The musical compositions of Richard Burdick
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Opus 141a

(--A (1/3/6)B) Concerto for any instrument

Group:
6 unspecified string instruments
3 woodwind instruments
one soloist
and two percussionists

Seating:
The stage should be arranged with the strings in the back in pairs, the pairs as far apart as possible on the stage. The woodwind player should each sit in between a pair of string players. The solos should sit in the front middle point on the stage. The percussionists should sit off stage on either side, but in a place where they can see the soloist.

The piece:
Before the music starts the I-ching must be thrown. The throw of the I ching determines which set of interval studies to use.
Each string player is given the eight pages of the specific interval study, and a transparency outlining what sections of the page to play, and how to play them.
The string players should randomize the pages but always keep the same transparency above the music. Playing what the transparency tells them to do.

The woodwind players should have all eight pages visible on their stand. Their job is to play along with one of their two string players. Trying to play in unison or octave exactly with them. After they get together and then fall apart the woodwind player should switch to trying to play along with the other player. The woodwind players should be playing and fishing around until they get together for a while. Spending at least half the time playing and not just listening.

The soloist in a like manner try's to play in unison or octave with a woodwind player, but louder. Fishing around, getting together, falling apart then switching to trying to be with a different woodwind player.

The percussionists should play a six note pattern based on the I ching that was selected. From the bottom up play a one beat long note for a broken line, and a two beat long note for a solid line. following the 6 notes with a silence that is the same length as the six notes. Please don’t play together with the other percussionist so that the silence is minimal. The tempo of the basic pulse should be determined by the key vibration rate chart.

Key vibration rate chart.
A - 66 m. m.
A# - 70 m. m.
B - 74 m. m.
C - 79 m. m.
C# - 84 m. m.
D - 94 m. m.
D# - 98 m. m.
E - 106 m. m.
F - 112 m. m.
F# - 119 m. m.
G - 119 m. m.
G# - 125 m. m.

Start the piece by walking to the front of the stage and bowing. Then standing behind their chairs bow again together and sit down. After everyone sits down the percussionists should start their rhythm using any pitched instrument that plays the tonic of the scale that isn’t too loud or diffuse, but provides a nice background pulse. Making sure to over lap the sound of the other percussionist a little and playing in the same tempo, beating together.

The string players should start soon, all in the same tempo. And the woodwind players should start trying to match their chosen string player as outlined about. And likewise the soloist should start trying to match a woodwind player.

After at least eight minutes but no more than fifteen, the soloist should stand up and play a long loud note (in multiple breaths) that is not part of the I ching scale. While the soloist is holding the long note, the percussionists should cross the stage and trade places and instruments. Without predetermination as to which woodwind player, one of them should also play a similar non-scale long loud note. before the long notes are over, the percussionists should resume their drone. Also while the long note is happening the string players should change the music page, putting the transparency over a different interval study page.

Repeat the “trying to be together” section followed by the long tone section and the again the “trying to be together” section followed by the coda which should be done in a similar manner to the long note section where the soloist stands and plays the coda. When the soloist stands and plays the coda, all the other musicians including the percussionist should immediately switch to the coda and playing all the notes try to play it is together as possible, but not slow!

For the performance you will need to purchase a full set of the I ching interval studies, or request a specific I ching hexagram set and fore go the randomness at the beginning of the concert, and the big expense of having ten sets of all 480 pages of the I ching interval studies in the appropriate keys and clefs.

This is not an easy piece. It should be practiced many times before any public performance.