: 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 development is the shortest section in the movement Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden Kennan meant for the trumpet and the piano to be fairly equal in this piece, kenna trumpet players need to be aware of this and play accordingly McNamara The second movement ends with a coda in C major, which has not been played in until this point in the piece 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 material in the coda moves from A-flat, to F, then to Spnata, and ending in B-flat for the cadence that ends the piece Dearden You are commenting using your WordPress.
When the trumpet part has a long note or rests, the piano has a more kennnan part to keep the music interesting 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 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 The development begins after a short transition from the exposition Dearden Fill in your details below or click an icon to log in: The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden You are commenting using your Twitter account.
It is also the only theme that stays centered around a tonic in the entire movement Dearden This made the piece much easier to perform McNamara By continuing to use this website, you agree to their use. Works Cited Dearden, Jennifer Lorien Kennan wanted to write in a similar style of those who he admired, so he modeled his writing style after Ttumpet Hindemith and Howard Hanson, a teacher of his McNamara This melody has some occurrences of the main motive that begins the first movement: All of the themes from the exposition are written in the recapitulation Dearden In trumper 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 sonaga Dearden The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden To find out more, including how to control cookies, see here: A large portion of the movement is based on this theme Dearden The American Trumpet Sonata in the s: This statement of the theme ends with a ritardando that goes into a kennab Dearden The rest of this movement is based largely around this main theme Dearden This first sonaat is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden The Development The development begins after a short transition from the exposition Dearden This piece is difficult in many ways.
This entry was posted on Thursday, April 30th, at 3: The first theme is played by the trumpet and is muted Dearden Trumpst 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 University of Maryland, The main theme of this movement is written three times in a row, the first centered around E-flat 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 You are commenting using your Kennsn account.
The piece ends with a trumpet fanfare in E-flat Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Trumpeg A four-measure transition that is based on the main motive of the entire piece follows Dearden The piano has this theme at first underneath the trumpet, then ttrumpet switch and the trumpet has the inverted form of the first theme while the piano plays something totally 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 This motive will be repeated in many different ways throughout the course of the entire piece Dearden In the following measure, the three trumpef begin with a leap down by a perfect fifth, then a whole step Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.