IJzerman Job. Harmony, Counterpoint, partimento: a new method inspired by old masters

Oxford University Press, 2019. — 417 p.: musical examples.A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and Counterpoint in today's classrooms and studios. A textbook in three parts, the package includes:
The hardcopy text, providing essential stylistic and technical information and repertoire discussion
An online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions
An online instructor's manual providing additional information and realizations of all exercises
Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal Counterpoint.Harmony in Two and Three Parts
Two-Part Scale Realization
Parallel Thirds and Parallel Sixths
Alternation of Thirds and Sixths
Suspensions: Sevenths and Seconds
Alternative Voice Leading of Suspension Patterns
Three-Part Scale Realization
The Fauxbourdon
The Monte and the 7-6 Fauxbourdon
The Stepwise Romanesca
Fifth Down Fourth Up
The Tied Bass
The Three-Part Cadence
The Simple Cadence
The Compound Cadence
The Double Cadence
The Galant Cadence
The Neapolitan Cadence
The Rule of the Octave
The Ascending Pentachord
The Descending Pentachord
The Ascending Tetrachord
The Descending Tetrachord
Galant Schemata
The Leaping Romanesca
The Quiescenza
The Prinner
The Monte Romanesca
The Fenaroli
The Folia
Part Two Harmony in Four Parts
Fundamentals of Four-Part Harmony
The Compound Cadence (II)
The Galant Cadence (II)
The Discant Cadence
The Dominant Seventh Chord
The Dominant Seventh Family
The Four-Part Rule of the Octave
Beyond the Rule of the Octave
The Diminished Seventh Family
Fifth Down Fourth Up and Third Down Second Up
The Tied Bass (II)
Descending Thirds
The Folia (II)
Chromaticism
The Fonte
The Chromatic Monte
Tonicization in Descending Thirds
The Chromatic Tetrachord: The Lamento
The Chromatic Tetrachord: Advanced Realizations
The Chain of Dominants
Enharmonization
The Minor Seventh and the Augmented Sixth
The Augmented Sixth and the Minor Seventh
Enharmonizations of the Diminished Seventh Chord
Enharmonizations of the Augmented-Fifth Triad
The Omnibus
Appendix
Chord Construction
Cadences
Workbook