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. : Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books. Kent Wheeler Kennan was an American composer, author, educator, and professor. Giuseppe Galante – Kent Kennan: Sonata for Trumpet and Piano: I. With.
|Published (Last):||23 September 2016|
|PDF File Size:||3.87 Mb|
|ePub File Size:||17.53 Mb|
|Price:||Free* [*Free Regsitration Required]|
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 Most of it is an exact restatement of the exposition, but transposed up a half step Dearden Trumpte required Address never made public.
Sonata for Trumpet and Piano (Revised Edition): Trumpet Part(s): Kent Kennan
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 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 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.
The first movements are ttumpet in Sonata-Allego form, the second movements are in Ksnnan Part Song form, sobata the third movements are in Rondo form, causing them to both have the same overall structure as well McNamara A four-measure transition that is based on the main motive of the entire piece follows Dearden All of theme motives and variants of these motives are repeated throughout the trummpet of this movement Dearden He also uses zonata displaced accents to make it sound as though it is in a different meter than the one in which it is written Dearden The three pitches in the first measure begin with the leap of a perfect trumper up, followed by a whole step Dearden Dearden, Jennifer Lorien This page was last edited on 8 Novemberat Works Cited Dearden, Jennifer Lorien All of the themes from the exposition are written in the recapitulation Dearden The second movement ends with a coda in C major, which has not been played in kennxn this point in the piece Dearden This statement of the theme ends with a ritardando that goes into a fermata Dearden Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden The American Trumpet Sonata in the s: The first theme is very rhythmic and separated Dearden You are commenting using your Facebook account.
You are commenting using your Twitter account. By continuing to use this website, you agree to their use.
The secondary theme is lyrical, with no fanfares, and in minor Dearden You can help Wikipedia by expanding it. Leave a Reply Cancel reply Enter your comment here His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.
The main motive that was introduced in the first movement appears frequently in this theme 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 The piano has this theme at first underneath the trumpet, then they switch and sonxta trumpet has the inverted form of the first grumpet while the piano plays something totally different 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 The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden University of Maryland, 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 McNamara, Anne Kovarik University of North Texas, The first theme then returns, once again, but it is altered much more than it was when frumpet was stated the second time 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 main theme of this movement is written three times in a row, the first centered around E-flat Dearden The coda only uses fragments of the first theme with a modified rhythm 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 Notify me of new comments via email.