INSTRUMENTATION

4 C flutes

2 Alto flutes

2 Bass flutes

Contrabass flute

Double bass (optional)

Regarding bass instruments:

While the FLUTACIOUS SUITE can be played with just flutes, I like the addition of an extra bass instrument to get the optimum depth, power and balance in the low end. Double bass is ideal and would be my first choice for this. A cello, bassoon, or contrabassoon could read the double bass part and will sound good doing it. Double contrabass flute is also a great addition.

PROGRAM NOTE:

The FLUTACIOUS SUITE was written for the FLUTESONIC flute orchestra in Los Angeles. I was inspiredby the high level of musicianship in the group and my goal was to write a piece that challenged all of theplayers and that really "distributed the fun". In the first movement there are important passages and features in every single voice. Melodies, solos and figures are shared and passed around in rapid succession. The spirit is light-hearted and fun. The meter is tricky, moving back and forth freely from 7/8 to 4/4.

TRAVELER'S SONG (mvmt II) is first and foremost just that - a song, taking full advantage of the ability of the flute to beautifully portray a melody. The lower voices in the choir open the piece with a series of chant-like chords, hushed and reverent, setting the stage for the arrival of the song. The main theme is played by the first and second flutes, each taking their turn, and then dialoguing with each other on the different sections of the melody. The whole choir joins for the bridge section and a full-group statement of the song before the chanting chords reappear and diminuendo down to a lone alto flute. The alto eventually winds its way back to the main theme and the final recap.

INCITEMENT (mvmt III) was written to be the “big finish”. The idea was to write something flashy, fun and full of flute pyrotechnics to cap off the extended multi-movement work. I crammed it full of all kinds of runs, trills, riffs and gimmicks, building it on the most basic and un-subtle rock pulse, starting with the entire group playing a simple heartbeat in unison.

There are many features along the way, including some fast-moving running figures harmonized in parallel major chords and a fiddle-tune/reel kind of riff shared by the first and second flute, which overlays a three-voice chorale portrayed in the middle flutes. As with all three movements, this one shares the wealth, with every voice getting a lot of juicy parts. An extended section in the middle divides the group into two equal mini-choirs, which duke it out with dueling riffs in intricate rhythms.

The whole thing ends up with what I like to call a hyper-coda, an intense (and loud) surprise section that features powerful and slightly off-kilter harmonies, a powerful half-note melody and some flaming runs over the top from the first and second flute.

This is a digital version of the piece that you can download as a PDF and print .