Twelve Canons. by Peter Billam. Peter J Billam,

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1 Twelve Canons by Peter Billam Peter J Billam, This score is oered under the Creative Commons Attribution.0 International licence; see creativecommons.org This edition 1 February

2 These ieces are mostly strict canons, at dierent distances, rom one semitone to twelve semitones. The irst canon, Double-Canon at One Semitone, should last about two and a hal minutes. At Two Semitones, is mostly conceived or iano; it should run at about seven notes er second, lasting about 96 seconds. At Three Semitones, is oered in two versions: in oen score (e.g. or string trio), and or iano. It should run at about three seconds er bar, and last about two minutes. Double-Canon at Four Semitones, with voice-crossings allowed, is oered in two versions: in oen score, and arranged or iano our hands. It should run at about 6 beats er minute, lasting just over two minutes. At Five Semitones, a three-voice canon with two ree voices, is oered in oen score, layable on iano with three or our hands. It should run at about three seconds er bar, and last about two and three-quarter minutes. At Six Semitones, a two-voice canon, is mostly conceived or iano; it should run at about 52 crochets er second, lasting about two and a quarter minutes. At Seven Semitones, a close three-voice canon, is mostly conceived or iano; it should run at about 126 crochets er second, lasting nearly three minutes. The trile-trills can be layed either with three hands, or with three-note areggios in each hand and a bit o edal, or in regular semiquavers. At Eight Semitones, also mostly conceived or iano, should run at about 5 crochets er second, lasting just over two minutes twenty seconds. At Nine Semitones, should run at about 51 bars er minute, lasting almost two minutes twenty seconds. For the irst 1 bars the canon is at at one bar s distance, bars at one beat s distance, and the remaining bars at a distance o one semiquaver. Itisrobably best on three hands. At Ten Semitones should run at 60 quarters er minute, lasting about three minutes thirty-six seconds. It is best i the canonic voices are a string quartet (or orchestra). The Bb edal on a iano could be suorted by a long note on a cello C-string tuned down two semitones. At Eleven Semitones is a our-voice canon, and should run at about 75 quarters er minute. It could be layed by our hands, or by violin, viola and two celli, or lute, clarinet and two basoons, or lute, clarinet and iano. The inal canon, At Twelve Semitones, should last just over two minutes. Peter J Billam,

