View Download PDF: Book II (Études ) ( Mo) First edition – Leipzig: Breitkopf und Härtel, n.d.[]. Plates (c-d) The Kopprasch etudes. Practically every serious student of the horn today has studied these etudes, but who exactly was Kopprasch and when were his etudes . Perhaps the oldest of the “old standard” horn etudes are the Kopprasch etudes. Back in my article on the history of the Kopprasch etudes.

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As I wanted to focus only on tips and suggestions for the etudes themselves, the original posts have been edited for content. A link to a YouTube video of each study is included as well. They are only suggestions. Tips and Suggestions for the Op. As promised, here are some closing thoughts on the Kopprasch Project. I wrote a similar post at roughly the halfway point, which you can read here. I am extremely grateful to have had the time etudees resources necessary to complete a project of this scope, and have plans for other videos no more Kopprasch for a while, etuves in the future.

For those who might be interested, here are some statistics and other related information. These skills will pay off in a variety of ways, some obvious and others not so obvious. To assist my own students in koplrasch this experience, I plan on making a brief video project an assignment for studio class next year. I have thoroughly enjoyed my work on the Kopprasch Project, and would recommend similar projects to students and teachers.

Yes, it is a lot of work, but the rewards are well worth it. Etdes 57 is an arpeggiated study in staccato articulations, and it is deceptively difficult.

Maintaining a centered tone and ringing staccato throughout this etude was a particular challenge for me. Slurring the entire thing is helpful, as is practicing at etures tempo. Using B-flat fingerings for notes at the bottom of and just below the staff helped with clarity. A knowledge of harmonic function is important, if not critical, to mastering this etude.


Etuses a handful of other studies in this collection, No. A light, quick single tongue works well for the sixty-fourth note runs in measures 2 and Another concern for me was intonation in the kopprwsch range: In the interest of comparison, I used Windows Movie Maker to edit and produce this video I have been using Camtasia Studio for the majority of my editing.

After 54 etudes and nearly three years, I am glad to see this ,opprasch project nearing its completion! One issue with this study and others is breathing. The logical place to breath is after the eighth note in measure 9, but at a fast tempo it is a challenge to take a full enough breath which will last until the end of measure I chose to take a little time in measure 9 and really tank up on the air.

In addition, it helps to strictly observe the mezzo forte marking beginning at m. Not only do they provide some much needed variety, but they also force me to work on elements of my playing which can go unnoticed in the faster, more technical studies. To my ear that jopprasch the turns and 32nd notes from sounding rushed.

Another thing to try is practicing the arpeggios with the corresponding tonic drones to ensure that each note is centered and in tune. One technical note is that the microphone gain was set a little too high, so there is some distortion in a few places. Will fix that on Kppprasch. Some practice techniques that helped ethdes slurring everything, using B-flat fingerings, and playing the principal notes of each measure the first 16th note in each group of 4.

Coordinating the various articulations is important, and the normally ultra-predictable Kopprasch does throw in a few twists.

Try to make a distinction between the accented and unaccented dotted quarters. As always, consider using some B-flat horn fingerings below the staff for better clarity. Facebook Twitter Kopprazch Print Email. James Chambers ; Kopprasch Complete Cornopub, ed. Corbin Wagner Equipment Used: Laskey 75G, Houser Standley Cup with I have been enjoying your recordings of the Kopprasch etudes, as well as learning from them.

Download the Original Kopprasch Etudes

As someone who picked up the horn after a year hiatus, your Kopprasch videos are invaluable. I also read this blog avidly. It is truly amazing to have such resources at the tip of my fingertips; this was unthinkable for most of us at the time I laid down my horn so many years ago.


Anyway, take care and thanks again! I wanted to comment on etudss fine effort with the latest Kop.

In reviewing the earlier studies I cannot help but notice a change in your playing which I suppose might come from more experience and confidence in doing more of these studies.

But I also wondered to what degree your change in equipment has also influenced matters — new mp rim, new horn — of what I can see. I am quite convinced that your sound has changed; changes of various positions in your studio and perhaps better use of the recording equipment notwithstanding.

What I hear is koporasch warmer, concentrated sound, with more liquid slurs, more compact attacks, and what also seems to be less effort reflected in a more pronounced sense of musicality not that your previous efforts were not musical!

Thank you for these recordings. They are fun and useful! Can I make a request?

The horn players in Maryland would be very grateful to have a high quality recording of 49 and 50 as they are required to play those for the All-State audition in November. Could you please consider adding these to your wonderful blog? I was really hoping you would continue your Kopprasch recordings kkpprasch book 2. Congratulations for continuing on this project. Post was not sent – check your email addresses!

Kopprasch: 60 Etudes, Op. 5 for Bass Trombone

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