Dec 21 2023 102 mins 5
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
