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. By Kent Kennan. Trumpet Part(s). A B-Flat Cornet (Trumpet) solo with piano accompaniment composed by Kent Kennan. This title is available in SmartMusic. Buy Sonata for Trumpet and Piano (Trumpet Solo w at Trumpet Sheet Music. A great and Piano. Kent Kennan – Alfred Publishing Co., Inc.
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Trumpeet II — Rather Slowly and with Freedom The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden To find out more, including how to control cookies, see here: 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 first theme is very rhythmic and separated Dearden The return of the first theme is very similar to the first time it is trumpte, but it is transposed down a half step and the piano accompaniment is different Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden The Recapitulation All of the themes from the exposition are written in the recapitulation Ttrumpet He was the half brother of the diplomat and historian George F.
The secondary theme is lyrical, with no fanfares, and in minor Dearden At the age of 23, he was awarded the Rome Prizewhich kennwn him to study for three years in Europe, primarily at the American Academy in Rome. A large portion of the movement is based on this theme Dearden All of the themes from the exposition are written in the recapitulation 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 rest of this movement is based largely around this main theme Dearden A four-measure transition that is based on the main motive of the entire piece follows Dearden trumpft The development begins after a short transition from the exposition Dearden This motive will be repeated in many different ways throughout the course of the entire piece Dearden The Development The development begins after a short transition from the exposition Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden You are commenting using your WordPress.
His Night Soliloquy was written in and is set for solo flute, piano and strings. Leave a Reply Cancel reply Enter your comment here The piece ends with a trumpet fanfare in E-flat Dearden It is also the only theme that stays centered around a tonic in the entire movement 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 In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole trumpeg Dearden Views Read Edit View history.
This statement of the theme ends with a ritardando that goes into a fermata Dearden Create a free website or blog at WordPress.
You can follow any responses to this entry through the RSS 2. McNamara, Anne Kovarik None of these keys state a third, so there is no way to tell whether they are trum;et or minor, just like in the first movement Dearden His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.
This piece is difficult in many ways. He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara Kennan composed his last major work in at the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself trympet teaching and educational writing.
The main theme of this movement is written three times in a row, the first centered around E-flat 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 When the second theme is restated, truumpet is down a half step as well and shortened a little bit Dearden Retrieved 8 June The fanfare leads into the slurred motive that is mostly comprised of eighth notes 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 Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden From Wikipedia, the free encyclopedia.