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

• Part I. Harmony in Two and Three Parts -- 1. Two-Part Scale Realization : 1.1. Parallel Thirds and Parallel Sixths ; 1.2. Alternation of Thirds and Sixths ; 1.3. Suspensions: Sevenths and Seconds ; 1.4. Variants of Suspension Patterns -- 2. Three-Part Scale Realization : 2.1. The Fauxbourdon ; 2.2. The Monte and the 7-6 Fauxbourdon ; 2.3. The Stepwise Romanesca ; 2.4. Fifth Down Fourth Up ; 2.5. The Tied Bass -- 3. The Three-Part Cadence : 3.1. The Simple Cadence ; 3.2. The Compound Cadence ; 3.3. The Double Cadence; 3.4. The Galant Cadence ; 3.5. The Neapolitan Cadence -- 4. The Rule of the Octave : 4.1. The Ascending Pentachord ; 4.2. The Descending Pentachord ; 4.3. The Ascending Tetrachord ; 4.4. The Descending Tetrachord -- 5. Galant Schemata : 5.1. The Leaping Romanesca ; 5.2. The Quiescenza ; 5.3. The Prinner ; 5.4. The Monte Romanesca ; 5.5. The Fenaroli ; 5.6. The Folia -- Part II. Harmony in Four Parts -- 6. Fundamentals of Four-Part Harmony : 6.1. The Compound Cadence (II) ; 6.2. The Galant Cadence (II) ; 6.3. The Discant Cadence ; 6.4. The Dominant Seventh Chord ; 6.5. The Dominant Seventh Family ; 6.6. The Four-Part Rule of the Octave -- 7. Beyond the Rule of the Octave : 7.1. The Diminished Seventh Family ; 7.2. Fifth Down Fourth Up and Third Down Second Up ; 7.3. The Tied Bass (II) ; 7.4. Descending Thirds ; 7.5. The Folia (II) -- 8. Chromaticism : 8.1. The Fonte ; 8.2. The Chromatic Monte ; 8.3. Tonicization in Descending Thirds ; 8.4. The Chromatic Tetrachord: The Lamento ; 8.5. The Chromatic Tetrachord: Advanced Realizations ; 8.6. The Chain of Dominants -- 9. Enharmonization : 9.1. The Minor Seventh and the Augmented Sixth ; 9.2. The Augmented Sixth and the Minor Seventh ; 9.3. Enharmonizations of the Diminished Seventh Chord 9.4. Enharmonizations of the Augmented Fifth Triad ; 9.5. The Omnibus -- Appendix I: Chord Construction ; Appendix II: Cadences.
• Part I. Harmony in Two and Three Parts. 1. Two-​Part Scale Realization ; 1.1. Parallel Thirds and Parallel Sixths ; 1.2. Alternation of Thirds and Sixths ; 1.3. Suspensions: Sevenths and Seconds ; 1.4. Variants of Suspension Patterns ; 2. Three-​Part Scale Realization ; 2.1. The Fauxbourdon ; 2.2. The Monte and the 7-​6 Fauxbourdon ; 2.3. The Stepwise Romanesca ; 2.4. Fifth Down Fourth Up ; 2.5. The Tied Bass ; 3. The Three-​Part Cadence ; 3.1. The Simple Cadence ; 3.2. The Compound Cadence. 
• 3.3. The Double Cadence; 3.4. The Galant Cadence ; 3.5. The Neapolitan Cadence ; 4. The Rule of the Octave ; 4.1. The Ascending Pentachord ; 4.2. The Descending Pentachord ; 4.3. The Ascending Tetrachord ; 4.4. The Descending Tetrachord ; 5. Galant Schemata ; 5.1. The Leaping Romanesca ; 5.2. The Quiescenza ; 5.3. The Prinner ; 5.4. The Monte Romanesca ; 5.5. The Fenaroli ; 5.6. The Folia -- Part II. Harmony in Four Parts. 6 Fundamentals of Four-​Part Harmony ; 6.1. The Compound Cadence (II) ; 6.2. The Galant Cadence (II) ; 6.3. The Discant Cadence ; 6.4. The Dominant Seventh Chord ; 6.5. The Dominant Seventh Family. 
• 6.6. The Four-​Part Rule of the Octave; 7. Beyond the Rule of the Octave ; 7.1. The Diminished Seventh Family ; 7.2. Fifth Down Fourth Up and Third Down Second Up ; 7.3. The Tied Bass (II) ; 7.4. Descending Thirds ; 7.5. The Folia (II) ; 8. Chromaticism ; 8.1. The Fonte ; 8.2. The Chromatic Monte ; 8.3. Tonicization in Descending Thirds ; 8.4. The Chromatic Tetrachord: The Lamento ; 8.5. The Chromatic Tetrachord: Advanced Realizations ; 8.6. The Chain of Dominants ; 9. Enharmonization. 9.1. The Minor Seventh and the Augmented Sixth ; 9.2. The Augmented Sixth and the Minor Seventh. 
• 9.3. Enharmonizations of the Diminished Seventh Chord 9.4. Enharmonizations of the Augmented Fifth Triad ; 9.5. The Omnibus ; Appendix I: Chord Construction ; Appendix II: Cadences ; Suggestions for Further Reading ; Index ; Workbook.

• 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. 

Ämnesord

Kontrapunkt  (sao)

Harmonik  (sao)

Counterpoint.  (LCSH)

Harmony.  (LCSH)

Contrepoint.  (Vedettes-matière)

Harmonie.  (Vedettes-matière)

Counterpoint.  (fast)

Harmony.  (fast)

Harmonielehre  (gnd)

Harmonik  (gnd)

Kontrapunkt  (gnd)

Partimento  (gnd)

Contrapunt  (gtt)

Harmonieleer  (gtt)

Counterpoint  (LCSH)

Klassifikation

MT55 (LCC)

781.25 (DDC)