HALSEY STEVENS SONATA PDF

By huskers13 Halsey Stevens began writing his Sonata for Trumpet and Piano in May of , but 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

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By huskers13 Halsey Stevens began writing his Sonata for Trumpet and Piano in May of , but 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 Movement I — Allegro Moderato Exposition 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 Development 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 Recapitulation 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 Coda 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 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 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 Development 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 Recapitulation 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 Coda 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 Works Cited Dearden, Jennifer Lorien University of North Texas, McNamara, Anne Kovarik University of Maryland, Share this:.

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Sonata for Horn and Piano by Halsey Stevens

Stevens taught at a multitude of universities and colleges, most notably was his tenure at the University of Southern California from to Stevens is a celebrated composer, educator, and author having his works played and recorded all over the world, having been published in over a dozen scholarly journals, and having taught at nine institutions and received countless awards, accolades, and grants. His Sonata for Horn and Piano opens with a broad and heroic line in the horn with stately underpinnings in the piano. This particular piece is a wonderfully conversational piece due to the composers detail regarding the chamber relationship of the two instruments. The first movement then moves into a darker and more introspective second movement which spends a lot of time in the mid register at or just below the treble clef staff which can be a challenge to some players to bring out the vocal qualities of the movement due to the projection difficulties in that register.

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HALSEY STEVENS SONATA PDF

Duzilkree Your video is in XX format and is playable on most pre-installed video players. Set of Parts Level: You are commenting using your Facebook account. The second theme is in two parts that are similar in style Dearden Please do not use steens language, including profanity, vulgarity, or obscenity. Review Guidelines Explain exactly why you liked or disliked the product. When the first theme sonqta stated, it is played a step higher than it was originally Dearden The first theme halsfy 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 The second section is a transitional part played by the piano alone that consists of material from the second theme Dearden There are distinguishable tonal centers in each of the movements, though the second movement has two Dearden A short transition leads from this second theme into the development 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 Tell a friend or remind yourself about this product.

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Halsey Stevens

We cannot post your review if it violates these guidelines. I hear so much Copland and Hindemith here jocular moments mixed with intense statements from the heart. Sonata For Trumpet And Piano Stevens composed music that was essentially tonal sonaha not without modern influences, particularly Stravinsky and Copland. Are you a beginner who started playing last month?

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Sonata for trumpet and piano

Stevens is to be congratulated on solving this problem adroitly, while preserving his freedom of musical invention. The terse, incisive first theme of his first movement suits the trumpet admirably, and is woven into a stimulating dialogue with the piano. The composer is careful not to thicken the piano part to offset the brilliance of the trumpet. He uses telling dissonances and vigorous rhythmic accents instead.

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