TITLE: OCTAVOLOGÍA
OPUS: 90
SEE/DOWNLOAD COMPLETE SCORE IN PDF OF THIS VOLUME.
DATE OF COMPOSITION: 2021
MAIN THEME: Eights.
SPECIFIC TOPIC: Arpeggios (with chords built with seconds, thirds, fourths, fifths, sixths, sevenths and overlapping octaves) in octaves.
OBSERVATIONS: this volume belongs to the “ARPEGGIOS” SERIES, made up of the following volumes:
Volume 2: ARPEGIOLOGÍA Op. 35,
Volume 7: ARPEGIOLOGÍA Op. 40,
Volume 9: ARPEGIOLOGÍA Op. 42,
Volume 11: ARPEGIOLOGÍA Op. 44,
Volume 13: ARPEGIOLOGÍA Op. 46,
Volume 17: ARPEGIOLOGÍA Op. 52,
Volume 20: ARPEGIOLOGÍA Op. 55,
Volume 21: ARPEGIOLOGÍA Op. 56,
Volume 22: ARPEGIOLOGÍA Op. 57,
Volume 23: ARPEGIOLOGÍA Op. 58,
Volume 24: ARPEGIOLOGÍA Op. 59,
Volume 25: ARPEGIOLOGÍA Op. 60,
Volume 26: ARPEGIOLOGÍA Op. 61,
Volume 27: ARPEGIOLOGÍA Op. 62,
Volume 31: CHORDOLOGÍA Op. 66,
Volume 32: CHORDOLOGÍA Op. 67,
Volume 33: CHORDOLOGÍA Op. 68,
Volume 39: ARPEGIOLOGÍA Op. 74,
Volume 40: ARPEGIOLOGÍA Op. 75,
Volume 41: ARPEGIOLOGÍA Op. 76,
Volume 42: ARPEGIOLOGÍA Op. 77,
Volume 43: ARPEGIOLOGÍA Op. 78,
Volume 55: OCTAVOLOGÍA Op. 90,
Volume 65: ARPEGIOLOGÍA Op. 100.
This volume also belongs to the “DOUBLE NOTES” SERIES, made up of the following volumes:
Volume 5: BIPUNTOLOGÍA Op. 38,
Volume 30: BIPUNTOLOGÍA Op. 65,
Volume 31: ACORDOLOGÍA Op. 66,
Volume 32: ACORDOLOGÍA Op. 67,
Volume 33: ACORDOLOGÍA Op. 68,
Volume 34: BIPUNTOLOGÍA Op. 69,
Volume 35: BIPUNTOLOGÍA Op. 70,
Volume 36: BIPUNTOLOGÍA Op. 71,
Volume 37: MIXTUROLOGÍA Op. 72,
Volume 44: BIPUNTOLOGÍA Op. 79,
Volume 45: BIPUNTOLOGÍA Op. 80,
Volume 46: BIPUNTOLOGÍA Op. 81,
Volume 47: BIPUNTOLOGÍA Op. 82,
Volume 48: BIPUNTOLOGÍA Op. 83,
Volume 49: MIXTUROLOGÍA Op. 84,
Volume 50: MIXTUROLOGÍA Op. 85,
Volume 54: BIPUNTOLOGÍA Op. 89,
Volume 55: OCTAVOLOGÍA Op. 90,
Volume 60: BIPUNTOLOGÍA Op. 95,
Volume 61: BIPUNTOLOGÍA Op. 96,
Volume 62: BIPUNTOLOGÍA Op. 97,
Volume 63: BIPUNTOLOGÍA Op. 98,
Volume 64: BIPUNTOLOGÍA Op. 99,
Volume 67: CROMATOLOGÍA Op. 102.
This volume also belongs to the “CHORDS” SERIES, made up of the following volumes:
Volume 31: ACORDOLOGÍA Op. 66,
Volume 32: ACORDOLOGÍA Op. 67,
Volume 33: ACORDOLOGÍA Op. 68,
Volume 55: OCTAVOLOGÍA Op. 90.
