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17642846
Sonata No. 1 for Trumpet (score & 1 part)
17642846
17642846

Sonata No. 1 for Trumpet (score & 1 part) The Tempest by David Gillingham Trumpet Solo - Sheet Music

By Michael Brand
Sonata No. 1 for Trumpet (score & 1 part) Trumpet Solo scores gallery preview page 1
Sonata No. 1 for Trumpet (score & 1 part) Trumpet Solo scores gallery preview page 2
Sonata No. 1 for Trumpet (score & 1 part) Trumpet Solo scores gallery preview page 3
Sonata No. 1 for Trumpet (score & 1 part) Trumpet Solo scores gallery preview page 4
Sonata No. 1 for Trumpet (score & 1 part) Trumpet Solo scores gallery preview page 5
Sonata No. 1 for Trumpet (score & 1 part) by David Gillingham Trumpet Solo - Sheet Music
Sonata No. 1 for Trumpet (score & 1 part) by David Gillingham Trumpet Solo - Sheet Music page 2
Sonata No. 1 for Trumpet (score & 1 part) by David Gillingham Trumpet Solo - Sheet Music page 3
Sonata No. 1 for Trumpet (score & 1 part) by David Gillingham Trumpet Solo - Sheet Music page 4
Sonata No. 1 for Trumpet (score & 1 part) by David Gillingham Trumpet Solo - Sheet Music page 5
Chamber Ensemble Trumpet & Piano (trumpet, piano) - medium difficult

SKU: CN.09490

The Tempest. Composed by David Gillingham. Arranged by Michael Brand. Score & 1 part. Duration 15:00. Published by C. Alan Publications (CN.09490).

This sonata for trumpet bears the nickname, "The Tempest" because of the stormy and turbulent nature of the first movement, the somber "aftermath" of the second movement and the whirlwind drive of the third.

Sonata No.1 for Trumpet ("The Tempest") was commissioned by and written for the Equinox Duo, Denver Dill, Trumpet and Rebecca Wilt, Piano. This first sonata bears the nickname, "The Tempest" because of the stormy and turbulent nature of the first movement, the somber "aftermath" of the second movement and the whirlwind drive of the third. The first movement is cast in sonata form with an introduction in fanfare style. The first and second themes are contrasting in nature with the second being quite lyrical and sentimental. A development section works through the two themes and the fanfare introductory material. The second movement is somewhat elegiac in nature and with a simple recitative and aria design. The declamatory style of the recitative seems to convey a woeful longing while the aria is contemplative and reflective. The third movement uses a sonata-rondo construction combined with the playful style of a scherzo. The furious tempo renders very short primary and secondary themes while the development section recycles themes from the previous two movements. The rousing and joyful conclusion of the movement balances the turbulent beginning of the sonata. 'DRG.

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