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CD58c: I Ching Music: THINGS WE PUBLISH: Pauline Oliveros' Horn Etudes

by Richard_O_Burdick

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1.
Minor Seconds & Major Thirds 00:40
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2.
Major Seconds & Perfect Fourths 00:58
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3.
Perfect Fourths & Minor Seconds 01:02
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Perfect Fourths & Minor Thirds 01:11
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5.
Perfect Fourths & Major Thirds 01:11
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Perfect Fourths, Minor Seconds & Major Seconds 01:18
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Perfect Fourths, Major Thirds & Minor Seconds 00:54
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8.
Perfect Fourths, Minor Thirds & Minor Seconds 01:21
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9.
Perfect Fourths, Major Seconds & Minor Thirds 02:01
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Perfect Fourths, Major Seconds & Major Thirds 00:47
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Major & Minor Thirds and Perfect Fourths 01:06
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12.
Major & Minor Seconds and Perfect Fourths 00:59
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Major & Minor Thirds, Major & Minor Seconds and Perfect Fourths 01:03
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14.
Major, Minor and Augmented Seconds and Perfect Fourths 01:31
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15.
Major & Minor Seconds, Minor Thirds and Perfect Fourths 01:57
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CD58 THINGS I CHING MUSIC PUBLISH.
part 3 The horn etudes of Pauline Oliveros
The Oliveros Interval Studies Written in 1959

Through the years in teaching horn I have noticed an almost universal difficulty among students in hearing certain intervals correctly, principally 4th and 5ths, both ascending and descending. Other intervals are hard to recognize by their unusual appearance, such as augmented 2nds, diminished 4ths and 5ths, etc. Disjunct melodic and contrapuntal lines in contemporary music frequently cause difficulty, so to combine these problems into concentrated studies in which the same intervals and relationships occur again and again on different degrees seemed the obvious way to approach a solution.

Pauline Oliveros, a brilliant graduate student of composition and horn at San Francisco State College, undertook the composition of these horn interval studies at my request several months ago. Together we work out an outline of what is needed, we decide what intervals to include, what limits will be placed on range, what the meter and rhythms will be, and place limits upon the general difficulty of the study. With minimum and maximum limitations known she then proceeds with the composition of a study.

We felt that the studies must not only contain problems recurring often enough so their solution becomes habitual, but should have recognizable musical form and artistic value. This I feel she has accomplished in the studies presented here. There is need for more of the same type of material using different interval combinations, and we also recognize that there are gaps in the progression from easy to very difficult studies, both in range and rhythms. More studies are in sketch form, still more in planning stages, and it is hoped that in the near future a complete series of horn interval studies can be published under separate cover.

S. Earl Saxton


The interval studies of Pauline Oliveros’s at first glance seem to be nothing special. After sitting down & doing them, they focused me on doing really clear, clean attacks and are improving the quality of my sound production, as I focus on attack through the entire range.

Her choice of using old style base clef fit the music quite well, and lends itself to a notation style that we must know as symphony musicians. Just look at the parts to Richard Strauss’s Don Quixote if you don’t think you need to be able to read old style base clef!

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released November 15, 2021

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Richard_O_Burdick regina, Saskatchewan

Richard O. Burdick is 1st horn of Regina Symphony Orchestra. prior he worked in California incl. full-time work for Sacramento Symphony.

He has performed over 200 concertos & solo recitals.

Mr. Burdick composes in styles: avant-garde, expressionist, microtonal, minimalistic, modernist, neo-classical, & new-age-meditation.

He has many CD’s of his own works, Bach, natural horn & classics. ... more

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