More virtuosic and dramatic, than Dimensions II, Dimensions VIII explores McLean's fascination with nature sounds, most prominently that of the bluejay and robin, albiet used in decidedly non-natural contexts.The main synthesizers involved were the Serge Modular system (mostly for the pedal bass notes) and the Fairlight CMI, upon which he sampled many of the bird sounds and then lowered them, such as a bluejay (heard in the middle climax as a "500-lb canary") chicadee, and robin.  The main processing equipment was an Eventide Harmonizer, which gave many of the sounds their characteristic sweeps or bursts, especially at the climax.  A digital delay with feedback was also employed extensively.  The pulsating drone heard through uses much the same technique as in his Dimensions II for Piano and Tape, with a metal rod inserted between two low piano strings which are very short and unstable and thick, thereby producing many inharmonic (but nonetheless pleasing) partials.  This rod was stroked (producing the pulses) and processed through the harmonizer, graphic equalizer, and delays to broaden the sound.  The tape part was composed on a 1-inch 8-track Scully deck at 30 ips using DBX noise reduction in McLean's Electronic Music Center at the Univ. of Texas-Austin.

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The free materials provided here (tape part and complete score) will enable a performer to realize a complete performance. All I ask is that you send me a program as attachment at pbmclean2@gmail.com.

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Dimensions VIII is © & ℗ 1981 Barton McLean