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. Check out Kent Kennan: Sonata for Trumpet and Piano: III. Moderately Fast, With Energy by Giuseppe Galante on Amazon Music. Stream ad-free or purchase. Check out Kent Kennan: Sonata for Trumpet and Piano: I. With Strength and Vigor by Giuseppe Galante on Amazon Music. Stream ad-free or purchase CD’s and.
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The Development The development begins after a short transition from the exposition Dearden University of North Texas, The first theme is played by the trumpet and is muted Dearden This statement of the theme ends with a ritardando that goes into a fermata Dearden 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 The development begins after a short transition from the exposition Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition 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 The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden Kennan meant for the trumpet and the piano to be fairly equal in this piece, so trumpet players need to be aware of this and play accordingly McNamara His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.
The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden From Wikipedia, the free encyclopedia.
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 This melody has some occurrences of the main motive that begins the first movement: You are commenting using your WordPress. This piece is difficult in many ways.
Notify me of new comments via email. In the following measure, the three pitches begin with a leap down sonwta a perfect fifth, then a whole step Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden 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.
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Xonata also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara Retrieved 8 June Create a free website or blog at WordPress.
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 It snata to the original tempo and centers around E-flat once again Dearden 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.
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 first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden The coda only uses fragments of the first theme with a modified rhythm Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden All of the themes from the exposition are written in the recapitulation Dearden This motive will be repeated in many different ways throughout the course of the entire piece Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden