ww8 is divided into two portions, b and p. The first is five movements which are each a different permutation of the same basic premise: steady pitch or slow upward glissando. There is no discernible tempo each voice will either be on or off, there is no pulse. Further, there are no descending glissandi nor use of dynamics.
The first movement begins with a unison of the four voices. After a set amount of time one voice will begin to gradually ascend, then the next voice, and so on till all are in motion yet at different speeds. All four voices meet again at the octave, where they remain for an equal amount of time as the beginning. The four lines are at times close to one another and thus produce shifting beats which gradually dissipate as the voices become farther apart then other beats appear once the voices near and at last vanish at the point of the octave.
The second portion (p) takes an octave and slices it into 64 discrete tones which are related to one another by integer values. These tones are then played in such a way as to allow for their spectra to merge and form somewhat rhythmic elements. This section was created in an much more “expressionistic” fashion: allowing for gaps in the sound, repetition, jumps and on the whole is not represented as a compositional structure with various permutations, but instead: a gesture intended to be perceived as a single arc.