: 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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All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden Works Cited Dearden, Jennifer Lorien This theme is only in the piano part Dearden The piano has this theme at first underneath the trumpet, then they switch and the trumpet has the inverted form of the first theme while the piano plays something totally different Dearden The Development The development begins after a short transition from the exposition Dearden Movement II — Rather Slowly and with Freedom The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden Measures three and four introduce the fanfare motive of the main theme, first with the interval of a perfect fourth, then a perfect fifth Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden It is also significantly shorter Dearden Create a free website or blog at WordPress.

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The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden Kennan wanted to write in a similar style of those who he admired, so he modeled his writing style after Paul Hindemith and Howard Hanson, a teacher of his McNamara This site uses cookies. This melody has some occurrences of the main motive that begins the first movement: This made the piece much easier to perform McNamara Dearden, Jennifer Lorien The third theme is a chorale in G that begins in minor and ends in major Dearden 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 The first movements are both in Sonata-Allego form, the second movements are in Three Part Song form, and the third movements are in Rondo form, causing them to both have the same overall structure as well McNamara The rest of this movement is based largely around this main theme 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 You are commenting using your Twitter account.


The piece ends with a trumpet fanfare in E-flat Dearden He also made the first kennqn shorter and slowed the tempos in the first and third movement slightly McNamara It returns to the original tempo tdumpet centers around E-flat once again Dearden The return of the first theme is very similar to the first time it is stated, but it is transposed down a half step and the piano accompaniment is different Dearden Leave a Reply Cancel reply Enter your comment here This section is distinct from the others in this movement because it is the only section that is not muted Dearden University of Maryland, It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden The second theme has the same character as the first oennan, but it is melodically based on the intervals of triads instead of the sonsta motive that is introduced yrumpet the first movement Dearden Movement III — Moderately Fast, with Energy Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden The first theme is played by the trumpet and is muted Dearden The development is the shortest section in the movement Dearden The coda only uses fragments of the first theme with a modified jennan Dearden This piece is difficult in many ways.


Most of it is an exact restatement of the exposition, but transposed up a half step Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden 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 This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden By continuing krnnan use this website, you agree to their use.

The main theme of this movement is written three times in a row, the first centered around E-flat Dearden Eknnan though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor. The secondary theme is lyrical, with no fanfares, and in minor Dearden The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Dearden oennan This movement also has a short closing theme Dearden When the second theme is restated, it is down a half step as well and shortened a sonataa bit Dearden The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord lennan Dearden 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 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 main motive that was introduced in the first movement appears frequently in this theme Dearden