Sonata for Trombone and Piano

Bhannavichaya’s DM Room D509, College of Music,

Mahidol University!

Lecture Recital 29 Jan 2018, 15.30-16.30 AM

 Sonata for Trombone and Piano

❖ composed between 2016-2017!

❖ inspired from Ferdinand David’s Trombone Concertino
(reduction for trombone and piano)!
❖ world premiere on 2nd DM recital in Feb 2017 at
Mahidol University
 Sonata for Trombone and Piano

❖ 3 movements (as standard Classical Sonata)!

❖ structure is inspired by Sonata, but not exactly Sonata
Form
 Sonata for Trb. and Pf. (1st mov.)
!

❖ First idea: ascending and descending motive!

❖ The idea of motive direction(ascending and descending)
will be used throughout the section and/or entire piece
(slide 5)
 !

❖ Harmony: outer chord voices in contrary motion

(Example: right hand upwards whole step, left hand part
downwards half step)
 !

❖ Harmony: chords in parallel motion (Example: parallel

sixth)
 !

❖ Second idea’s motive starts from the red circled motive!

❖ Motive developed using interval expansion (Example:
from fifth to sixth and seventh, with an upward half step
pitch)
 !

❖ Harmony: parallel harmony based on I, IV, V and I

progression, but using augmented seventh chord (root of
each chords is under tonal progression, but harmony
isn't) !
❖ Harmony: last chord is the resolution of augmented
progression
 !

❖ Example of melody inversional symmetry in 2nd idea

 Sonata for Trb. and Pf. (2nd mov.)

❖ Motive idea: ascending and descending (from 1st mov)!

❖ This motive is more tonal than the ascending and
descending motive in 1st mov.
 !

❖ Contrast section (melody): repeat “A”, then resolve to

“G” (“A” creates tension)!
❖ Contrast section (harmony): parallel chords resolve to C
Major triad
 Sonata for Trb. and Pf. (finale)

❖ Form: inspired from classical period (Binary, Ternary and

Rondo), but not exactly classical form!
❖ Form: ABCA
 !

❖ First idea: contrast motive from the 2nd mov. developed!

❖ First idea of finale has more details than in the 2nd mov. (increase
rhythmic activity and ornamented)
 !

❖ Harmony: P5 and third interval switched, then 7th

interval parallel descend!
❖ The parallel harmony were used in 1st and 2nd mov.
 !

❖ Second idea: repeated rhythm, bassline has an offbeat

syncopation
 !

❖ Third idea: motive effort to sustain on F#, but escape to

other pitch before returning to F# in new phrase!
❖ Third idea: melody in A dorian
 !

❖ Harmony: A major and a minor

 !

❖ Harmony: at the beginning, the harmony doesn’t match

the motive’s scale, but matches A dorian scale at the end
of the harmony
Sonata for Trb. and Pf. (conclusion)

❖ use motives instead of full melody !

❖ motives are developed through inversion, interval
expansion and ornamentation!
❖ the harmony is tonal, but use non chord tones and/or
interval relationship (symmetry, inversion, parallelism,
polymodes and expansion)
Sonata for Trombone and Piano