KENT KENNAN SONATA PDF

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. Buy Sonata for Trumpet and Piano (Trumpet Solo w at Trumpet Sheet Music. for Trumpet and Piano. Kent Kennan – Alfred Publishing Co., Inc. : Sonata for Trumpet and Piano: Edition, Part(s) ( ): Kent Kennan: Books.

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You are commenting using your Facebook account. This piece is difficult in many ways. You are commenting using your Twitter account. This movement also has a short closing theme Dearden All of the themes from the exposition are written in the recapitulation Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden Dearden, Jennifer Lorien Retrieved 8 June Fill in your details below or click an icon to log in: 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 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.

Sonata for Trumpet and Piano by Kent Kennan | My Blog

The first theme is played by the trumpet and is muted Dearden Then a short transition leads into a restatement of the third theme, but this time the soprano line jennan the chorale is played by the trumpet and the bottom three voices are not being played Dearden This theme is only in the piano part Dearden From Wikipedia, the free encyclopedia. The coda begins with a slow ment and a trumpet fanfare than is played over a C major chord in the piano Dearden Notify me of new comments via email.

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 All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden 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 melody has some occurrences of the main motive that begins the first movement: The first theme is very rhythmic and separated Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden Retrieved from ” https: 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.

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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 The fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden By using this site, you agree to the Terms of Use and Privacy Policy.

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. University of North Texas, This motive will be repeated in many different ways throughout the course of the entire piece Dearden This site uses sonaga.

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 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 books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.

The second movement begins with a piano introduction that is made up of a G that stretches to three octaves 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 The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden University of Maryland, 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 Email required Address never made public.

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This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing 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 It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it 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 When the second theme is restated, it is down a half step as well and shortened a little bit Dearden It returns to the original tempo and centers around E-flat once again Dearden The coda only uses fragments of the first theme with a modified rhythm Dearden Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.

This first statement begins in minor, goes through Phrygian, and ends in major 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 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 piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden His Night Soliloquy was written in and is set for solo flute, piano and strings.

The Development The development begins after a short transition from the exposition Dearden