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 second movement ends with a coda in C major, which has not been trumpte in until this point in the piece Dearden University of North Texas, The first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden This site uses cookies.

It is also significantly shorter Dearden Kennan wanted to write in a similar trumpwt of those who he admired, so he modeled his writing style after Paul Hindemith and Trhmpet Hanson, a teacher of his McNamara His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios. The piano plays an ostinato under the light, lively trumpet ssonata Dearden You are commenting using your WordPress.

The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden By continuing to use this website, you agree to their use.


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 Most of it is trjmpet exact restatement of the exposition, but transposed up a half step 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 Dearden, Jennifer Lorien Notify me of new comments via email.

Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or kennan. 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 coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano 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 His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.

You are commenting using your Twitter account. McNamara, Anne Kovarik You are commenting using your Facebook account.

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 In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step 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 When the second theme is restated, it is down a half step as well and shortened a little bit Dearden He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara Retrieved from ” https: 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 piece ends with a trumpet fanfare in E-flat Dearden This theme is only in the piano part Dearden 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 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