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

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