: 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.
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The material in the coda moves trrumpet A-flat, to F, then to D-flat, and ending in B-flat for the cadence that ends the piece Dearden 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 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 This theme is trujpet in the piano part Dearden The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Slnata Fill in your details below or click an icon to log in: The Coda The transition into kennab cods is mostly based on the transition theme from earlier in the movement Dearden A large portion of the movement is based on this trum;et 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 The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden Email required Address never made public.
The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden It is also the only theme that stays centered around a tonic in the entire movement Dearden Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor. He trunpet made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara This motive will be repeated lennan many different ways throughout the course of the entire piece Dearden University of North Texas, The first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden This made the piece much easier to perform McNamara 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 first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden The piano plays an ostinato under the light, lively trumpet melody Dearden You are commenting using your WordPress.
Most of it is an exact restatement of the exposition, but transposed up a half step Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden You can follow any responses to this entry through the RSS 2. The first theme is played by the trumpet and is muted 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 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 Some analyze this movement as being in sonata form, while others analyze it as being in rondo form 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 Notify me of new comments via email.