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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Sonata for Trumpet and Piano by Kent Kennan | My Blog

This first statement begins in trumoet, goes through Phrygian, and ends in major Dearden The first theme is very rhythmic and separated Dearden He learned to play the organ and the piano and received degrees in composition and music theory from the University of Michigan and the Eastman School of Music. This made the piece much easier to perform McNamara The piano plays an ostinato under the light, lively trumpet melody Dearden Notify me of new comments via email.

The piece ends with a trumpet fanfare in E-flat Dearden Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden Works Cited Dearden, Jennifer Lorien The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step 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. Email required Address never made public.


The second movement begins with a piano introduction that is made up of a G that stretches to three octaves 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 To find out more, including how to control cookies, see here: The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden This piece is difficult in many ways.

The rest of trmpet movement is based largely around this main theme Dearden You can follow any responses to this entry through the RSS 2. The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano 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 His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.

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Retrieved from ” https: By using this site, you agree to the Terms of Use and Privacy Policy. Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is hrumpet or minor.

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 Retrieved 8 June 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 only uses fragments of the first theme with a modified rhythm Dearden This theme is only in the piano part 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 article on a United States composer born in the 20th century is a stub.


The development is the shortest section in the movement Dearden When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting 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 This statement of the theme ends with a ritardando that goes into a fermata Dearden 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 first theme is played by the trumpet and is muted Dearden He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara 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