INDEX:
1. Constitutive basic melodic intervals. (pg. 11)
1.1. Minor seconds. (pg. 11)
1.1.1. Model 1. (pg. 11)
1.1.2. Model 2. (pg. 11)
1.2. Major Seconds. (pg. 12)
1.2.1. Model 1. (pg. 12)
1.2.2. Model 2. (pg. 12)
1.3. Minor thirds. (pg. 13)
1.3.1. Model 1. (pg. 13)
1.3.2. Model 2. (pg. 13)
1.4. Major thirds. (pg. 14)
1.4.1. Model 1. (pg. 14)
1.4.2. Model 2. (pg. 14)
1.5. Perfect fourths. (pg. 15)
1.5.1. Model 1. (pg. 15)
1.5.2. Model 2. (pg. 15)
1.6. Augmented fourths. (pg. 16)
1.6.1. Model 1. (pg. 16)
1.6.2. Model 2. (pg. 16)
1.7. Perfect fifths. (pg. 17)
1.7.1. Model 1. (pg. 17)
1.7.2. Model 2. (pg. 17)
1.8. Minor sixths. (pg. 18)
1.8.1. Model 1. (pg. 18)
1.8.2. Model 2. (pg. 18)
1.9. Major sixths. (pg. 19)
1.9.1. Model 1. (pg. 19)
1.9.2. Model 2. (pg. 19)
1.10. Minor sevenths. (pg. 20)
1.10.1. Model 1. (pg. 20)
1.10.2. Model 2. (pg. 20)
1.11. Major sevenths. (pg. 21)
1.11.1. Model 1. (pg. 21)
1.11.2. Model 2. (pg. 21)
1.12. Perfect octaves. (pg. 22)
1.12.1. Model 1. (pg. 22)
1.12.2. Model 2. (pg. 22)
2. Arpeggios with chords built with overlapping seconds. (pg. 23 )
2.1. 2nd m. + 2nd m. (pg. 23 )
2.1.1. Model 1. (pg. 23 )
2.1.2. Model 2. (pg. 24)
2.2. 2nd m. + 2nd M. (pg. 25)
2.2.1. Model 1. (pg. 25)
2.2.2. Model 2. (pg. 26)
2.3. 2nd m. + 6th M. (pg. 27)
2.3.1. Model 1. (pg. 27)
2.3.2. Model 2. (pg. 28)
2.4. 2nd m. + 6th A. (pg. 29)
2.4.1. Model 1. (pg. 29)
2.4.2. Model 2. (pg. 30)
2.5. 2nd M. + 2nd m. (pg. 31)
2.5.1. Model 1. (pg. 31)
2.5.2. Model 2. (pg. 32)
2.6. 2nd M. + 2nd M. (pg. 33)
2.6.1. Model 1. (pg. 33)
2.6.2. Model 2. (pg. 34)
2.7. 2nd M. + 6th m. (pg. 35)
2.7.1. Model 1. (pg. 35)
2.7.2. Model 2. (pg. 36)
2.8. 2nd M. + 6th M. (pg. 37)
2.8.1. Model 1. (pg. 37)
2.8.2. Model 2. (pg. 38)
2.9. 6th m. + 2nd M. (pg. 39)
2.9.1. Model 1. (pg. 39)
2.9.2. Model 2. (pg. 40)
2.10. 6th M. + 2nd m. (pg. 41)
2.10.1. Model 1. (pg. 41)
2.10.2. Model 2. (pg. 42)
2.11. 6th M. + 2nd M. (pg. 43)
2.11.1. Model 1. (pg. 43)
2.11.2. Model 2. (pg. 44)
2.12. 6th A. + 2nd m. (pg. 45)
2.12.1. Model 1. (pg. 45)
2.12.2. Model 2. (pg. 46)
3. Arpeggios with chords built with overlapping thirds . (pg. 47)
3.1. 3rd m. + 3rd m. (pg. 47)
3.1.1. Model 1. (pg. 47)
3.1.2. Model 2. (pg. 48)
