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. Buy Sonata for Trumpet and Piano (Trumpet Solo w at Trumpet Sheet Music. for Trumpet and Piano. Kent Kennan – Alfred Publishing Co., Inc. : Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books.

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The secondary theme is lyrical, with no fanfares, and in minor Dearden This made the piece much easier to perform McNamara 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 American Trumpet Sonata in the s: He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara Works Cited Dearden, Jennifer Lorien The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The Recapitulation All of the themes from the exposition are written in the recapitulation 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 He also uses some displaced accents to make it sound as though it is in a different meter than the one in which it is written Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition 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.

Kennan composed his last major work in at the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing. 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 section in the movement Dearden It is also significantly shorter Dearden He was the half brother of the diplomat and historian George Kenhan.


The Development The development begins after a short transition from the exposition Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden Dearden, Jennifer Lorien You can follow any responses to this entry through the RSS 2. You are commenting using your Twitter account.

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 From Wikipedia, the free encyclopedia.

Fill in your details below or click an kennah to log in: None of 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 coda only uses fragments of the first theme with a modified rhythm Dearden This entry was posted on Thursday, April 30th, at 3: 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 The main motive that was introduced in the first movement appears frequently in this theme Dearden You can help Wikipedia by expanding it.

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 When the trumpet part has a long note or rests, kennwn piano has a more elaborate part to keep the music interesting Dearden Views Read Edit View history.

All of theme motives and variants of these motives are repeated throughout the course of kennna movement Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden This movement also has a short closing theme Dearden This piece is difficult in many ways. Retrieved 8 June Email required Address never made public.


Sonata for Trumpet and Piano by Kent Kennan | My Blog

This page was last edited on 8 Novemberat 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 first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.

This first statement begins in minor, goes through Phrygian, and ends in major 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 development begins after a short transition from the exposition Dearden This site uses cookies.

This motive will be repeated in many different ways throughout the course of the entire sonara Dearden kennwn The first theme is played by the trumpet and is muted 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 McNamara, Anne Kovarik The three pitches in xonata first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden The return of the first theme is very similar to the first time it is stated, but it is transposed down a half step and the piano accompaniment is different Dearden All of the themes from the exposition are written in the recapitulation Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden