For Piano
The second of Three Suites
by Peter Billam
for piano
© Peter J Billam, 2000
This score is offered under theCreative Commons Attribution 4.0 International
licence; seecreativecommons.org
This edition 18 February 2014.
www.pjb.com.au
Three Suites
The first suite is for the solo line; flute or violin would be ideal.The movementsare marked Running, SingingandDancing. On recorder, the first and last movementslie within the range of the alto recorder, and the second movement can be played as is onthe tenor; however, the recorder player may prefer to play it transposed up five semitoneson the alto, which usually has a far sweeter melodic tone. On wind instruments,unmarked breaths will be needed.In some places, if the player prefers, quavers can evenbe omitted; a quaver that repeats a recent note should be chosen.On the piano, this suitecan be played one octave down by the right hand alone, or evenly divided between thehands. Versions are also available one octave down in the alto clef, for viola, and twooctaves down in the bass clef, for cello, or left-handed piano, and eight semitones downfor the guitar.
The second suite is for piano alone. The movements are markedTurbulent, CalmandLuminous. The first movement almost lies within four octaves and can be played onother keyboards, for example a harpsichord; in the second and third movements thecomposer was tempted by the extra compass and sustain of the piano.
The third suite is for piano and a solo line; again, flute or violin would be ideal.The notes do lie within the compass of the alto recorder, but the execution would bedifficult on that instrument. The movements are markedFluent, BroadandWild.
These suites can be obtained fromhttp://www.pjb.com.au/mus
© 2000 Peter Billam
4 2nd suite, Three Suites, Peter BillamFor Piano
(c) 1998 Peter J Billam
Turbulent148
148
118
118
118
118
178
178
178
178
108
108
cresc . . .
108
108
56868
6868
108
108
ff dim . . .
108
108
88
p
8888
108
cresc . . .
108
f p
10118
118
118
118
8888
88
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51st movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
15
legatissimo . . .
20
. . . |
128
128
128
128
178
178
178
178
25108
108
108
108
6868
6868
108
108
108
108
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6 1st movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
88
8888
108
108
30
98
98
118
118
118
118
8888
88
35
legatissimo . . .
4068
68
108
108
68
68
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71st movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
108
108
45
68
cresc . . .
68
108
f p
108
118
118
118
118
8888
88
50
55
60
p
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8 2nd movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
Calm168
168
88
888888
58
5858
548
4848
88
88
5858
58
118
118
cresc . . .
118
118arpegg.
104848
4848
arpegg.
8888
dim . . .
8888
pp
128
128
68
68
15
88
88
20
58
5858
25
cresc . . .
48
4848
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92nd movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
88
f p
88
5858
58
30118
118
118
118
4848
4848
8888
8888
pp
128
128
3568
68
88
88
40
4848
arpegg . . .
48
5858
58
6868
68
454848
48
*P_
88
f
88
mp mf
* P_
8vab . . .
50
. . . | * P_
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10 3rd movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
Luminous22
p cresc . . .
22
. . . mf
5 ftr
p
tr
f
tr
trp cresc . . . . . . mp dim . . .
10cresc . . . f p
15
3232
tr
32
tr32
22
2222
203232
tr
32
tr32
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113rd movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
22
2222
25
30
35
3232
3232
22
22
1212
12
40
22
2222
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12 3rd movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
tr
tr
tr
tr
45
32
3232
22
22
3232
3232
22
2222
50
3232
tr
32
tr32
22
2222
8va . . . 55
. . 8va . . . . . . |
32
3232
22
2222
mf
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133rd movement, 2nd suite, Three Suites, Peter Billam
(c) 1998 Peter J Billam
60
mp
65
3232
tr
32
tr32
22
2222
dim . . .cresc . . .
8va . . .
cresc . . .
70 . . . |
dim . . .
3232
3232
2222
2222
75
p
8vab . . . . . |
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ccBY
Peter Billam was born in London in 1948, studied piano, and lived in Switzerland from 1973 to1983, where he studied composition, classical guitar, flute and voice, worked as Musical Directorof the Théâtre Populaire Romand, and as recording engineer, record producer and computerprogrammer. He moved to Tasmania in 1983, and lectured in composition at the Conservatorium.He foundedwww.pjb.com.au, becoming the first composer to sell scores on-line, taking scoresfrom Composer to Performer in one immediate step.Www.pjb.com.auoffers a new approach tomusic publishing. These pieces arewritten to be read, made to be played !
Compositions at www.pjb.com.auinclude:Five Short Pieces, guitar, 1979;Divisions on an ItalianGround, flute and guitar, 1980;De ProfundisandNacht, on poems by Lama Anagarika Govinda, voice andpiano, 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 ofCurves, trombone (or horn) and piano, 1990;Two Recorder Duets, alto recorders, or other melodyinstruments, 1991;Tr ombone Quintet, trombone, flute, piano, bass, and percussion, 1994;Three Songs, onpoems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and piano (only the first and third of these areavailable), 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 Casidasdel Diván del Tamarit, on poems by Federico García Lorca, voice and piano, 1997;Three Suites, for thesolo 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 Duetsfor flutes, 2001;For Four Handsforpiano four hands, 2002;Three Preludesfor piano, 2003;Second Solo Suitefor flute, violin, viola or cello,2003;Guitar Duetfor two guitars, 2006;We Who Mournfor choir, 2007; Trio With Guitar for guitar andtwo clarinets or two recorders or two violas, 2008;Canonsfor two- and four-hand piano, 2009;Flute Trio,2012; Twenty Studiesfor piano, 2013-14;Music for Stringsand Two Encores for Stringsfor 2vln, 2vla,2vlc, 2015;Album for Choir, 2015.
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 andFuguesfrom Book I, keyboard;Flute Sonata BWV 1031transposed into G major for alto recorder andkeyboard;Flute Sonata BWV 1032completed by Peter Billam for flute and keyboard, also in C major foralto recorder, and in G major for descant;Ricercare a 3, from the Musikalisches Opferfor keyboard;Ricercare a 6, for sSATBG recorders, or strings, or two keyboards; andFuga Canonica in Epidiapente;from theArt of Fugue: Contrapuncti 1, 4 and9 for keyboard, andContrapunctus 14as completed by D. F.To v e y, for keyboard, or for SATB recorders, or for strings;Passacaglia and Fugue in cfor piano fourhands;Chorales with Descantfor melody instrument and piano;Cello Suites I, II and III for flute or altorecorder,Forty Chorales for piano,Der Geist hilftfor SATB-SATB recorders. By Brahms:Fugue in Abminor for organ, for SATB recorders and gamba, in A minor;Choralvorspiele for organ plus settings byIsaac, 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 minorop 6 no 4, harpsichord andrecorders;Recorder Sonata in Bbno 5, in G for tenor recorder and keyboard. ClaudioMonteverdi, EccoMormorar 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 Preludesop.67; Five Preludes op.74, piano. Telemann,Twelve Flute Fantasias, recorder. Wilbye, Draw on sweetNight, SSATTB recorders, and for flute choir. Twelve Italian Songs, voice and guitar;Seven English Songs,voice and guitar;Fourteen Folk Dance Tunes, recorder and guitar;Bushband Dances, violin, accordeon andbanjo;Easy Classical Pieces, Bb trumpet and piano;Famous Beginnings, for piano.
These pieces are under theCreative Commons Attribution 4.0licence. 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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