3.2. 3rd m. + 3rd M. (pg. 49)
3.2.1. Model 1. (pg. 49)
3.2.2. Model 2. (pg. 50)
3.3. 3rd m. + 4th P. (pg. 51)
3.3.1. Model 1. (pg. 51)
3.3.2. Model 2. (pg. 52)
3.4. 3rd m. + 4th A. (pg. 53)
3.4.1. Model 1. (pg. 53)
3.4.2. Model 2. (pg. 54)
3.5. 3rd M. + 3rd m. (pg. 55)
3.5.1. Model 1. (pg. 55)
3.5.2. Model 2. (pg. 56)
3.6. 3rd M. + 3rd M. (pg. 57)
3.6.1. Model 1. (pg. 57)
3.6.2. Model 2. (pg. 58)
3.7. 3rd M. + 4th d. (pg. 59)
3.7.1. Model 1. (pg. 59)
3.7.2. Model 2. (pg. 60)
3.8. 3rd M. + 4th P. (pg. 61)
3.8.1. Model 1. (pg. 61)
3.8.2. Model 2. (pg. 62)
3.9. 4th d. + 3rd M. (pg. 63)
3.9.1. Model 1. (pg. 63)
3.9.2. Model 2. (pg. 64)
3.10. 4th J. + 3rd m. (pg. 65)
3.10.1. Model 1. (pg. 65)
3.10.2. Model 2. (pg. 66)
3.11. 4th P. + 3rd M. (pg. 67)
3.11.1. Model 1. (pg. 67)
3.11.2. Model 2. (pg. 68)
3.12. 4th A. + 3rd m. (pg. 69)
3.12.1. Model 1. (pg. 69)
3.12.2. Model 2. (pg. 70)
4. Arpeggios with chords built with overlapping fourths . (pg. 71)
4.1. 2nd m. + 4th P. (pg. 71)
4.1.1. Model 1. (pg. 71)
4.1.2. Model 2. (pg. 72)
4.2. 2nd m. + 4th A. (pg. 73)
4.2.1. Model 1. (pg. 73)
4.2.2. Model 2. (pg. 74)
4.3. 2nd M. + 4th P. (pg. 75)
4.3.1. Model 1. (pg. 75)
4.3.2. Model 2. (pg. 76)
4.4. 4th P. + 2nd m. (pg. 77)
4.4.1. Model 1. (pg. 77)
4.4.2. Model 2. (pg. 78)
4.5. 4th P. + 2nd M. (pg. 79)
4.5.1. Model 1. (pg. 79)
4.5.2. Model 2. (pg. 80)
4.6. 4th P. + 4th P. (pg. 81)
4.6.1. Model 1. (pg. 81)
4.6.2. Model 2. (pg. 82)
4.7. 4th P. + 4th A. (pg. 83)
4.7.1. Model 1. (pg. 83)
4.7.2. Model 2. (pg. 84)
4.8. 4th A. + 2nd m. (pg. 85)
4.8.1. Model 1. (pg. 85)
4.8.2. Model 2. (pg. 86)
4.9. 4th A. + 4th P. (pg. 87)
4.9.1. Model 1. (pg. 87)
4.9.2. Model 2. (pg. 88)
5. Arpeggios with chords built with overlapping fifths . (pg. 89)
5.1. 5th d. + 5th P. (pg. 89)
5.1.1. Model 1. (pg. 89)
5.1.2. Model 2. (pg. 90)
5.2. 5th d. + 7th M. (pg. 91)
5.2.1. Model 1. (pg. 91)
5.2.2. Model 2. (pg. 92)
5.3. 5th P. + 5th d. (pg. 93)
5.3.1. Model 1. (pg. 93)
5.3.2. Model 2. (pg. 94)
5.4. 5th P. + 5th P. (pg. 95)
5.4.1. Model 1. (pg. 95)
5.4.2. Model 2. (pg. 96)
5.5. 5th P. + 7th m. (pg. 97)
5.5.1. Model 1. (pg. 97)
5.5.2. Model 2. (pg. 98)
5.6. 5th P. + 7th M. (pg. 99)
5.6.1. Model 1. (pg. 99)
