Program Note
My inspiration to write the Neoterica Suite came from a desire to expand the complexity of, and possibilities within, the beatbox genre of flute chamber music, beyond what is achievable in an improvisational setting. At its roots, beatboxing is an improvisational art; however, as in jazz, structure is required in order to perform with larger ensembles. While there are no improvisational elements in these duos, they may serve as a departure point for flutists who wish to improvise and compose with other beatboxers and musicians.
The first movement, Harmonika, was originally written as a solo etude; however, the concept behind it was always as a “play” back and forth between two distinct parts, so it seemed only natural to write out the second flute part in its entirety. The second movement, Kenzika, is dedicated to my friend and colleague Kenzie Slottow, who spent many hours reading through the initial imaginings and conceptions of this piece. The third movement, Neoterica, draws from the “new school” of beatboxing, using complex meters, rhythms, and metric modulation.
— Brandy Hudelson
The first movement, Harmonika, was originally written as a solo etude; however, the concept behind it was always as a “play” back and forth between two distinct parts, so it seemed only natural to write out the second flute part in its entirety. The second movement, Kenzika, is dedicated to my friend and colleague Kenzie Slottow, who spent many hours reading through the initial imaginings and conceptions of this piece. The third movement, Neoterica, draws from the “new school” of beatboxing, using complex meters, rhythms, and metric modulation.
— Brandy Hudelson
Reproduction Notice:
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.