HALSEY STEVENS SONATA PDF

: Stevens: Trumpet Sonata (): Halsey Stevens: Books. Check out Halsey Stevens: Sonata for Trumpet and Piano: I. Allegro moderato by Giuseppe Galante on Amazon Music. Stream ad-free or purchase CD’s and. Print and download in PDF or MIDI SONATA for trumpet and piano: 1. for trumpet and piano (only trumpet part) composed by Halsey Stevens.

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Halsey Stevens began writing his Sonata for Trumpet and Piano in May ofbut he did not complete it until sometime in Dearden There are distinguishable tonal centers in each of the movements, though the second movement has two Dearden The first and third movement feature asymmetrical rhythms in mixed meter, giving a sort of dance feel to the piece McNamara This piece was also influenced by Aaron Copland in its use of smooth and connected leaps of wide intervals McNamara The main theme portion of this movement is made up of two distinct ideas in F major Dearden The first one introduces two recurring rhythmic motives Dearden Two melodic motives are also introduces in this section of the movement Dearden One is a whole step down followed by a whole step up Dearden The other is up a major third then back down a major third Dearden After these motives, another important motive, in which the pitches and the contour are important, is presented within a short transition Dearden The final motive of this movement is present by the trumpet playing an extender tertian harmony Dearden A bit on transitional material follows, leading into the second theme of the movement Dearden This second theme is in D minor, the relative minor of F major, in which the first theme was written Dearden This theme is lyrical in style because of the slurred melodic line in the trumpet and a pedal D held in the piano, marked at a slower tempo Dearden A short transition leads from this second theme into the development Dearden The development is the largest section of this movement Dearden It can be divided into four distinct sections Dearden The first section is made up mostly of the motives that were introduced in the first section of the exposition Dearden The second section is a transitional part played by the piano alone that consists of material from the second theme Dearden The trumpet comes back in the third section, in which material from the main theme of the movement is more disconnected and pointed Dearden The fourth section is the longest section Dearden It is comprised of various different ideas, but they flow together smoothly Dearden The recapitulation is the shortest section of this movement Dearden It is also in reverse order—the second theme is played first Dearden When the second theme is stated, it is similar to the original way it was played in many ways, such as the key and the melodic contour Dearden However, there are some intervals that are changed Dearden Then the trumpet plays some of the main motives that were established in the exposition, but it is muted this time Dearden This is followed by a transition uses some of the material from the first section of the development Dearden The coda is very short in length—nine measures to be exact Dearden It is comprised primarily of perfect intervals in both the trumpet and the piano parts Dearden In the introduction, the piano begins on A-flat octaves Dearden The hands move in contrary motion until the left hand ends up on a D-flat major chord and the right hand ends up on an A-flat major chord Dearden Then the hands move in contrary motion that is reversed from what it previously was, but the left hand stays with D-flat major and the right hand stays with A-flat major Dearden The first theme is played by muted trumpet and starts in A-flat over tone clusters in the piano, but both end up in E-flat within a few measures Dearden In the second theme, one of the main motives from the first movement makes an appearance in the form of quarter note and eighth note triplets Dearden The rising third motive from the first movement its also played in the piano, most of which is over a pedal E-flat Dearden During this, the trumpet flows smoothly from G-flat to D-flat and then to A-flat when the introduction comes back Dearden The introduction is stated nearly identical to the first time it is stated, with only a few changes Dearden The third theme is played by muted trumpet and it is comprised mostly of a single idea that is repeated and transposed, played in quarter note triplets Dearden Just as the movement began in A-flat and D-flat, it ends in the same manner Dearden The exposition begins with a piano introduction that begins in F minor, but transitions to F major right before the first theme is played Dearden The piano plays arpeggios in the right hand and accents these with single notes played in the left hand Dearden The first theme begins with the trumpet playing some short trills Dearden Bimodality is also implied throughout this theme as there is an F major chord through the first part of it, but the F minor idea that was first played in the introduction comes back Dearden The second theme is in two parts that are similar in style Dearden The first part begins in C minor, then shifts to F, though the mode is uncertain Dearden The second part is in D-flat major Dearden The brief transition from the first part to the second part of this theme lays the foundation for the material that makes up the coda Dearden The third theme continues in D-flat major Dearden The melody changes style from the previous themes, this time to be played sweetly Dearden This melody is mostly scalar with some leaps supported by a D-flat pedal that spans four octaves in the piano Dearden This development can be split into sections, just like the development in the first movement Dearden The first section begins with a trumpet fanfare that incorporates the main melodic motive of the piece Dearden At the conclusion of the fanfare, the piano plays an interlude Dearden The second section plays off of the second theme, beginning in C minor, but shifting to E-flat major for the second part of this theme instead of D-flat major Dearden The third section starts with the piano playing what sounds like an introduction in A-flat minor Dearden When the trumpet enters, it is playing an inverted form of what the piano was playing with some rhythmic changes Dearden The trumpet has some quick mute changes in this section that add to contrast within this section Dearden This section concludes with a transition that incorporates trills in the trumpet that resemble part of the first theme Dearden The beginning of the introduction is hinted at twice before it is actually stated Dearden The introduction is played in F minor, just as it was the first time, but the trumpet is playing this time Dearden When the first theme is stated, it is played a step higher than it was originally Dearden The first part of the second theme is shorter and in D major Dearden Part of the third theme is used as a brief transition to the coda Dearden The coda is brief—less than ten measures long Dearden It is made up of material that was used as a transition between the two parts of the second theme Dearden The trumpet makes it sound a bit like a fanfare, resolving to F a few measures from the end Dearden Both F major and F minor are implied in the last few measures, making it uncertain as to which key this piece actually ends in Dearden Dearden, Jennifer Lorien The American Trumpet Sonata in the s: University of North Texas, McNamara, Anne Kovarik University of Maryland, You are commenting using your WordPress.

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Movement I — Allegro Moderato Exposition The main theme portion of this movement is made up of two distinct ideas in F major Dearden Development The development is the largest section of this movement Dearden Recapitulation The recapitulation is the shortest section of this movement Dearden Coda The coda is very short in length—nine measures to be exact Dearden Movement III — Allegro Exposition The exposition begins with a piano introduction that begins in F minor, but transitions to F major right before the first theme is played Dearden Development This development can be split into sections, just like the development in the first movement Dearden Recapitulation The beginning of the introduction is hinted at twice before it is actually stated Dearden Coda The coda is brief—less than ten measures long Dearden Works Cited Dearden, Jennifer Lorien This entry was posted on Thursday, April 30th, at 3: You can follow any responses to this entry through the RSS 2.

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