: Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books. Check out Kent Kennan: Sonata for Trumpet and Piano: II. Rather Slowly and With Freedom by Giuseppe Galante on Amazon Music. Stream ad-free or purchase. 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.

Author: Tezragore Tojagrel
Country: Greece
Language: English (Spanish)
Genre: Video
Published (Last): 21 May 2006
Pages: 298
PDF File Size: 19.25 Mb
ePub File Size: 4.92 Mb
ISBN: 399-4-59219-943-7
Downloads: 97997
Price: Free* [*Free Regsitration Required]
Uploader: Nikom

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 fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden University of North Texas, This theme is only in the piano part Dearden mennan Most of it is an exact restatement of the exposition, but transposed up a half step Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden Dearden, Jennifer Lorien McNamara, Anne Kovarik The Development The development begins after a short transition from the exposition Dearden Some kennnan this movement as being in sonata form, while others analyze it as being in rondo form Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden This site uses cookies.

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 By continuing to use this website, you agree to their use.

  ATLANTE DELLE FACCIATE UTET PDF

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 In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden The rest of this movement is based largely around this main theme Dearden You can follow any responses to this entry through the RSS 2.

This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara The first theme is played by the trumpet and is muted Dearden To find out more, including how to control cookies, see here: 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 entry was posted on Thursday, April 30th, at 3: The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden A large portion of the movement is based on this theme Dearden The development is the shortest section in the movement Dearden The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Dearden All of the themes from the exposition are written in the recapitulation Dearden Works Cited Dearden, Jennifer Lorien 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 The development begins after a short transition from the exposition Dearden You are commenting using your Facebook account.

  BLIND SPOTS BAZERMAN PDF

The piano plays an ostinato under the light, lively trumpet melody Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden You are commenting using your WordPress. A four-measure transition that is based on the main motive of the entire piece follows Dearden It returns to the original tempo and centers around E-flat once again Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden Email required Address never made public.

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 osnata octaves 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 trumper Dearden It is also significantly shorter Dearden