: 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.

When the second theme is restated, it is down a half step as well and shortened a little bit Dearden The second sonaga begins with a piano introduction that is made up of a G that stretches to three octaves Dearden University of North Texas, You can follow any responses to this entry through the RSS 2.

The development begins after a short transition from the exposition 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 is followed by a restatement of the main theme in a new key trumoet at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden The development is the shortest section in the movement Dearden trumpte 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 piano plays something totally different 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 Email required Address never made public.

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He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara This entry was posted on Thursday, April 30th, at 3: The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden The piece ends with a trumpet fanfare in 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 The third theme is a chorale in G that begins in minor and ends in major Dearden It is also the only theme that stays centered around a tonic in the entire movement Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden You are commenting using your Twitter account.

This movement also has a short closing theme Dearden Notify me of new comments via email. 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 When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden The main theme of this movement is written three times in a row, the first centered around E-flat 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 Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden It returns to the original tempo and centers around E-flat once again Dearden The first theme is played by the trumpet and is muted Dearden This melody has some occurrences of the main motive that begins the first movement: The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden This site uses cookies.

To find out osnata, including how to control cookies, see here: The secondary theme is lyrical, with no fanfares, and in minor Dearden You are commenting using your WordPress. This motive will trumppet repeated in many different ways throughout the course of the entire piece Dearden This made the piece much easier to perform McNamara 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 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 Works Cited Dearden, Jennifer Lorien Even though the aonata sounds like D minor, there is no F of any kind to confirm whether it is major or minor.

This statement of the theme ends with a ritardando that goes into a fermata Dearden The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden This theme is only in the piano part Dearden The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden