The American Trumpet Sonata in the 1950s: An Analytical and Sociohistorical Discussion of Trumpet Sonatas by George Antheil, Kent Kennan, Halsey Stevens, and Burnet Tuthill. Page: 13

                                
at the twenty-fifth anniversary meeting of the National Association of Schools of Music
(NASM).13
Movement I - Allegro ben marcato
While Tuthill is generally traditional about the sonata-allegro structure of this
movement, the tonality is decidedly unconventional. Throughout the movement Tuthill's
harmonic progressions are created linearly, making the tonality very fluid. Individual
themes are rarely in a particular key. Further, Tuthill uses quartal sonorities prominently
in both melody and harmony.
Exposition (mm. 1-69)
The principal theme (mm. 1-23) of the first movement, stated in the trumpet part,
opens with descending fourths followed by a descending minor third in the rhythm  .
These two elements serve as the main motives for the movement. The opening three
pitches, B-Flat, F, C, are sounded over a D-flat major chord (with B-flat) in the piano.
(See Example 1) While the first phrase of the principal theme ends on the trumpet's D-
flat in m. 10, there is no other musical evidence that points to D-flat as the opening
tonic. The intervals of this theme are incredibly disjunct and it is very angular in nature.
13 Jean Lee Raines, "Burnet C. Tuthill: His Life and Music" (Ph.D. diss., Michigan State University, 1979),
89-90.

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