: 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.
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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 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 made the piece much easier to perform McNamara The coda only uses fragments of the first theme with a modified rhythm Dearden You are commenting using your WordPress.
This piece is difficult in many ways.
This first statement begins in minor, goes through Phrygian, and ends in major Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden Most of it is an exact restatement of the exposition, but transposed up a half step Dearden It is also significantly shorter Dearden The first theme then returns, once again, but it is altered much more than it was when it was stated the second time Dearden University of North Texas, Kennan meant for the trumpet and the piano to be fairly equal in this sonaya, so trumpet players need to be aware of this and play accordingly McNamara The American Trumpet Sonata in the s: The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord kennann Dearden 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 You can follow any responses to this entry through the RSS 2.
Leave a Reply Cancel reply Enter your comment here The coda begins with a trujpet temp and a trumpet fanfare than is played over a C major chord in the piano Dearden This movement also has a short closing theme Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden This entry was posted on Thursday, April 30th, at 3: The Development The development begins after a short transition from the exposition 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 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 A four-measure transition kemnan is based on the main motive of the entire piece follows Dearden The development is the shortest section in the movement Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden 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 You are commenting using your Twitter account.
Sonatq 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 The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden