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 recapitulation also begins with a soft kemnan, which is quite the opposite of tradition Dearden The first theme is played by the trumpet and is muted Dearden This page was last edited on 8 Novemberat The piece ends with a trumpet fanfare in E-flat Dearden Views Read Edit View history. In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden This is followed by a restatement of the main theme in a new key and at a kkennan tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden The second theme starts in the piano with an ostinato line over a pedal a D, followed by the trumpet two measure later, playing the main motive that was introduced in the first movement Dearden The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden Notify me of new comments via email.
Email required Address never made public. 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 His Night Soliloquy was written oennan and is set for solo flute, piano and strings. This piece is difficult in many ways. You are commenting using your Facebook account.
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. The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano 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 Movement III — Moderately Fast, with Energy Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music.
The last time that the first theme returns, it is in an inverted form and played in the piano while the trumpet is playing something totally different Dearden You can follow any responses to this entry through the RSS 2.
Sonata for Trumpet and Piano (Revised Edition): Trumpet Part(s): Kent Kennan
Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor. To find out more, including how to control cookies, see here: You are commenting hrumpet your Twitter account. The third theme is a chorale in G that begins in minor and ends in major Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden This article on a United States composer born in the 20th century is a stub. You can help Wikipedia by expanding it.
It is also the only theme that stays centered around a tonic in the entire movement Dearden The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden You are commenting using your WordPress. A large portion of the movement is based on this theme Dearden He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara The first theme is very rhythmic and separated Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The piano plays an ostinato under the light, lively trumpet melody Dearden It returns to the original tempo and centers around E-flat once again Dearden The Development The development begins after a short transition from the exposition 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 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 second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden From Wikipedia, the free encyclopedia.
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