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. Buy Sonata for Trumpet and Piano (Trumpet Solo w at Trumpet Sheet Music. for Trumpet and Piano. Kent Kennan – Alfred Publishing Co., Inc. : Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books.
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Some analyze this movement as being in sonata form, while others analyze it as being in rondo form 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 His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music.
The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement 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 melody has some occurrences of the main motive that begins the first movement: McNamara, Anne Kovarik 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 You can help Wikipedia by expanding it.
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This section is distinct from the others in this movement because it is the only section that is not muted 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 The American Trumpet Sonata in the s: The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden This theme is only in the piano part Dearden Retrieved from ” https: 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 When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden The rest of this movement is based largely around this main theme 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 This statement of the theme ends with a ritardando that goes into a fermata Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden Email required Address never made public.
The Development The development begins after a short transition from the exposition Dearden By continuing to use this website, you agree to their use.
Retrieved 8 June Kennan composed his last major work in at the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing. 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 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.
The development begins after a short transition from the exposition 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 the only theme that stays centered around a tonic in the entire movement Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden The first theme is very rhythmic and separated Dearden Works Cited Dearden, Jennifer Lorien The first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden He learned to play the organ and the piano and received degrees in composition and music theory from the University of Michigan and the Eastman School of Music.
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 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 Leave a Reply Cancel reply Enter your comment here 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