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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When the second theme is restated, it is down a half step as well and shortened a little bit Dearden They knew each other while Kennan was composing the piece, so Elsass gave Kennan some advice about writing the trumpet part since he was a trumpet player and a former cornet soloist Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden The rest of this movement is based largely around this main theme Dearden The piano plays an ostinato under the light, lively trumpet melody Dearden It is also the only theme that stays centered around a tonic in the entire movement Dearden You can follow any responses to this entry through the RSS 2.
You are commenting using your Facebook account. The American Trumpet Sonata in the s: The piece ends with a trumpet fanfare in E-flat 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 third theme is a chorale in G that begins in minor and ends in major Dearden Kennan composed his last major work in at the age of 43 and ,ennan abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing.
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 coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Kdnnan His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.
Email required Address never made public. The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden You are commenting using your WordPress.
The development begins after a short transition from the exposition Dearden It is also significantly shorter Dearden A large portion of the movement is based on this theme Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden Works Cited Dearden, Jennifer Lorien The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden To find out more, including how to control cookies, see here: The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement 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 coda only uses fragments of the first theme with a modified rhythm Dearden By continuing sontaa use this website, you agree to their use.
A four-measure transition that is based on the main motive of the entire piece follows Dearden This section is distinct from the others in this movement because it is the only section that is not muted Dearden Kennan wanted to write in a similar style of those who he admired, so trummpet modeled his writing style after Kennaan Hindemith and Howard Hanson, a teacher of his McNamara This statement of the theme ends with a ritardando that goes into a fermata 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