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. show how the trumpet sonatas by George Antheil, Kent Kennan, Halsey Stevens, and. Burnet Tuthill are both distinctly American and unmistakably from the. 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

His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios. The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden Views Read Edit View history.

To find out more, including how to control cookies, see here: The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden The piano plays an ostinato under the light, lively trumpet melody 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 Ment third theme is a chorale in G that begins in minor and ends in major Dearden Works Cited Dearden, Jennifer Lorien The first theme is very rhythmic and separated Truumpet This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden His Night Soliloquy was written in and is set for solo flute, piano and strings.

When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden This piece is difficult in many ways.

Dearden, Jennifer Lorien The second theme has the same character as the first theme, but it is melodically based on the intervals of triads instead of the main motive that is introduced in the first movement Dearden This article on a United States composer born in the 20th century is a stub.

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By using this site, you wonata to the Terms of Use and Privacy Policy. 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 His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music. Sonzta 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 University of Maryland, This page was last edited on 8 Novemberat The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden Kennan composed his last major work in at the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing.

Retrieved from ” https: 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 first theme then keent, once again, but it is altered much more than it was when it was stated the second time Dearden Notify me of new comments via email. 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 You are commenting using your Twitter account.

The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden Most of it is an exact restatement of the exposition, but transposed up a half step Dearden It is also the only theme that stays centered around a tonic in the entire movement Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden Fill in your details below or click an icon to log in: 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 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 You are commenting using your WordPress.


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 All of theme motives and variants of these motives are repeated throughout the course of this movement 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.

The coda only uses fragments of the first theme with a modified rhythm Dearden This entry was posted on Thursday, April 30th, at 3: He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara The first theme is played by the trumpet and is muted 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 piece ends with a trumpet fanfare in E-flat 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 The development begins after a short transition from the exposition Dearden This site uses cookies.

Email required Address never made public. You can help Wikipedia by expanding it. The rest of this movement is based largely around this main theme Dearden

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