Enharmonic Perpetual Canon No. 3 for Choir and Orchestra.

As the third installment in my enharmonic perpetual canon cycle, this one follows a procedure nearly identical to that of the first one and is quite similar in duration as well.

The lyrics (once again, in Latin) sung by the choir translate as follows: "Change is inevitable in all things. Everything flows in the balance of those who are tempestive." As with the previous installment, the coda further drives the meaning to greater clarity and realization.

YouTube video link: 

Edited September 28, 2025Sep 28 by Fugax Contrapunctus

Haven't heard your previous two canons; but I like this one!

My only suggestion would be to add some slurs and dynamics to your instrumental parts, as currently there are none.

Hey Pabio @Fugax Contrapunctus!

I really love this one! Your canonic skill is really mature here. The imitation goes fourth below in each entry and thus there's constant modulation within the piece in the circle of fifth. However it doesn't sound strange at all, but on the contrary very fluent. The canon is of course very technical to be written, but this one doesn't sound technical at all , but conversely enhance the flow and drama of the piece, which build up really well to the climactic end! Thx for sharing!

Henry

All right, so I'll be looking at your structure of this. Since because this is a canon by nature, it should have a really good structure intact with it. I do see some call and response sort of situation in between with the strings. However, though, I think this is due to the nature of the canon, how the melody is kind of like twisted in that sense. Just a little bit of mixing and balancing, I do believe that the chorus is a bit too loud compared to the actual orchestra itself. I don't know if the score is condensed, but I don't see any brass. So what I would just do is just blend in, fix that. Nice change of melody and great job with the ending. I appreciate uh the very satisfying ending. I do see that you do are changing keys a lot. You're getting into territory that there are double flats and also weird enharmonics, so for example, like B sharp and like C flat and so forth, and like F flats, all that crazy stuff. But anyways, though, I would treat this like a really good uh orchestral warm-up in a sense. Really good work.