KENNAN SONATA TRUMPET PDF

Kajishura 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 This motive will be repeated in many different ways throughout the course of the entire piece Dearden McNamara, Anne Kovarik You are commenting using your Twitter account. 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 Notify me of new comments via email. 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 recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden It is based on the secondary theme and uses accents to make the meter difficult to figure out by simply hearing it Dearden It returns to the original tempo and centers around E-flat once again 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 The first theme is played by the trumpet and is muted Dearden This theme is only in the piano part Dearden This melody has some occurrences of the main motive that begins the first movement: The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden Create a free website or blog at WordPress. Fill in your details below or click an icon to log in: This made the piece much easier to perform McNamara 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 The secondary theme is lyrical, with no fanfares, and in minor Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden It is also the only theme that stays centered around a tonic in the entire movement Dearden You can follow any responses to this entry through the RSS 2.

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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 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 This piece is difficult in many ways.

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 made the piece much easier to perform McNamara He also made the first movement shorter and slowed the tempos in the first and third movement slightly McNamara 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 main theme of this movement is written three times in a row, the first centered around E-flat Dearden This first statement begins in minor, goes through Phrygian, and ends in major Dearden The rest of this movement is based largely around this main theme Dearden The three pitches in the first measure begin with the leap of a perfect fifth up, followed by a whole step Dearden In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden This motive will be repeated in many different ways throughout the course of the entire piece 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 fanfare leads into the slurred motive that is mostly comprised of eighth notes Dearden All of theme motives and variants of these motives are repeated throughout the course of this movement Dearden The secondary theme is lyrical, with no fanfares, and in minor Dearden This movement also has a short closing theme Dearden It returns to the original tempo and centers around E-flat once again Dearden The Development The development begins after a short transition from the exposition 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 development is the shortest section in the movement Dearden The Recapitulation All of the themes from the exposition are written in the recapitulation Dearden Most of it is an exact restatement of the exposition, but transposed up a half step Dearden The recapitulation also begins with a soft dynamic, which is quite the opposite of tradition Dearden The Coda The transition into the cods is mostly based on the transition theme from earlier in the movement Dearden The coda begins with a slow temp and a trumpet fanfare than is played over a C major chord in the piano Dearden This is followed by a restatement of the main theme in a new key and at a slow tempo, making it lyrical at first, then transitioned to the original tempo and style Dearden The piece ends with a trumpet fanfare in E-flat 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 The first theme is played by the trumpet and is muted Dearden This melody has some occurrences of the main motive that begins the first movement: a leap of a perfect fifth or perfect fourth and a whole step Dearden The piano part during this first theme is mostly comprised of chords that are moving in patterns that are traditional chord progressions 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 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 This section is distinct from the others in this movement because it is the only section that is not muted Dearden Even though the melody sounds like D minor, there is no F of any kind to confirm whether it is major or minor.

The second movement ends with a coda in C major, which has not been played in until this point in the piece 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 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 The first theme is very rhythmic and separated Dearden A large portion of the movement is based on this theme Dearden The main motive that was introduced in the first movement appears frequently in this theme Dearden This first theme is full of mixed meter, often using asymmetric meters, which is characteristic of the 20th century style of composing Dearden 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 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 The piano plays an ostinato under the light, lively trumpet melody 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 This statement of the theme ends with a ritardando that goes into a fermata Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden This theme is only in the piano part Dearden It is also the only theme that stays centered around a tonic in the entire movement 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 also significantly shorter Dearden A four-measure transition that is based on the main motive of the entire piece follows Dearden When the second theme is restated, it is down a half step as well and shortened a little bit 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 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 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 coda only uses fragments of the first theme with a modified rhythm 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 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 Works Cited Dearden, Jennifer Lorien University of North Texas, McNamara, Anne Kovarik University of Maryland, Proksch, Bryan.

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KENNAN SONATA TRUMPET PDF

Vibar In the following measure, the three pitches begin with a leap down by a perfect fifth, then a whole step Dearden Zonata III — Moderately Fast, with Energy Some analyze this movement as being in sonata form, while others analyze it as being in rondo form Dearden The third theme is a chorale in G that begins in minor and ends in major Dearden The return of the first theme is very similar to the first time it is stated, but it kennam transposed down a half step and the piano accompaniment is different Dearden This melody has some occurrences of the main motive that begins the first movement: He learned to play the organ and the piano and received degrees sonaata composition and music theory from the University of Michigan and the Eastman School of Music. You are commenting using your WordPress. The first theme is very rhythmic and separated Dearden 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 second movement ends with a coda in C major, which has not been played in until this point in the piece Dearden The main sonaha of this movement is written three times in a row, the first centered around E-flat Dearden Dearden, Jennifer Lorien Even though the melody sounds like D minor, there sobata no F of any kind to confirm whether it is major or minor. It returns to the original tempo and centers around E-flat once again Dearden This page was last edited on 8 Novemberat The piece ends with a trumpet fanfare in E-flat 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 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 kejnan former cornet soloist Dearden By using this site, you agree to the Terms of Use and Privacy Policy. The coda only uses fragments of the first theme with a modified rhythm 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 The development begins after a short transition from the exposition Dearden His compositions include works for orchestrachamber ensemble and solo instrument as well as songs and choral music.

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KENNAN SONATA PDF

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