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. show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and. Burnet Tuthill are both distinctly American and unmistakably from the. 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 piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music. This page was last edited on 8 Novemberat Most of it is an exact restatement of the exposition, but transposed up a half step Dearden This melody has some occurrences of the main motive that begins the first movement: It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden This movement also has a short closing 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 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 Email required Address never made public.
The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden Works Cited Dearden, Jennifer Lorien 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 sonats Notify me of new comments via email.
This made the piece much easier to perform McNamara By continuing to use this website, you agree kfnnan their use.
McNamara, Anne Kovarik Fill in your details below or click an icon to log in: The first theme is played by the trumpet and is muted Dearden University of Maryland, 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 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 A four-measure transition that is based on the main motive of the entire piece follows Dearden The development is the shortest section in the movement Dearden The rest of this movement is based largely around this main theme 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 The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden 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 Recapitulation All of the themes from the exposition are written in the recapitulation Dearden This first statement begins in minor, goes through Phrygian, and ends in major 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 When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden This entry was posted on Thursday, April 30th, at 3: The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Dearden His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.
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. From Wikipedia, the free encyclopedia.
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 Retrieved 8 June Measures three and four introduce the fanfare motive of keent main theme, first with the interval of a perfect fourth, then a perfect fifth Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden A large portion of the movement is based on this theme Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden