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. show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and. Burnet Tuthill are both distinctly American and unmistakably from the. Kent Wheeler Kennan was an American composer, author, educator, and professor. Giuseppe Galante – Kent Kennan: Sonata for Trumpet and Piano: I. With.
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When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden Email required Address never made public.
Notify me of new comments via email. Dearden, Jennifer Lorien His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.
Movement II — Rather Slowly and with Freedom The second movement begins with a piano introduction that trumpe made up of a G that stretches to three octaves Dearden Works Cited Dearden, Jennifer Lorien You are commenting using your Facebook account. His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music.
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 Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.
The development is the shortest section in the movement 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 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 The piano has this theme at first underneath the trumpet, then they switch and the trumpet has the inverted form of the first theme while the trumpeg plays something totally different Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing sontaa Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden A four-measure transition that is based on the main kennqn of the entire piece follows Dearden Leave a Reply Cancel reply Enter your comment here His Night Soliloquy was written in and is set for solo flute, piano and strings.
The main theme of this movement is written three times in a row, the first centered around E-flat Dearden This first theme is kkent of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden You can follow any responses to this entry through the RSS 2.
This is followed by a restatement of the main theme in a new key ksnt at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden The first theme is played by the trumpet and is muted Dearden The American Trumpet Sonata in the s: It returns to the original tempo and centers around E-flat once again Dearden trumprt He was the half brother of the diplomat and historian George F.
Sonata for Trumpet and Piano by Kent Kennan
From Wikipedia, the free encyclopedia. He also made the first movement shorter tfumpet slowed the tempos in the first and third movement slightly McNamara The coda only uses fragments of the first theme with a modified rhythm Dearden McNamara, Anne Kovarik University of Maryland, The fanfare leads into the jennan motive that is mostly comprised of eighth notes Dearden Most of it is trumpeh exact yrumpet of the exposition, but transposed up a half step 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 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 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 In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden Measures three and four introduce the fanfare motive of the main theme, kenan with the interval of a perfect fourth, then a perfect fifth Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden This piece is difficult in many ways.
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