twelvecanons - pjb.com.au · 2019-12-01 · double-canon at four semitones,with voice-crossings...
TRANSCRIPT
Twelve Canons
by Peter Billam
© Peter J Billam, 2009-2010
This score is offered under the
Creative Commons Attribution 4.0 International
licence; see creativecommons.org
This edition 18 February 2014.
www.pjb.com.au
These pieces are mostly strict canons, at different distances, from one semitone totwelve semitones. The first canon, Double-Canon at One Semitone, should lastabout two and a half minutes.
At Two Semitones, is mostly conceived for piano; it should run at about sevennotes per second, lasting about 96 seconds.
At Three Semitones, is offered in two versions: in open score (e.g. for string trio),and for piano. It should run at about three seconds per bar, and last about twominutes.
Double-Canon at Four Semitones, with voice-crossings allowed, is offered in twoversions: in open score, and arranged for piano four hands. It should run at about86 beats per minute, lasting just over two minutes.
At Five Semitones, a three-voice canon with two free voices, is offered in openscore, playable on piano with three or four hands. It should run at about threeseconds per bar, and last about two and three-quarter minutes.
At Six Semitones, a two-voice canon, is mostly conceived for piano; it should runat about 52 crochets per second, lasting about two and a quarter minutes.
At Seven Semitones, a close three-voice canon, is mostly conceived for piano; itshould run at about 126 crochets per second, lasting nearly three minutes. Thetriple-trills can be played either with three hands, or with three-note arpeggios ineach hand and a bit of pedal, or in regular semiquavers.
At Eight Semitones, also mostly conceived for piano, should run at about 54crochets per second, lasting just over two minutes twenty seconds.
At Nine Semitones, should run at about 51 bars per minute, lasting almost twominutes twenty seconds. For the first 81 bars the canon is at at one bar’s distance,bars 82-109 at one beat’s distance, and the remaining bars at a distance of onesemiquaver. It is probably best on three hands.
At Ten Semitones should run at 60 quarters per minute, lasting about three minutesthirty-six seconds. It is best if the canonic voices are a string quartet (ororchestra). The Bb pedal on a piano could be supported by a long note on a celloC-string tuned down two semitones.
At Eleven Semitones is a four-voice canon, and should run at about 75 quarters perminute. It could be played by four hands, or by violin, viola and two celli, or flute,clarinet and two basoons, or flute, clarinet and piano.
The final canon, At Twelve Semitones, should last just over two minutes.
Peter J Billam, www.pjb.com.au
Double−canon at one semitone3Twelve Canons, Peter Billam
(c) 2009 Peter J Billam
4444
4444
5
10
3 3
3 15 3
3 3 3 3 3
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4 Double−canon at one semitone
(c) 2009 Peter J Billam
20 3
3
3 3
3
3 3 3
3 3
3
3
3
3 3
25 33
3 33
3
3 33 3 3
3 3
30
35
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Canon at two semitones5Peter Billam
(c) 2009 Peter J Billam
916
816
59
16
10
816
816
15
916
916
20
1416
1416
25
1616
1616
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6 Canon at two semitones
(c) 2009 Peter J Billam
916
916
30
1416
1416
1616
1616
35
1316
f
1316
816
816
1316
1316
816
816
40
1316
1316
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7Canon at two semitones
(c) 2009 Peter J Billam
816
816
1316
1316
816
816
45
1316
1316
816
816
1316
1316
816
816
50
1316
1316
816
816
1316
1316
55
816
816
1316
1316
816
816
1316
1316
60
816
816
1316
1316
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Canon at three semitones8 Peter Billam
(c) 2009 Peter J Billam
in open score
98
98
98
5
10
15
20
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9Canon at three semitones
(c) 2009 Peter J Billam
25
30
35
