An 8-channel work based on a 6X6 3D mesh (scattering junctions / mesh nodes connected by wave guides).  This mesh is 'excited' by various sound sources at various points along the grid, of which the respective outputs are mapped onto an 8-channel audio system.  The result is a physical model of a large, malleable sheet of metal that resonates as if it were physically suspended in the venue.  

G®¡D (Stereo Version)

Commissioned/Performed by InterSpheres Trio
Lisa Bost-Sandberg (Flute), Jake Harpster (Percussion), & Éva Polgár (Piano)

||:I:|| ||:nt:|| ||:erSphe:|| ||:r:|| ||:es!:||
||:Inter:|| ||:S:|| ||:ph:|| ||:e:|| ||:res!:|| 
||:Int:|| ||:er:|| ||:Spher:|| ||:e:|| ||:s!:|| 

Provided are small disjunct moving windows into a musical object. 

...

The InterSpheres trio commissioned Dan Tramte to write i/o in the summer of 2013.  Shortly afterwards, flutist Lisa Bost pointed out that she had a glissando head joint, a mechanism that allows the flutist to bend (raise or lower) a pitch further than is possible on a typical flute.  Tramte was initially somewhat hesitant, since very few flutists own a glissando head joint and therefore he feared that i/o would have limited performance possibilities.  However, he eventually realized that this was in fact a unique opportunity to contribute to a burgeoning repertoire.  Thus he embraced this task of writing for an instrument with new, somewhat unconventional capabilities, and conceived i/o around the flute.

One of the flute's characteristic figures in i/o, Tramte refers to as the "pew-pew" effect.  Here, the flutist glisses downwards (or upwards) with the head joint while simultaneously fingering an ascending (or descending) chromatic scale, creating a number of miniature glissandi emanating from a single pitch.  As percussive instruments, the prepared piano and marimba highlight the melodic trails of the flute.  They also give the piece a sense of depth, often articulating the utmost extremes of their registers. i/o features many repeated elements in shifting contexts; these allow the listener to hear and re-hear the musical material and piece it together in new ways. 

Recorded in Zebegény, Hungary 

i/o for Glissando Headjoint® Flute, Percussion, & Piano

Performed by Patchwork Duo
22 March 2015; Ball State University; Muncie, IN.

G®¡ND for Alto Saxophone, Percussion, & Electronics

Performed by Nico Couck
Apparatus tour 2015
http://nicocouck.com/projects/apparatus

degradative interference for table-top electric guitar, vine videos, pedals, & objects

for two performers playing modified flute, table-top electric guitar, vine videos, mobile phones, straight key, objects, & pedals
performed by Ine Vanoeveren & Nico Couck
http://inevanoeveren.com/Site/wordpress/
http://www.nicocouck.com/
www.dantramte.com

This is a rather visual piece, so it's best experienced on YouTube:
https://youtu.be/TnnkNUKxLW4

Performed 25 March, 2017 at Muziekcentrum de Bijloke, Ghent, Belgium

degradative intereference PLUS

Menu Screen loop for forthcoming audio game, found ambiance (teaser)

found ambiance (game) Menu Screen Loop

by Dan Tramte
original sample source for upcoming work, 👽💅written for Solo saxophonist, objects, & video to be performed by Kyle Hutchins

original sample source for 👽💅

Visiting Creative Technologies in Music Faculty at Virginia Tech
? visual music :: audio gaming ?

datramt