: 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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He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara This melody has some occurrences of the main motive that begins the first movement: 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 This first statement begins in minor, goes through Phrygian, and ends in major 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 Rondo form, causing them to both have the same overall structure as well McNamara The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The rest of this movement is based largely around this main theme Dearden When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting 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 Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.

University of Maryland, By continuing to use this website, you agree to their use. The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden McNamara, Anne Kovarik 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 A large portion of the movement is based on this theme Dearden You are commenting using your Twitter account.


You are commenting using your Facebook account. This motive will be repeated in many different ways throughout the course of the entire piece Dearden 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 You are commenting using your WordPress.

The first theme is very rhythmic and separated Dearden The American Trumpet Sonata in the s: 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 The three trumpeet in the first measure begin with the leap of a perfect fifth up, followed by a whole step 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 A four-measure transition that is based on the main motive of the entire piece follows Dearden This made the piece much easier to perform McNamara 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 The return of the first theme is very similar to the first time it is eonata, but it is transposed down a half step and the piano accompaniment is different 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 The first theme is played by the trumpet and is muted Dearden Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden This movement also has a short closing theme Dearden This theme is only kenan the piano part Dearden It is also significantly shorter Dearden Email required Address never made public.


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 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 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 All of theme motives and variants trumpeet these motives are repeated throughout the course of this movement Dearden The Development The development begins after a short transition from the exposition Dearden The coda only uses fragments of the first theme with a modified rhythm Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden The fanfare leads into the slurred motive that tgumpet mostly comprised of eighth notes Dearden This statement of the theme ends with a ritardando that goes into a fermata Dearden It is also the only theme that stays centered around a tonic in the entire movement Dearden The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Dearden Most of it is an exact restatement of the exposition, but transposed up a half step Dearden