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