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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The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole 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 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 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 transition into the cods is mostly based on the transition theme from earlier in the movement Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden The secondary theme is lyrical, with no fanfares, and in minor 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 piece ends with a trumpet fanfare in E-flat Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden By continuing to use this website, you agree to their use.

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The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden The American Trumpet Sonata in the s: University of North Texas, The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden Fill in your details below or click an icon to log in: When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.

The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden The development is the shortest section in the movement Dearden From Wikipedia, the free encyclopedia.

University of Maryland, He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara Leave a Reply Cancel reply Enter your comment here 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 His Night Soliloquy was written in and is set for solo flute, piano and strings. 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 Kennan wanted to write in a similar style of those who he admired, so he modeled his writing style after Paul Hindemith and Howard Hanson, a teacher of his McNamara 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 Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.

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His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.

In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden Retrieved from ” https: This motive will be repeated in many different ways throughout the course of the entire piece Dearden Most of it is an exact restatement of the exposition, but transposed up a half step Dearden This statement of the theme ends with a ritardando that goes into a fermata Dearden The first theme is very rhythmic and separated Dearden Dearden, Jennifer Lorien rtumpet This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden Measures three and four introduce the fanfare motive of the main theme, first with the interval of a perfect fourth, then a perfect fifth Dearden By using this site, you agree to the Terms of Use and Privacy Policy.

This melody has some occurrences of the trumlet motive that begins the first movement: When the second theme is restated, it is down a half step as well and shortened a little bit Dearden