40
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Canon at three semitones10 Peter Billam
(c) 2009 Peter J Billam
for keyboard
98
9898
5
10
15
20
25
30
35 40
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Double canon at four semitones11Peter Billam
(c) 2009 Peter J Billam
in open score
p
p
p
f
p
f
f
p
f
p
5p
f
p
f
p
p
f
f
p
p
10
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12 Double canon at four semitones
(c) 2009 Peter J Billam
15
f
f
p
p
f
20 f
p
p
f
f p
p
f
f p
f
p
fp
p f
25 fp
p
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13Double canon at four semitones
(c) 2009 Peter J Billam
f
f
30
f
p
f
p
p
f
p
f
35 f
p
f
p
p
p
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14 Double canon at four semitones
(c) 2009 Peter J Billam
40
f
f
p
p
f
f
p
f
p
f
45
p
p
f
f
p
p
50
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15Double canon at four semitones
(c) 2009 Peter J Billam
55
f
f
f
p
f
p60
p
f
f
f
p
f
p
65p
f
p
f
p
p
f
f
p70
p
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16 Double canon at four semitones
(c) 2009 Peter J Billam
f
f
p
75
p
f
f
p
p
mf
mf
pmf
p
80f p
p
mf
f
pf
p
f85
p
p
mf
f
f
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Double canon at four semitones17Peter Billam
(c) 2009 Peter J Billam
arranged for four hands
p
f
f
f
p
f
5f
f
p
f
f
p
p
10
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18 Double canon at four semitones
(c) 2009 Peter J Billam
15
f
f
f
20 f p
f
f p
f
f
f
f
f
25 fp
p
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19Double canon at four semitones
(c) 2009 Peter J Billam
f
f
30
f
p
f
f
f
35 f
p
f
p
p
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20 Double canon at four semitones
(c) 2009 Peter J Billam
40
f
f
p
p
f
f
p
f
p
f
45
p
p
f
f
p
p
50
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21Double canon at four semitones
(c) 2009 Peter J Billam
55
f
f
f
p
p60
p
f
f
f
p
65f
p
f
f
p
f
f
p
p
70
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22 Double canon at four semitones
(c) 2009 Peter J Billam
f
f
75
mf
mf
80
pmf
mf
mf 85
pmf
f
f
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23Canon at five semitones
Peter Billam
(c) 2009 Peter J Billam
with two free voicespp sempre
5
10
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24 Canon at five semitones
(c) 2009 Peter J Billam
15
20
25
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25Canon at five semitones
(c) 2009 Peter J Billam
30
33
3 35 33
3 40
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26 Canon at five semitones
(c) 2009 Peter J Billam
45
50
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Canon at six semitones27Peter Billam
(c) 2009 Peter J Billam
Ped
3
con Pedale sempre . . .
3 3
Ped
3 3 3
5 3 3 38va − −
3 3
3
10 − Loc.
8va − −
− Loc.
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28 Canon at six semitones
(c) 2009 Peter J Billam
15
33 3
3 20
3 3 3
3 3 3
3
3 3 3
25 3 3 3
pp
*
* ___*
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Canon at seven semitones29Peter Billam
(c) 2009 Peter J Billam
32
32
32
5
54
54
54
32
32
32
10
15
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30 Canon at seven semitones
(c) 2010 Peter J Billam
3
3 3
3 3
203
3
3 3
3 3
3 3
3 3
54
3 3
54
3
54
25
32
32
32
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31Canon at seven semitones
(c) 2010 Peter J Billam
54
54
54
3032
32
32
35
40
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32 Canon at seven semitones
(c) 2010 Peter J Billam
45
508
8
8
tr
p
tr
p
tr
p
8
8
8
tr
tr
tr
f
55 allargando
f
f
sempre cresc . . .
pp
60
pp
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Canon at eight semitones33Peter Billam
(c) 2009 Peter J Billam
84
3
84
33
3
3
53
33 3 3
33
33
33
Ped PedP _*_* P
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34 Canon at eight semitones
(c) 2010 Peter J Billam
Ped
3
3
Ped
f
3 3
PedPed
1033
Ped
3
forte
*
33
dim . . .
3
15
p ppp
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35Canon at nine semitones
Peter Billam
(c) 2010 Peter J Billam
916
916
916
5
10
15
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36 Canon at nine semitones
(c) 2010 Peter J Billam
20
25
30
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37Canon at nine semitones
(c) 2010 Peter J Billam
35
40
45
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38 Canon at nine semitones
(c) 2010 Peter J Billam
50
55
60
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39Canon at nine semitones
(c) 2010 Peter J Billam
65
70
75
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40 Canon at nine semitones
(c) 2010 Peter J Billam
80
85
90
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41Canon at nine semitones
(c) 2010 Peter J Billam
95
100
105
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42 Canon at nine semitones
(c) 2010 Peter J Billam
110
115
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43Canon at ten semitones
Peter Billam
(c) 2010 Peter J Billam
8484
mp le corde . . .
8484
Vn2
legatiss.
84
3 3 3 3
ppuna corda con Pedale . . .
Vn1 (G to F# !)
Va
3 3 3 3
Vc
3 3 3 3
104
104
104
104
Vn2
104
3 3 3 3 3
5Vn1
8484
Va
8484
84
3 3 3 3
Vc
3 3 3 3
Vn2
3 3 3 3
Vn1
Va
3 3 3 3
Vc
3 3 3 3
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44 Canon at ten semitones
(c) 2010 Peter J Billam
10
6464
6464
Va
64
3 3 3
Vn18484
Vc
8484
84
3 3 3 3
Vn2
3 3 3 3 3 3 3 3
Vn1
Vc
Va3 3 3 3
15
Vn2
3 3 3 3
3 3 3 3 3 3 3 3
Va
Vn1
3 3 3 3
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45Canon at ten semitones
(c) 2010 Peter J Billam
3 3 3 3
203
Vn2
3 3
3 3 3 3
Vn13
3 Va
33
3 3 3 3
3
Vc
Va
3 3 3 3
Vn2
Vn1
3
3 3 3 3 3 3 3
25
Vn1
Va
Vn23 3 3 3
Vc
3 3 3 3 3 3 3
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46Canon at eleven semitones
Peter Billam
(c) 2010 Peter J Billam
4444
4444
5
10
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47Canon at Eleven semitones
(c) 2010 Peter J Billam
15
20
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48 Canon at Eleven semitones
(c) 2010 Peter J Billam
25
30
tr
tr
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49Canon at Eleven semitones
(c) 2010 Peter J Billam
tr
tr
35
40
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Canon at twelve semitones50 Peter Billam
(c) 2009 Peter J Billam
5
10
15
20
25
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51Canon at twelve semitones
(c) 2009 Peter J Billam
30
35
40
45
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ccBY
Peter Billam was born in London in 1948, studied piano, and lived in Switzerland from 1973 to
1983, where he studied composition, classical guitar, flute and voice, worked as Musical Director
of the Théâtre Populaire Romand, and as recording engineer, record producer and computer
programmer. He moved to Tasmania in 1983, and lectured in composition at the Conservatorium.
He founded www.pjb.com.au, becoming the first composer to sell scores on-line, taking scores
from Composer to Performer in one immediate step. Www.pjb.com.au offers a new approach to
music publishing. These pieces are written to be read, made to be played !
