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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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 Dearden, Jennifer Lorien By using this site, you agree to the Terms of Use and Privacy Policy.

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 three octaves Dearden His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music. 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 A four-measure transition that is based on the main motive of the entire piece follows 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 From Wikipedia, the free encyclopedia.

University of North Texas, The second movement begins with a piano introduction that is made up of a G that stretches to three octaves Dearden This melody has some occurrences of the main motive that begins the first movement: The main theme of this movement is written three times in a row, the first centered around E-flat Dearden He was the half brother of the diplomat and historian George F.


Most of it is an exact restatement of the exposition, but transposed up a half step Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden 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 The development is the shortest section in the movement Dearden The coda only uses fragments of the first theme with a modified rhythm Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden The American Trumpet Sonata in the s: All of the themes from the exposition are written in the recapitulation Dearden The Development The development begins after a short transition from the exposition Dearden Retrieved 8 June 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 section is distinct from the others in this movement because it is the only section that is not muted Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement 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 This piece is difficult in many ways.

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 It is also significantly shorter 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 To find out more, including how to control cookies, see here: Fill in your details below or click an icon to log in: This first statement begins in minor, goes through Phrygian, and ends in major Dearden You are commenting using your Facebook account.


His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts. 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 University of Maryland, McNamara, Anne Kovarik The third theme is a chorale in G that begins in minor and ends in major Dearden 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.

It returns to the original tempo and centers around E-flat once again Dearden A large portion of the movement is based on this theme Dearden His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.

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