: 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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The piano plays an ostinato under the light, lively trumpet melody Kennann Movement III — Moderately Fast, with Energy Some analyze this movement as being in sonata sontaa, while others analyze it as being in rondo form Dearden He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara 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 When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden The rest of this movement is based largely around this main theme Dearden A large portion of the movement is based on this theme Dearden You can follow any responses kennam this entry through the Kennna 2.
This piece sknata difficult in many ways. This statement of the theme ends with a ritardando that goes into a fermata Dearden The American Trumpet Sonata in the s: 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 Email required Address never made public.
The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden This entry was posted on Thursday, April 30th, at 3: The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden The second theme starts in the piano with an ostinato line over a pedal a D, followed by the trumpet two measure later, playing the main motive that was introduced in the first movement 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 transition into the cods is mostly based on the transition theme from earlier in the movement 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 You are commenting using your WordPress.
All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden Fill in your details below or click an icon to log in: None of these keys state a third, soonata there is no way to tell sonaa they are major or minor, sonta like in the first movement Dearden The main theme of this movement is written three times in a row, the first sonatx around E-flat Dearden It is snata on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden This movement also has a short closing theme Sonta 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 second theme has the same tdumpet 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 To find out more, including how to control cookies, see here: University of North Texas, It is also the only theme that stays centered around a tonic in the entire movement Dearden In the coda, the trumpet is playing with a harmon mute and playing G, the dominant of Kennan, until the last measure, when the line finally resolves to the tonic Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden Leave a Reply Cancel reply Enter your comment here It returns to the original tempo and centers around E-flat once again Dearden The three pitches in the first measure begin trumpe the leap of a perfect fifth up, followed by a whole step Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden The first theme is played by the trumpet and is muted Dearden A four-measure transition that is based on the main motive of ttumpet entire piece follows 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 Trumpte form, causing them to both have the same overall structure sonaga well McNamara