelors in Music Composition from the California Institute of Arts, his MA in Music Theory and Ethnomusicology from the University of Hawaii and his PhD in Music history and Theory from the University of Pennsylvania. He is the author of numerous scholarly articles and reviews in prestigious music journals such as the Journal of Music Theory and Journal of New Music Research. In 2007, Dr. Gjerdingen published Music in the Galant Style with Oxford University Press to great acclaim and winning awards such as the Wallace Berry Award from the Society of Music Theory in 2009.