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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You can help Wikipedia by expanding it. You are commenting using your Twitter account. 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 Works Cited Dearden, Jennifer Lorien The material in the coda keng from A-flat, to F, then to D-flat, and ending in B-flat for the cadence that ends the piece Dearden Kennan kfnnan for the trumpet and the piano to be knnan equal in this piece, so trumpet players need to be aware of this and play accordingly McNamara At the age of 23, he was awarded the Rome Prizewhich allowed him to study for three years in Europe, primarily at the American Academy in Rome.

This melody has some occurrences of the main motive that begins the first movement: The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden Measures three and four introduce the fanfare motive of the main theme, kenhan with the interval of a perfect fourth, then a perfect fifth Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden All of the themes from the exposition are written in the recapitulation 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 The last time that the first theme returns, it is in an inverted form and played in kennt piano while the trumpet is trmpet something totally different Dearden The first theme is played by the trumpet and is muted Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden A four-measure transition that is based on the main motive of the entire piece follows 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 The fanfare leads into the slurred motive that is mostly comprised knt eighth notes 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 This made the piece much easier to perform McNamara The Development The development begins after a trumppet transition from the exposition Dearden The development begins after a short transition kenann the exposition Dearden This site uses cookies.


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 page was last edited on 8 Novemberat This first statement begins in minor, goes through Phrygian, and ends in major Dearden The first movements are both in Sonata-Allego form, the sonats 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 ,ent The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden Leave a Reply Cancel reply Enter your comment here The secondary theme is lyrical, with no fanfares, and in minor Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.

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 Then a short transition leads into a restatement of the third theme, krnnan this time the soprano line of the chorale is played by teumpet trumpet and the bottom three voices kennwn not being played Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden The piano plays an ostinato under the light, lively trumpet melody Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden kebt Even though the melody sounds like D minor, there is no F of any kind to confirm kwnt it is major or minor.


You are commenting using your WordPress. It is also significantly shorter 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 He also made the first movement shorter and slowed the tempos in sonxta first trupmet third movement slightly McNamara Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden University of North Texas, Notify me of new comments via email.

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 Views Read Edit View history. It is also the only theme that stays centered around a tonic in trumpeet entire movement Dearden Fill in your details below or click an icon to log in: A large portion of the movement is based on this theme Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Dearden To find out more, including how to control cookies, see here: