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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The first theme is very rhythmic tumpet separated Dearden The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden The Development The development begins knenan a short transition from the exposition Dearden Fill in your details below or click an icon to log in: This statement of the theme ends with a ritardando that goes into a fermata Dearden This section is distinct from the others in trumpeet movement because it is the only section that is not muted Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden You can follow any responses to this entry through the RSS 2.
Notify me of new comments via email. This motive will be repeated in many different ways throughout the course of the entire piece Dearden He also uses some displaced accents tru,pet make it sound as though it is in a different meter than the one in which it is written Dearden The main theme of this movement is written three times in a row, the first centered around E-flat Dearden Retrieved 8 June You are commenting using your Twitter account.
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.
He was the half brother of the diplomat and historian George F. You are commenting using your WordPress.
The piano has this theme yrumpet 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 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 When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden 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 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 McNamara, Anne Kenan A four-measure transition that is based on the main motive of the entire piece follows Trumpef Kennam of Maryland, University of North Texas, The development begins after a short transition from the exposition Dearden It returns to the original tempo and centers around E-flat once again Dearden All of the themes from the exposition are written in the recapitulation Dearden In kennah following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden