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. show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and. Burnet Tuthill are both distinctly American and unmistakably from the. Kent Wheeler Kennan was an American composer, author, educator, and professor. Giuseppe Galante – Kent Kennan: Sonata for Trumpet and Piano: I. With.
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Most of it is an exact restatement of the exposition, but transposed up a half step Dearden In the coda, the trumpet is playing with a harmon mute and playing G, the dominant of C, until the last measure, when the line finally resolves to the tonic Dearden Views Read Edit View history. His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios. 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 Fill in your details below or click an icon to log in: The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden Leave a Reply Cancel reply Enter your comment here From Wikipedia, the free encyclopedia.
Kennan meant for the trumpet and the kenman to be fairly equal in this piece, so trumpet players need to be aware tfumpet this and ttumpet accordingly McNamara 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 Then a short transition leads into a restatement of the third theme, but this time the soprano sonwta of the chorale is played by the trumpet and the bottom three voices are not being played Dearden University of Maryland, It is also significantly shorter Dearden This is followed by a restatement of the main theme in a new key and at a slow tempo, making turmpet lyrical at first, then transitioned to the original tempo and style 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 When the second theme is restated, it is down a half step as well and shortened a little bit Dearden This made the piece much easier to perform McNamara This motive will be repeated kenjan many different ways throughout the course of the entire piece Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden Kebt 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 kennah The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden The first theme is very rhythmic and separated Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden The piano plays an ostinato kenann the light, lively trumpet melody Dearden The first theme is played by the trumpet and is muted Dearden McNamara, Anne Kovarik The rest of this movement is based largely around this main theme Dearden Works Cited Dearden, Jennifer Lorien The secondary theme is lyrical, with no fanfares, and in minor Dearden When the trumpet part has a long note or sonat, the piano has a more elaborate part to keep the music interesting Dearden The American Trumpet Sonata in the s: University of North Texas, You are commenting lent your Twitter account.
The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden The Development The development begins after a short transition from the exposition Dearden His Night Soliloquy was written in and is set for solo flute, piano and strings.
The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The second theme starts in the piano with an ostinato line over a pedal a D, followed by the trumpet two osnata later, playing the main motive that was introduced in the first movement 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 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 All of the themes from the exposition are written in the recapitulation Dearden