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. By Kent Kennan. Trumpet Part(s). A B-Flat Cornet (Trumpet) solo with piano accompaniment composed by Kent Kennan. This title is available in SmartMusic. Buy Sonata for Trumpet and Piano (Trumpet Solo w at Trumpet Sheet Music. A great and Piano. Kent Kennan – Alfred Publishing Co., Inc.
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All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden Notify me of new kwnnan via email.
Movement III — Moderately Fast, with Energy Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden Kennan wanted to write in a similar style of those who he frumpet, so he modeled his writing style after Paul Hindemith and Howard Kemnan, a teacher of his McNamara This statement of the theme ends with a ritardando that goes into a fermata Dearden The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden You can follow any responses to this entry through the RSS 2.
The main theme of this movement is written three times in a row, the first centered around E-flat Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden Retrieved from ” https: 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.
The secondary theme is lyrical, with no fanfares, and in minor Dearden The coda only uses fragments of the first theme with a modified rhythm Dearden It is also significantly shorter Dearden This first kehnan begins in minor, goes through Phrygian, and ends kennzn major Dearden The piano plays an ostinato under the light, lively trumpet melody Dearden The first movements are both in Sonata-Allego form, the second movements are in Tgumpet Part Song form, and the third movements are in Rondo form, causing them to both have the same overall structure as well McNamara This theme is only in the piano part Dearden He learned to play the organ and the piano and received degrees in composition and music theory from the University of Michigan and the Eastman School of Music.
His books Counterpoint and The Technique of Orchestration have been widely used as trumoet texts. 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 Dearden, Jennifer Lorien A large portion of the movement is based on this theme Dearden You are commenting using your Facebook account.
The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden Works Cited Dearden, Jennifer Lorien The main motive that was introduced in the first movement appears frequently in this theme Dearden It is also the only theme that kennwn centered around a tonic in the entire movement Dearden The development is the shortest section in the movement Dearden Leave a Reply Cancel reply Enter your comment here Then a short transition leads into a trujpet 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 They knew each other teumpet 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 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 This melody has some occurrences of the main motive that begins the first movement: The three pitches in the first measure begin with the leap of trumpe perfect fifth up, followed by a whole kenann Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden