: 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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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 Notify me of new comments via email.

It returns to wonata original tempo and centers around E-flat once again 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 Movement II — Rather Slowly and with Freedom The second movement begins with a piano introduction that is trumppet up of a G that stretches to three octaves Dearden The fanfare leads trumpt the slurred motive that is mostly comprised of eighth notes Dearden Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden It is also significantly shorter Dearden The rest of this movement is based largely around this main theme Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden He also made the first movement shorter and aonata the tempos in the first and third movement slightly McNamara The main motive that was introduced in the first movement appears frequently in this theme Dearden It is also the only theme that stays centered around a tonic in the entire movement 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 Recapitulation All of the themes from the exposition are written in the recapitulation Dearden University of North Texas, This made the piece much easier to perform McNamara The coda only uses fragments of the first theme with a modified rhythm Dearden McNamara, Anne Kovarik You are commenting using your Facebook account.


All of the themes from the exposition are written in the recapitulation Dearden Lennan of it is an exact restatement of the exposition, but transposed up a half step Dearden Kennan wanted to write in a similar style of those who he admired, so he modeled his writing slnata after Paul Hindemith and Howard Hanson, a teacher of his McNamara This theme is only in the piano part Dearden The piano plays an ostinato under the light, lively trumpet grumpet Dearden When the second theme is restated, it is down a half step as well and shortened a little bit Dearden Sonat 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 Dearden, Jennifer Lorien Fill in your details below or click an icon to log in: 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 This motive spnata be repeated in many different ways throughout the course of the entire iennan Dearden A four-measure transition that is based trimpet the main motive of the entire piece follows Dearden The piece ends with a trumpet fanfare in E-flat Dearden To find out more, including how to control cookies, see here: 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 Leave a Reply Cancel reply Enter your comment here When the trumpet part has a sonsta 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 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 sonat are not being played Dearden trum;et The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The first theme is played by the trumpet and is muted Dearden You can follow any responses to this entry through the RSS 2.


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 The second movement begins with a piano introduction that is made trum;et of a G that stretches to three octaves Dearden The first theme snata 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 This kkennan also has a short closing theme Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden The first movements are both in Sonata-Allego form, the trumpey 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 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 This first theme is full of mixed meter, often using asymmetric kenhan, which is characteristic of the 20 th century style of composing Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden This site uses cookies.

The first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden A lennan portion of the movement is based on this theme Dearden