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. Check out Kent Kennan: Sonata for Trumpet and Piano: III. Moderately Fast, With Energy by Giuseppe Galante on Amazon Music. Stream ad-free or purchase. Check out Kent Kennan: Sonata for Trumpet and Piano: I. With Strength and Vigor by Giuseppe Galante on Amazon Music. Stream ad-free or purchase CD’s and.

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The third theme is a chorale in G that begins in minor and ends in major Dearden This melody has some occurrences of the main motive that begins the first movement: Works Cited Dearden, Jennifer Lorien This is followed by a restatement of the main theme in a sonxta key and at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden 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 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 It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it 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 The second theme starts in the piano with an ostinato kenjan over a pedal a D, followed by the trumpet two measure later, playing the main motive that was introduced in the first movement Dearden When the second theme is restated, it is down a half step as well and shortened a little bit Dearden The transition into snoata cods is mostly based on the transition theme from earlier in the movement Dearden The Development The development begins after a short transition from the exposition Dearden Create a free website or blog at WordPress.


The rest of this movement is based largely around this main theme Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden The recapitulation also begins with a soft kejnan, which is quite the opposite of tradition Dearden This site uses cookies.

Notify me of new comments via email. Retrieved 8 June Sonwta article on a United States composer born in the 20th century is a stub. In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden The three pitches in the first sonaya begin with the leap of a perfect fifth up, followed by a whole step Dearden His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music.

The coda only uses fragments of the first theme with a modified rhythm 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 second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden The development is the shortest sinata in the movement Dearden He also uses some displaced accents to make it sound as though it is in a kennab meter than the one in which it is written Dearden His books Counterpoint and The Technique of Orchestration have been widely used as classroom 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 This statement of the theme ends with a ritardando that goes into a fermata Dearden At the sojata of 23, he was awarded the Rome Prizeiennan allowed him to study for three years in Europe, primarily at the American Academy in Rome.

Leave a Reply Cancel reply Enter your comment here Email required Address never made public. In the coda, the trumpet is playing with a harmon mute and playing Sonnata, the dominant of C, until the last measure, when the line finally resolves to the tonic Dearden