Earlier this summer I received complimentary copies of Rhythm Kopprasch and Harmony Kopprasch, two volumes in the Millenium Kopprasch series by Jeffrey Agrell, Professor of Horn at the University of Iowa. I’m a big fan of Professor Agrell’s work, and have reviewed several of his other publications, including Improvisation Games for Classical Musicians, Horn Technique, and The Creative Hornist.
The Millenium Kopprasch series contains creative reinventions of classic Kopprasch Op. 6 etudes, made more applicable to the 21st-century hornist. The range and basic patterns of the original etudes are still there, but in modified forms. Rhythm Kopprasch incorporates mixed meters, unusual accent patterns, syncopation, and ties, while Harmony Kopprasch explores modes, awkward intervals, Blues scales, and more. Dynamics and tempo markings are intentionally left up to the player, although the markings in the original etudes would be a good place to start. Traditionally the Op. 6 etudes are used as a school of transposition, and to reinforce basic concepts of technique and sound production. More advanced etudes are necessary to develop technique further – Reynolds, Schuller, etc. Because the Millenium Kopprasch series breathes new life into the venerable Op. 6 studies, it opens up many possibilities for teachers and students. These are tough, and will push you beyond what is required for the original studies. But, they are also really fun to play. The patterns are much less familiar than the diatonic scales and arpeggios of the originals, and take far more concentration.
Here are some brief examples which demonstrate the kind of transformations you’ll find in these new Kopprasch studies. First is the original Kopprasch No. 3, Poco Allegro. *This is a pretty old recording from my Kopprasch video project, and the score is from the Hofmeister edition on IMSLP.
Next is the first half of the corresponding Etude No. 3 from Rhythm Kopprasch, shared here by permission of the author. The basics are still there, with the added fun of mixed meters and accent patterns.
And now the same thing from Harmony Kopprasch, which includes a variety of scales and arpeggios beyond diatonic major and minor (notice the helpful annotations for the source material) .
The quality engraving and attractive covers make for a very nice package, although a spiral binding would make the books a little easier to put on a music stand. As with all of Agrell’s publications, Rhythm Kopprasch and Harmony Kopprasch represent significant contributions to the existing horn literature. And, much like the original studies on which they are based, this series will continue to challenge (and possibly frustrate – but in a good way) hornists for years to come.