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 second theme is restated, it is down a half step as well and shortened a little bit 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 His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.
Views Read Edit View history. The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement 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 Development The development begins after a short transition from the exposition Dearden All of the themes from the exposition are written in the recapitulation Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden This statement of the theme ends with a ritardando that goes into a fermata 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 Dearden, Jennifer Lorien A four-measure transition that is based on the main motive of the entire piece follows Dearden The rest of this movement is based largely around this main theme Dearden The piano plays an ostinato under the light, lively trumpet melody 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 McNamara, Anne Kovarik His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.
The second theme starts in the piano with an ostinato line trympet a pedal a D, followed by trjmpet trumpet two measure later, playing the main motive that was introduced in the first movement Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden ksnnan The first theme then returns, once knnan, but it is altered much more than it was when it was stated the second time Dearden This melody has some occurrences of the main motive that begins the first movement: Email required Address never made public.
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.
A large portion of the movement is based on this theme Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden You can help Wikipedia by expanding it.
sonats The development begins after a short transition from the exposition Dearden The main theme of this movement is written three sonafa in a row, the first centered around E-flat Dearden You are commenting using your Facebook account. This theme is only in the piano part Dearden 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 At the age of 23, he was awarded the Rome Prizewhich allowed him to study for three years in Europe, primarily at the American Academy in Rome.
This movement also has a short closing theme Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden He also uses some displaced accents to make it kenban as though it is in sonatz 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