The form of Velour is a set of five variations, followed at the end by a very simple theme.
The piece begins with an ornamented version of the theme, and several of the following variations use extended playing techniques. The second variation, a percussive moto perpetuo featuring "tongue ram" articulation, is rhythmically very active; the third, which uses a melancholy Sciarrino-inspired double trill, is contemplative. The fourth starts out focused on the open fifth interval, but ends querulously with a repeated four-note figure in the higher range of the instrument. The final variation is the shortest and serves as a link between the rhythmically free material of the variations and the more austere and metrically even theme.
I called the piece Velour because the sound of the alto flute and the feel of velour are, to me, similar (and pleasing). [note written by composer]