Quo vadis, eighteenth-century music analysis? This is the question I wish to pose in 2017, a year marking some notable anniversaries. It has been ten years since the appearance of Robert Gjerdingen's Music in the Galant Style (New York: Oxford University Press, 2007), a book that opened up a wide range of new perspectives on eighteenth-century music and simultaneously shook Anglo-American music analysis at a time when it was on the look-out for post-Schenkerian alternatives. Likewise, 2017 is the tenth anniversary of Giorgio Sanguinetti's presentation on Neapolitan partimenti at the European Music Analysis Conference in Freiburg, where he addressed an audience that was similarly looking for answers in a post-Riemannian vacuum (but already familiar with diverse approaches to schemata, or Satzmodelle). Thirdly, and on a personal note, 2017 also marks a decade since the publication of an article by Ludwig Holtmeier (‘Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave’, Journal of Music Theory 51/1 (2007), 5–49) that guided me through Fedele Fenaroli's partimenti by using the ‘rule of the octave’, a first encounter that profoundly and irreversibly affected the way I perform, hear, teach, conceptualize and contextualize eighteenth-century music. Finally, it should be said that all this happened fifteen years after Thomas Christensen described partimenti and ‘The Règle de l'Octave in Theory and Practice’ (Acta Musicologica 64 (1992), 91–117) in a forward-looking article that celebrates its twenty-fifth birthday in 2017.