Although Fedele Fenaroli's partimento and counterpoint pedagogy has been the subject of a number of recent publications, several aspects of its organization and contents require further research. Thanks to the recent discovery of multiple manuscripts, I am able to elaborate on two of them in this article. First I deal with Fenaroli's partimento curriculum. As several manuscripts illustrate, Fenaroli appears to have maintained a progressive method consisting of four parts (or books) almost throughout his entire career. A partimento student had to work through the first three books successively, which served as Fenaroli's basic partimento course. When these three books had been satisfactorily assimilated, the student could proceed with book 4, which was clearly intended by Fenaroli as his advanced partimento course. Secondly, I engage with Fenaroli's views on dissonance treatment and place them in the broader context of eighteenth-century Neapolitan pedagogy, and thoroughbass and music theory treatises in general.