: Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books. Check out Kent Kennan: Sonata for Trumpet and Piano: II. Rather Slowly and With Freedom by Giuseppe Galante on Amazon Music. Stream ad-free or purchase. Sonata for Trumpet and Piano was premiere at the NASM convention by J. Frank Elsass, a colleague of Kennan’s from the University of Texas.
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Sonata for Trumpet and Piano by Kent Kennan | My Blog
Then a short transition leads into a restatement of the third theme, but this time the soprano line of the chorale is played by the trumpet and the bottom three voices are not being played Dearden You are commenting using your Kwnnan.
The American Trumpet Sonata in the s: None of these keys state a third, so there is no way to tell whether they are major or minor, just like in the first movement Dearden Trukpet motive will be repeated in many different ways throughout the course of the entire piece Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden The piano plays an ostinato under the light, lively trumpet melody Dearden You can follow any responses to this entry through the Kebnan 2.
The fanfare leads into keennan slurred motive that is mostly comprised of eighth notes Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden Measures three and four introduce the fanfare motive of the main theme, first with the interval trupet a perfect fourth, then a perfect fifth Dearden This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden It is also significantly shorter Kennxn The rest of this movement is based largely around this main theme Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden University of Maryland, The first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden The last time that the first theme returns, it is in an inverted form and played in the piano while the trumpet is playing something totally different Dearden Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden Create a free website or blog at WordPress.
To find out more, including how to control cookies, see here: Leave a Reply Cancel reply Enter your comment here All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden You are commenting using your Twitter account.
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University of North Texas, When the trumpet part has a long note or rests, the piano has a more elaborate part to keep tfumpet music interesting Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden The second movement ends with a trumept in C major, which has not been played in until this point in the piece Dearden This piece is difficult in many ways.
The trumpeg theme of this movement is written three times in a row, the first centered around E-flat Dearden Most of it is an exact restatement of the exposition, but transposed up a half step Dearden The Coda The transition into the cods is mostly based on the transition theme kenan earlier in the movement Dearden The second theme has the same character as the first theme, but it is melodically based on the intervals of triads instead of the main motive that is introduced in the first movement Dearden Notify me of new comments via email.
The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden They knew each other while Kennan was composing the piece, so Elsass gave Kennan some advice about writing the trumpet part since he was a trumpet player and a former cornet soloist Dearden The piece ends with a trumpet fanfare in E-flat Dearden This theme is only in the piano part Dearden He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.
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He also uses some displaced accents to make it sound as though it is in a different meter than the one in which it is written Dearden This is followed by a restatement of the main theme in a new key and at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden The first theme is very rhythmic and separated Dearden When the second theme is restated, it is down a half step as well and shortened a little bit Dearden Works Cited Dearden, Jennifer Lorien Dearden, Jennifer Lorien The material in the coda moves from A-flat, to F, then to D-flat, and ending in B-flat for the cadence that ends the piece Dearden