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. : Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books. 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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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 teumpet that is introduced in the first movement 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 are commenting using your WordPress.
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 statement begins in minor, goes through Phrygian, and ends in major Dearden To find out more, including how to control cookies, see here: A large portion of the movement is based on this theme Dearden When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden His Night Soliloquy was written in and is set for solo flute, piano and strings.
The piece ends with a trumpet fanfare in E-flat Dearden A four-measure transition that is based sonsta the main sonnata of the entire piece follows 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 All of the themes from the exposition are written in the recapitulation 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 Email required Address never made public.
This is followed by a restatement of the main theme in a new key and at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden None yrumpet these keys state a third, so there is no way to tell whether they are major or minor, just like in the first movement Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition 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 Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden The material in the trupet moves from A-flat, to F, then to D-flat, and ending in B-flat for the cadence that ends the piece Dearden When the second theme is restated, it is down a half step as well and shortened a little bit 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.
Works Cited Dearden, Jennifer Lorien In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden sonqta All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Sonnata The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The rest of this movement is based largely around this main theme Dearden