Trace was written in response to a Sonic Meditation by composer Pauline Oliveros, which encourages the performer to create a “cycle of sounds” after “listening to the environment as a drone”. In most spaces, such focused listening will reveal a wealth of sounds with a variety of interactions. Trace places this experience on overdrive, conjuring a dense cycle of sounds that surges through many tempos, extreme ranges, juxtapositions, surprises, and drones. I liken the creation of this cycle to the idea of sonically tracing the layout of a space.