5.6.2. Model 2. (pg. 100)
5.7. 7th m. + 5th P. (pg. 101)
5.7.1. Model 1. (pg. 101)
5.7.2. Model 2. (pg. 102)
5.8. 7th M. + 5th d. (pg. 103)
5.8.1. Model 1. (pg. 103)
5.8.2. Model 2. (pg. 104)
5.9. 7th M. + 5th P. (pg. 105)
5.9.1. Model 1. (pg. 105)
5.9.2. Model 2. (pg. 106)
6. Arpeggios with chords built with overlapping sixths. (pg. 107 )
6.1. 5th d. + 6th M. (pg. 107 )
6.1.1. Model 1. (pg. 107)
6.1.2. Model 2. (pg. 108)
6.2. 5th P. + 6th m. (pg. 109 )
6.2.1. Model 1. (pg. 109)
6.2.2. Model 2. (pg. 110)
6.3. 5th P. + 6th M. (pg. 111 )
6.3.1. Model 1. (pg. 111)
6.3.2. Model 2. (pg. 112)
6.4. 5th A. + 6th m. (pg. 113 )
6.4.1. Model 1. (pg. 113)
6.4.2. Model 2. (pg. 114)
6.5. 6th m. + 5th P. (pg. 115 )
6.5.1. Model 1. (pg. 115)
6.5.2. Model 2. (pg. 116)
6.6. 6th m. + 5th A. (pg. 117 )
6.6.1. Model 1. (pg. 117)
6.6.2. Model 2. (pg. 118)
6.7. 6th m. + 6th m. (pg. 119 )
6.7.1. Model 1. (pg. 119)
6.7.2. Model 2. (pg. 120)
6.8. 6th m. + 6th M. (pg. 121 )
6.8.1. Model 1. (pg. 121)
6.8.2. Model 2. (pg. 122)
6.9. 6th M. + 5th d. (pg. 123 )
6.9.1. Model 1. (pg. 123)
6.9.2. Model 2. (pg. 124)
6.10. 6th M. + 5th P. (pg. 125 )
6.10.1. Model 1. (pg. 125)
6.10.2. Model 2. (pg. 126)
6.11. 6th M. + 6th m. (pg. 127 )
6.11.1. Model 1. (pg. 127)
6.11.2. Model 2. (pg. 128)
6.12. 6th M. + 6th M. (pg. 129 )
6.12.1. Model 1. (pg. 129)
6.12.2. Model 2. (pg. 130)
7. Arpeggios with chords built with overlapping sevenths. (pg. 131 )
7.1. 3rd d. + 7th M. (pg. 131 )
7.1.1. Model 1. (pg. 131)
7.1.2. Model 2. (pg. 132)
7.2. 3rd m. + 7th m. (pg. 133 )
7.2.1. Model 1. (pg. 133)
7.2.2. Model 2. (pg. 134)
7.3. 3rd m. + 7th M. (pg. 135 )
7.3.1. Model 1. (pg. 135)
7.3.2. Model 2. (pg. 136)
7.4. 3rd M. + 7th m. (pg. 137 )
7.4.1. Model 1. (pg. 137)
7.4.2. Model 2. (pg. 138)
7.5. 7th m. + 3rd m. (pg. 139 )
7.5.1. Model 1. (pg. 139)
7.5.2. Model 2. (pg. 140)
7.6. 7th m. + 3rd M. (pg. 141 )
7.6.1. Model 1. (pg. 141)
7.6.2. Model 2. (pg. 142)
7.7. 7th m. + 7th m. (pg. 143 )
7.7.1. Model 1. (pg. 143)
7.7.2. Model 2. (pg. 144)
7.8. 7th m. + 7th M. (pg. 145 )
7.8.1. Model 1. (pg. 145)
7.8.2. Model 2. (pg. 146)
7.9. 7th M. + 3rd d. (pg. 147 )
7.9.1. Model 1. (pg. 147)
7.9.2. Model 2. (pg. 148)
7.10. 7th M. + 3rd m. (pg. 149 )
7.10.1. Model 1. (pg. 149)
7.10.2. Model 2. (pg. 150)
7.11. 7th M. + 7th m. (pg. 151 )
7.11.1. Model 1. (pg. 151)
7.11.2. Model 2. (pg. 152)
7.12. 7th M. + 7th M. (pg. 153 )
7.12.1. Model 1. (pg. 153)
7.12.2. Model 2. (pg. 154)
8. Arpeggios with chords built with overlapping octaves . (pg. 155)
8.1. Model 1. (pg. 155)
8.2. Model 2. (pg. 156)
9. Appendix: arpeggios with chords built with intervals of the same type. (pg. 157)
9.1. Minor thirds. (pg. 157)
9.1.1. From “a”. (pg. 157)
9.1.2. From “a sharp”. (pg. 157)
9.1.3. From “b”. (pg. 158)
9.1.4. From “b sharp”. (pg. 158)
9.1.5. From “c sharp”. (pg. 159)
9.1.6. From “d”. (pg. 159)
9.1.7. From “d sharp”. (pg. 160)
9.1.8. From “e”. (pg. 160)
9.1.9. From “e sharp”. (pg. 161)
9.1.10. From “f sharp”. (pg. 161)
9.1.11. From “g”. (pg. 162)
9.1.12. From “g sharp”. (pg. 162)
9.2. Major thirds. (pg. 163)
9.2.1. From “a”. (pg. 163)
9.2.2. From “b flat”. (pg. 163)
9.2.3. From “c flat”. (pg. 164)
9.2.4. From “c”. (pg. 164)
9.2.5. From “d flat”. (pg. 165)
9.2.6. From “d”. (pg. 165)
9.2.7. From “e flat”. (pg. 166)
9.2.8. From “e”. (pg. 166)
9.2.9. From “f”. (pg. 167)
9.2.10. From “g flat”. (pg. 167)
9.2.11. From “g”. (pg. 168)
9.1.12. From “a flat”. (pg. 168)
9.3. Perfect fourths. (pg. 169)
9.3.1. From “a”. (pg. 169)
9.3.2. From “a sharp” . (pg. 169)
9.3.3. From “b”. (pg. 170)
9.3.4. From “c”. (pg. 170)
9.3.5. From “c sharp”. (pg. 171)
9.3.6. From “d”. (pg. 171)
9.3.7. From “d sharp”. (pg. 172)
9.3.8. From “e”. (pg. 172)
9.3.9. From “e sharp”. (pg. 173)
9.3.10. From “f sharp”. (pg. 173)
9.3.11. From “g”. (pg. 174)
9.3.12. From “g sharp”. (pg. 174)
9.4. Augmented fourths. (pg. 175)
9.4.1. From “a”. (pg. 175)
9.4.2. From “b flat”. (pg. 175)
9.4.3. From “b”. (pg. 176)
9.4.4. From “c”. (pg. 176)
9.4.5. From “d flat”. (pg. 177)
9.4.6. From “d”. (pg. 177)
9.4.7. From “e flat”. (pg. 178)
9.4.8. From “e”. (pg. 178)
9.4.9. From “f”. (pg. 179)
9.4.10. From “g flat”. (pg. 179)
9.4.11. From “g”. (pg. 180)
9.4.12. From “a flat”. (pg. 180)
9.5. Perfect fifths. (pg. 181)
9.5.1. From “a”. (pg. 181)
9.5.2. From “b flat”. (pg. 181)
9.5.3. From “b”. (pg. 182)
9.5.4. From “c”. (pg. 182)
9.5.5. From “d flat”. (pg. 183)
9.5.6. From “re”. (pg. 183)
