This work might be called a “concerto” for double bass and electronics (tape). But, unlike a traditional concerto, this does not employ the typical virtuosic playing.  Rather, the sultry and evocative double bass solo material, which consists of mainly harmonics, is organically interwoven into the texture of the tape part, which is often derived from double bass sounds as well. The accompaniment also includes complementary sampled sounds such as various metallic machinery and rusty hinge utterances, which sound like “squeaks” at regular speed, but which, when played back at a much lower pitch, reveal a magical world of subtle gestural and melodic material.  A sampled ocarina (flute-like  indigenous instrument) and some use of FM synthesis sounds rounds out the accompaniment source material.  Early on in his career, composer Barton McLean achieved some virtuosity on the double bass, and this capability is used in a very unusual and creative way in this work.  The goal was to give this low, gruff and heavy sounding instrument a totally different voice. Also unlike a traditional concerto, there is no score for this work, as the bass part was selectively sampled and sometimes played back not at regular pitch.  The overriding goal was to create a seamless work which took full advantage of the very unusual harmonics capability of this instrument, and to make a purely electronic tape work out of it.  This was recorded and produced on Opcode Studio Vision software, in McLean’s analog/digital home studio.  As with all of McLean’s work the distinction between analog/digital and live/tape is blurred, and the listener is only aware of a dreamy, contemplative listening experience. It has been released on EM-Japan records as EM 1060CD.

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Journey on a Long String is © 2001 Barton McLean