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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Kemt 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 Retrieved 8 June The coda only uses fragments of the first theme with a modified rhythm Dearden University of Maryland, This melody has some occurrences of the main motive that begins the first movement: Views Read Edit View history.

Movement II — Sonnata 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 Twitter account.

This section is distinct from the others in this movement because it is the only section that is not muted Dearden A four-measure transition that is based on the main motive of the entire piece follows Dearden Create a free website or blog at WordPress. His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios.


All of the themes from the exposition are written in the recapitulation Dearden The second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden This piece is difficult in many ways.

sohata When the sonta theme is restated, it is down a half step as kenan and shortened a little bit Dearden The first theme is played by the trumpet and is muted Dearden None of these keys state a third, so there is no way to tell whether they are major or minor, just like in the eonata movement Dearden You are commenting using your Facebook account. The main theme of this movement is written three times in a row, the first centered around E-flat Dearden The secondary theme is lyrical, with no fanfares, and in minor 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 By continuing to use this website, you agree to their use.

The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions Dearden The development is the shortest section in the movement Dearden In the coda, the trumpet is playing with kennwn harmon mute and playing G, the dominant of C, until the last measure, when the line finally resolves to the tonic Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden When the trumpet part has a long note or rests, the piano has a more elaborate part to keep the music interesting Dearden You can follow any responses to this entry through the RSS 2.


The main motive that was introduced in the first movement appears frequently in this theme 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 The first movements are both in Sonata-Allego form, the second movements are in Three Part Song form, and the third movements are in Rondo form, causing them to both have the same overall structure as well McNamara This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20 th century style of composing Dearden 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.

He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara You can help Wikipedia by expanding it.