9.5.7. From “e flat”. (pg. 184)
9.5.8. From “e”. (pg. 184)
9.5.9. From “f”. (pg. 185)
9.5.10. From “g flat”. (pg. 185)
9.5.11. From “g”. (pg. 186)
9.5.12. From “a flat”. (pg. 186)
9.6. Minor sixths. (pg. 187)
9.6.1. From “a”. (pg. 187)
9.6.2. From “b flat”. (pg. 187)
9.6.3. From “b”. (pg. 188)
9.6.4. From “c”. (pg. 188)
9.6.5. From “c sharp”. (pg. 189)
9.6.6. From “d”. (pg. 189)
9.6.7. From “d sharp”. (pg. 190)
9.6.8. From “e”. (pg. 190)
9.6.9. From “e sharp”. (pg. 191)
9.6.10. From “f sharp”. (pg. 191)
9.6.11. From “g”. (pg. 192)
9.6.12. From “g sharp”. (pg. 192)
9.7. Major sixths. (pg. 193)
9.7.1. From “a”. (pg. 193)
9.7.2. From “b flat”. (pg. 193)
9.7.3. From “c flat”. (pg. 194)
9.7.4. From “c”. (pg. 194)
9.7.5. From “d flat”. (pg. 195)
9.7.6. From “d”. (pg. 195)
9.7.7. From “e flat”. (pg. 196)
9.7.8. From “f flat”. (pg. 196)
9.7.9. From “f”. (pg. 197)
9.7.10. From “g flat”. (pg. 197)
9.7.11. From “g”. (pg. 198)
9.7.12. From “a flat”. (pg. 198)
9.8. Minor sevenths. (pg. 199)
9.8.1. From “a”. (pg. 199)
9.8.2. From “a sharp”. (pg. 199)
9.8.3. From “b”. (pg. 200)
9.8.4. From “c”. (pg. 200)
9.8.5. From “c sharp”. (pg. 201)
9.8.6. From “d”. (pg. 201)
9.8.7. From “d sharp”. (pg. 202)
9.8.8. From “e”. (pg. 202)
9.8.9. From “e sharp”. (pg. 203)
9.8.10. From “f sharp”. (pg. 203)
9.8.11. From “g”. (pg. 204)
9.8.12. From “g sharp”. (pg. 204)
9.9. Major sevenths. (pg. 205)
9.9.1. From “b double flat”. (pg. 205)
9.9.2. From “c double flat”. (pg. 205)
9.9.3. From “c flat”. (pg. 206)
9.9.4. From “d double flat”. (pg. 206)
9.9.5. From “d flat”. (pg. 207)
9.9.6. From “e double flat”. (pg. 207)
9.9.7. From “e flat”. (pg. 208)
9.9.8. From “f flat”. (pg. 208)
9.9.9. From “f”. (pg. 209)
9.9.10. From “sol flat”. (pg. 209)
9.9.11. From “a double flat”. (pg. 210)
9.9.12. From “a flat”. (pg. 210)
9.10. Perfect octaves. (pg. 211)
9.10.1. From “a”. (pg. 211)
9.10.2. From “a sharp”. (pg. 211)
9.10.3. From “b”. (pg. 212)
9.10.4. From “c”. (pg. 212)
9.10.5. From “do sharp”. (pg. 213)
9.10.6. From “d”. (pg. 213)
9.10.7. From “d sharp”. (pg. 214)
9.10.8. From “e”. (pg. 214)
9.10.9. From “f”. (pg. 215)
9.10.10. From “f sharp”. (pg. 215)
9.10.11. From “g”. (pg. 216)
9.10.12. From “g sharp”. (pg. 216)
