Richard O. Burdick | I Ching Arpeggios

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New Age: Ambient New Age: Meditation Moods: Instrumental
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I Ching Arpeggios

by Richard O. Burdick

CALMING; Sixty-four pieces using his I-Ching scales system organized into an arpeggio pattern based on the relationship between the artificial scale and the natural overtone series. Presented from fastest to slowest, with the tempo determined by the vibra
Genre: New Age: Ambient
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1. #5 - Waiting
Richard Burdick
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3:04 album only
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2. #10 - Conduct
Richard Burdick
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2:52 album only
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3. #12 - Stagnation
Richard Burdick
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2:14 album only
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4. #13 - Community
Richard Burdick
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2:39 album only
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5. #51 - Shocking
Richard Burdick
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2:39 album only
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6. #6 - Conflict
Richard Burdick
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3:17 album only
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7. #19 - Promotion
Richard Burdick
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2:23 album only
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8. #29 - Danger
Richard Burdick
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2:49 album only
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9. #39 - Obstacles
Richard Burdick
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2:48 album only
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10. #56 - Traveling
Richard Burdick
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2:31 album only
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11. #2 - Receptive
Richard Burdick
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2:30 album only
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12. #27 - Nourishing
Richard Burdick
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2:29 album only
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13. #45 - Assembling
Richard Burdick
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2:38 album only
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14. #49 - Changing
Richard Burdick
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2:58 album only
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15. #61 - Confidence
Richard Burdick
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2:38 album only
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16. #20 – Contemplation
Richard Burdick
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2:56 album only
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17. #23 – Deterioration
Richard Burdick
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2:55 album only
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18. #46 – Advancement
Richard Burdick
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2:57 album only
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19. #47 – Adversity
Richard Burdick
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2:58 album only
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20. #54 – Subordinate
Richard Burdick
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3:27 album only
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21. #17 – Adapting
Richard Burdick
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3:28 album only
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22. #24 – Returning
Richard Burdick
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2:57 album only
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23. #41 – Decline
Richard Burdick
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3:38 album only
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24. #42 – Benefit
Richard Burdick
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3:34 album only
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25. #48 – The Source
Richard Burdick
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3:18 album only
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26. #59 – Reuniting
Richard Burdick
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3:19 album only
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27. #8 – Unity
Richard Burdick
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2:47 album only
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28. #16 – Harmony
Richard Burdick
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2:12 album only
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29. #40 – Liberation
Richard Burdick
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2:16 album only
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30. #52 – Meditation
Richard Burdick
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2:01 album only
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31. #64 – Before Completion
Richard Burdick
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2:14 album only
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32. #7 – Collective Force
Richard Burdick
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1:48 album only
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33. #11 - Prospering
Richard Burdick
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2:08 album only
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34. #15 - Moderation
Richard Burdick
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1:55 album only
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35. #34 – Great power
Richard Burdick
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1:47 album only
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36. #35 – Progress
Richard Burdick
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1:49 album only
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37. #57 – The Gentle
Richard Burdick
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1:55 album only
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38. #30 – Synergy
Richard Burdick
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1:44 album only
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39. #33 - Retreat
Richard Burdick
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1:50 album only
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40. #36 - Censorship
Richard Burdick
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1:59 album only
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41. #38 – Contradiction
Richard Burdick
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2:16 album only
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42. #50 - Changing
Richard Burdick
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2:14 album only
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43. #1 - Creative
Richard Burdick
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2:05 album only
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44. #4 – Inexperience
Richard Burdick
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1:47 album only
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45. #26 – Potential Energy
Richard Burdick
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2:02 album only
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46. #28 – Critical Mass
Richard Burdick
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2:17 album only
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47. #55 - Zenith
Richard Burdick
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2:09 album only
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48. #63 – After Completion
Richard Burdick
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2:30 album only
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49. #3 – Difficult Beginnings
Richard Burdick
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1:49 album only
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50. #22 - Grace
Richard Burdick
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2:16 album only
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51. #25 – Innocence
Richard Burdick
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2:15 album only
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52. #60 – Limitations
Richard Burdick
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2:12 album only
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53. #18 – Repair
Richard Burdick
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2:17 album only
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54. #21 – Reform
Richard Burdick
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55. #31 – Attraction
Richard Burdick
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1:57 album only
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56. #32 – Community
Richard Burdick
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1:57 album only
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57. #43 – Resolution
Richard Burdick
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1:56 album only
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58. #44 – Temptation
Richard Burdick
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2:07 album only
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59. #53 – Developing
Richard Burdick
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2:12 album only
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60. #9 – Restrained
Richard Burdick
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2:24 album only
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61. #14 – Sovereignty
Richard Burdick
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2:20 album only
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62. #37 – Family
Richard Burdick
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2:25 album only
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63. #58 – Encouraging
Richard Burdick
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2:12 album only
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64. #62 – Conscientiousness
Richard Burdick
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2:46 album only
Available as MP3, MP3 320, and FLAC files.

ABOUT THIS ALBUM


Album Notes
I Ching Arpeggios, opus 99 ( 158 minutes!)
For solo French horn With a background of tuned wind chimes.
Written & performed by Richard Burdick
Sixty-four pieces using his I-Ching scales system organized into an arpeggio pattern based on the relationship between the artificial scale and the natural overtone series. Presented from fastest to slowest, with the tempo determined by the vibration of the key. With an improvised background on four octaves of tuned wind chimes tuned to the I ching scale in a pattern like the overtone series.
For over 20 years, composer Richard Burdick has been using I Ching inspired scales as a foundation for his compositions. The I Ching is sort of a fortune telling system of the ancient Chinese. Being a binary system, it suggests scale intervals of either half steps or whole steps. It is ideal for scales structures.

Like the scales of Northern India, the scales are divided into two tetrachord-like-sets of three intervals. Mr. Burdick mostly uses the perfect fifth to separate the two sets of three intervals. He also has a complete system of fixed tones for each scale that are an attempt to organize the whole system of 64 scales.

Richard Burdick writes:
“Four a number of years all my charts, scales studies and interval studies into the patterns created by the scales suggested by the I Ching were catalogued into opus 99. It will take a very special request for me to release the sheet music for my 64 Arpeggios.
Each of my I Ching scales has a home or fixed key, and these arpeggios are each played in a tempo relative to the vibration rate of its key. These are then presented on the CD so they gradually slow down over the 158 minutes.
The wind chimes chosen only from the tones from within the scale, are improvised over the horn recording.

The opening of the Oregon Caves is pictured on the album cover.”


“ . . . . This is one of the horn world's most daring and really wonderful recording ventures I've heard. I regularly listen to this CD in my shop, and find it to be the most Serenity-inducing music I've ever heard. I will probably not ever listen to it in my car, for the obvious reasons, and I do find myself listening to it in smaller "doses" than
standard horn fare, but I return to this amazing CD again and again. Some of
this music would be very well placed on a horn recital, being totally different from anything else on the program. . . . . This is definitely a sine qua non for those with
eclectic tastes, or those with love for exotic music, and is bound to make
any horn player rethink the role of the instrument. The performances include
some of the highest "non-Konzertstucke" notes ever recorded, as well.” LG


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