Compositions at www.pjb.com.au include: Five Short Pieces, guitar, 1979; Divisions on an Italian
Ground, flute and guitar, 1980; De Profundis and Nacht, on poems by Lama Anagarika Govinda, voice and
piano, 1980; Fünf Bagatellen, piano, 1980; Five Rounds, choir, 1986; Go Forth and Multiply, choir, 1986;
Three Violin Duets, 1987; Fable, for piano, 1987; To Erich Jantsch, SAATTB recorders, 1988; A Suite of
Curves, trombone (or horn) and piano, 1990; Two Recorder Duets, alto recorders, or other melody
instruments, 1991; Tr ombone Quintet, trombone, flute, piano, bass, and percussion, 1994; Three Songs, on
poems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and piano (only the first and third of these are
available), 1994; Piano Study, piano, 1994; Four Dances, various ensembles including recorder quartet,
string quartet, 1995; The Poet in the Clouds, on a poem by S. T. Coleridge, SATB choir, 1995; Tr es Casidas
del Diván del Tamarit, on poems by Federico García Lorca, voice and piano, 1997; Three Suites, for the
solo line, piano, and piano and a solo line, 2000; Die Zeiten, on poems by Kästner, Bachman and Jünger,
choir (only the second and third of these are available), 2000; Three Duets for flutes, 2001; For Four Hands for
piano four hands, 2002; Three Preludes for piano, 2003; Second Solo Suite for flute, violin, viola or cello,
2003; Guitar Duet for two guitars, 2006; We Who Mourn for choir, 2007; Trio With Guitar for guitar and
two clarinets or two recorders or two violas, 2008; Canons for two- and four-hand piano, 2009; Flute Trio,
2012; Twenty Studies for piano, 2013-14; Music for Strings and Two Encores for Strings for 2vln, 2vla,
2vlc, 2015; Album for Choir, 2015; Eight Pieces for Guitar, 2017.
Arrangements include: By J. S. Bach: Trio BWV 655, piano and flute; Vor deinen Thron BWV 668,
piano; Fugue in F minor BWV 689, SATB recorders; Four Duets BWV 802-5, keyboard; Six Preludes and
Fugues from Book I, keyboard; Flute Sonata BWV 1031 in G major for alto recorder and keyboard; Flute
Sonata BWV 1032 completed by Peter Billam for flute and keyboard, also in C major for alto recorder, and
in G major for descant; Ricercare a 3 of the Musikalisches Opfer for keyboard; Ricercare a 6, for sSATBG
recorders, or strings, or two keyboards; and Fuga Canonica; from the Art of Fugue: Contrapuncti 1, 4 and 9
for keyboard, and Contrapunctus 14 as completed by D. F. Tovey, for keyboard, or for SATB recorders, or
for strings; Passacaglia and Fugue in c for piano four hands; Chorales with Descant for melody instrument
and piano; Cello Suites I, II and III for flute or alto recorder, Forty Chorales for piano, Der Geist hilft for
SATB-SATB recorders. By Bartók: Suite op.14 for piano. By Brahms: Fugue in Ab minor for organ, for
SATB recorders and gamba, in A minor; Choralvorspiele for organ plus settings by Isaac, Bach, Praetorius,
recorders. John Carr, Divisions on an Italian Ground, flute or recorder and guitar. Franz Liszt, Late piano
pieces, G.F. Händel: Concerto Grosso in A minor op 6 no 4, harpsichord and recorders; Recorder Sonata in
Bb no 5, in G for tenor recorder and keyboard. Claudio Monteverdi, Ecco Mormorar l’Onde, SSATB
recorders. Arnold Schoenberg: Verklärte Nacht for piano. Franz Schubert: Four Songs, voice and guitar;
Dances, recorders and guitar, Dances, piano 4 hands. Scriabin, Two Preludes op.67; Five Preludes op.74,
piano. Telemann, Twelve Flute Fantasias and Six Duets, recorder. Wilbye, Draw on sweet Night, SSATTB
recorders, and for flute choir. Twelve Italian Songs and Seven English Songs, voice and guitar; Folk Guitar
Solos; Fourteen Folk Dance Tunes, recorder and guitar; Bushband Dances, violin, accordeon and banjo;
Easy Classical Pieces, Bb trumpet and piano; Famous Beginnings, for piano.
These pieces are under the Creative Commons Attribution 4.0 licence. Very briefly:
• You may copy and redistribute the material in any medium or format.
• You may transform and build upon the material for any purpose.
• You must give appropriate credit, and indicate if changes were made.
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