Partimenti reshaped how my fingers interact with the keyboard, how my mind understands musical structure, and perhaps most profoundly, how I listen — both to music around me and to the music I imagine internally.

Since then, I’ve spent more than a decade researching, teaching, and experimenting with partimenti as both a historical practice and a living creative tool. I’ve taught partimenti privately and collaborated with Dr. Joseph Sowa through the Wizarding School for Composers, where we explored how historical improvisation practices can support contemporary composition and musicianship.

My teaching focuses on what I sometimes call partimenti thinking: a way of hearing patterns, understanding harmony from the inside out, and developing fluency so that composing, improvising, performing, and analyzing become interconnected rather than separate skills. This approach places listening first — sound before sight — and treats notation as a tool for preserving musical ideas rather than the starting point of musical understanding.

Alongside the Partimenti Workshop, I’m developing resources such as the Inventing Music at the Keyboard book series, designed to help students build creative musicianship early through scales, intervals, listening, improvisation, and composition. My broader goal is to help musicians reconnect with the historical tradition of improvising composers while making those tools practical for today’s musical lives.

Many of the posts on this site grow out of my own musical journey, here are a few articles that give a good introduction to the ideas behind the Partimenti Workshop.