Скачать или смотреть Ep. 114 | Job IJzerman on Partimento, Schema Theory & Rethinking Harmony Pedagogy

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Interview Date: January 2021

In this episode of the HMA Podcast, Nikhil Hogan speaks with Professor Job IJzerman of the Conservatorium van Amsterdam, author of Harmony, Counterpoint, Partimento (Oxford University Press, 2018).

We discuss the evolution of harmony pedagogy, his journey into partimento after encountering Robert Gjerdingen’s work, how patterns outperform chord-by-chord “atomic” teaching, the role of schema in common-practice music, and why singing-based training is essential for counterpoint and musicianship.

Professor IJzerman also explains the surprising overlap between Italian partimento, French thoroughbass, schema theory, and 18th-century Italian solfeggio — and how these methods transform real musical understanding for modern students.

If you’re interested in partimento, schema theory, 18th-century pedagogy, or how to reform harmony teaching today, this is a must-watch.

Intro/Outro Music: Almost Done - Christopher Dzengelewski

Chapters:
0:00 – Introduction to Professor Job IJzerman
0:31 – How IJzerman entered music and early training
1:36 – Did he improvise/compose growing up?
2:00 – First encounters with partimento (Gjerdingen’s visit)
3:05 – Why traditional harmony pedagogy wasn’t working
5:59 – When did partimento change his teaching approach?
7:01 – Holistic patterns vs. “atomic” chord-to-chord harmony
9:01 – First steps implementing a partimento-based method
10:05 – Can schemas apply beyond the galant style?
12:22 – How did students react to the new method?
13:54 – Making harmony accessible for non-keyboard students
16:36 – Early singing-based pattern exercises
17:56 – Use of Fenaroli, Durante & self-made partimento exercises
19:45 – Structure of the book and 4-semester method design
20:34 – Difference between students taught old vs new methods
24:29 – Student “converts” to the new pedagogy
26:00 – How faculty responded to the new method
27:59 – International reactions to the book
32:03 – Should harmony and counterpoint be taught together?
34:47 – Why Renaissance counterpoint matters for Mozart & beyond
36:02 – Partimento vs. thoroughbass vs. French basse d’accompagnement
39:41 – Schema vs. partimento: balancing approaches
44:34 – Italian solfeggio: discovering Nicholas Baragwanath’s work
52:02 – How Italian solfeggio is actually taught
55:03 – When and how to mutate hexachords
58:01 – Handling modulation within solfeggio
1:00:35 – Why Italian solfeggio is not sight-reading
1:01:41 – What’s the best way to learn partimento?
1:07:08 – Demonstration: early Corelli-style exercises
1:10:47 – How to learn counterpoint effectively
1:12:13 – How many voices should students start with?
1:14:05 – Using partimento to teach four-voice harmony
1:17:00 – Is partimento useful for Romantic or modern repertoire?
1:19:31 – Closing remarks and future plans