3 Twelve Canons, Peter Billam Double canon at one semitone

4 Double canon at one semitone

5 Peter Billam Canon at two semitones

6 6 Canon at two semitones

7 7 Canon at two semitones

8 Peter Billam Canon at three semitones 9 in oen score

9 Canon at three semitones

10 10 Peter Billam Canon at three semitones 9 or keyboard

11 Peter Billam in oen score Double canon at our semitones

12 12 Double canon at our semitones

13 Double canon at our semitones

14 1 Double canon at our semitones

15 Double canon at our semitones

16 Double canon at our semitones 75 m m 0 m m 5 m

17 Peter Billam arranged or our hands Double canon at our semitones

18 1 Double canon at our semitones

19 Double canon at our semitones

20 20 Double canon at our semitones

21 Double canon at our semitones

22 22 Double canon at our semitones 75 m 0 m m m 5 m m

23 Peter Billam Canon at ive semitones with two ree voices semre

24 2 Canon at ive semitones

25 Canon at ive semitones

26 26 Canon at ive semitones

27 Peter Billam Canon at six semitones 27 Ped con Pedale semre... Ped 5 va 10 Loc. va Loc.

28 2 Canon at six semitones * * *

29 Peter Billam 2 Canon at seven semitones

33 Peter Billam Canon at eight semitones 5 Ped P Ped _* P _*

50 50 Peter Billam Canon at twelve semitones

51 Canon at twelve semitones

52 Peter Billam was born in London in 19, studied iano, and lived in Switzerland rom 197 to 19, where he studied comosition, classical guitar, lute and voice, worked as Musical Director o the Théâtre Poulaire Romand, and as recording engineer, record roducer and comuter rogrammer. Hemoved totasmania in 19, and lectured in comosition at the Conservatorium. He ounded becoming the irst comoser to sell scores on-line, taking scores rom Comoser to Perormer in one immediate ste. oers a new aroach to music ublishing. These ieces are written to be read, made to be layed! Comositions at include: Five Short Pieces, guitar, 1979; Divisions on an Italian Ground, lute and guitar, 190; De Proundis and Nacht, on oems by Lama Anagarika Govinda, voice and iano, 190; Fün Bagatellen, iano, 190; Five Rounds, choir, 196; Go Forth and Multily, choir, 196; Three Violin Duets, 197; Fable, or iano, 197; To Erich Jantsch, SAATTB recorders, 19; A Suite o Curves, trombone (or horn) and iano, 1990; Two Recorder Duets, alto recorders, or other melody instruments, 1991; Trombone Quintet, trombone, lute, iano, bass, and ercussion, 199; Three Songs, on oems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and iano (only the irst and third o these are available), 199; Piano Study, iano, 199; Four Dances, various ensembles including recorder quartet, string quartet, 1995; The Poet in the Clouds, on a oem by S. T. Coleridge, SATB choir, 1995; Tres Casidas del Diván del Tamarit, on oems by Federico García Lorca, voice and iano, 1997; Three Suites, or the solo line, iano, and iano and a solo line, 2000; Die Zeiten, on oems by Kästner, Bachman and Jünger, choir (only the second and third o these are available), 2000; Three Duets or lutes, 2001; ForFour Hands or iano our hands, 2002; Three Preludes or iano, 200; Second Solo Suite or lute, violin, viola or cello, 200; Guitar Duet or two guitars, 2006; We Who Mourn or choir, 2007; Trio With Guitar or guitar and two clarinets or two recorders or two violas, 200; Canons or two- and our-hand iano, 2009; Flute Trio, 2012; Twenty Studies or iano, 201-1; Music or Strings and Two Encores or Strings or 2vln, 2vla, 2vlc, 2015; Album or Choir, Arrangements include: By J. S. Bach: Trio BWV 655, iano and lute; Vordeinen Thron BWV 66, iano; Fugue in F minor BWV 69, SATBrecorders; Four Duets BWV 02-5, keyboard; Six Preludes and Fugues rom Book I, keyboard; Flute Sonata BWV 101 transosed into G major or alto recorder and keyboard; Flute Sonata BWV 102 comleted by Peter Billam or lute and keyboard, also in C major or alto recorder, and in G major or descant; Ricercare a,rom the Musikalisches Oer or keyboard; Ricercare a 6, or ssatbg recorders, or strings, or two keyboards; and Fuga Canonica in Eidiaente; rom the Art o Fugue: Contrauncti 1, and 9 or keyboard, and Contraunctus 1 as comleted by D. F. To v e y, or keyboard, or or SATB recorders, or or strings; Passacaglia and Fugue in c or iano our hands; Chorales with Descant or melody instrument and iano; Cello Suites I, II and III or lute or alto recorder, Forty Chorales or iano, Der Geist hilt or SATB-SATB recorders. By Brahms: Fugue in Ab minor or organ, or SATB recorders and gamba, in A minor; Choralvorsiele or organ lus settings by Isaac, Bach, Praetorius, recorders. John Carr, Divisions on an Italian Ground, lute or recorder and guitar. Franz Liszt, Late iano ieces, G.F. Händel: Concerto Grosso in A minor o 6 no, harsichord and recorders; Recorder Sonata in Bb no 5, in G or tenor recorder and keyboard. Claudio Monteverdi, Ecco Mormorar l Onde, SSATB recorders. Arnold Schoenberg: Verklärte Nacht or iano. Franz Schubert: Four Songs, voice and guitar; Dances, recorders and guitar, Dances, iano hands. Scriabin, Two Preludes o.67; Five Preludes o.7, iano. Telemann, Twelve Flute Fantasias, recorder. Wilbye, Draw on sweet Night, SSATTB recorders, and or lute choir. Twelve Italian Songs, voice and guitar; Seven English Songs, voice and guitar; Fourteen Folk Dance Tunes, recorder and guitar; Bushband Dances, violin, accordeon and banjo; Easy Classical Pieces, Bbtrumet and iano; Famous Beginnings, or iano. These ieces are under the Creative Commons Attribution.0 licence. Very briely: You may coy and redistribute the material in any medium or ormat. You may transorm and build uon the material or any urose. cc You must give aroriate credit, and indicate i changes were made. BY Feel ree to visit...

Study number Fifteen. Twenty Studies

Study number Fifteen. Twenty Studies Study number Fifteen from Twenty Studies by Peter Billam Foriano Peter J Billam, 2013-14 This score is oered under the Creative Commons Atibution 4.0 International licence; see creativecommons.org This