Kopprasch Project “The Final Five” No. 58

Etude No. 58 works out “slur two, tongue two” articulations as well as large leaps across a cascading series of arpeggios. The trickiest part about this study is centering a low note immediately after a rising sequence of arpeggios (see mm. 12-13, 16-17, etc.) For the rapid octave leap from g to g’, I like using the B-flat horn for the upper octave. It seems to help it pop out more accurately at the faster tempo. Tempo range in my edition is quarter note=88-112. My personal tempo for this video is quarter=88.

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Kopprasch Project Continued, No. 45 (44)

This week’s Kopprasch installment is a real lip trill workout. As with the previous etude (No. 44), this one is numbered differently in the Gumpert edition, where it is labeled No. 44. While this study isn’t recommended for developing lip trills, it is a great one for refining your technique. My edition recommends a tempo of quarter note=84-116, although quarter=100 worked the best for me.   There are also a couple of interesting discrepancies between the two editions (Cornopub and Gumpert/Frehse/Carl Fischer).  One difference is the notation of the ends of trills (nachschlag), as shown below. The top example is from mm. 16 in the Cornopub edition, and the bottom is from the same measure in the Gumpert edition.

kopprasch45compare

This may not seem like much of a difference, but to me it seemed easier and less awkward to execute the top example. I’m not entirely sure about the origins of this discrepancy, although I would assume that the Cornopub edition is based on an original manuscript or facsimile. The old Breitkopf and Härtel Edition on IMSLP uses the notation shown in the lower example, as do the rest of the editions there. Whichever edition you use, be aware of which trills you can begin in a more relaxed manner (half notes), and which ones need to begin more or less immediately (quarter notes and shorter). The shorter lip trills can be helped along with a burst of air speed, combined with tongue and lip coordination. The a-sharp to b-natural valve trill in mm. 65 works well fingered 23-3.

On the audio/video side of things, I am still experimenting with Adobe Premiere as my editing software. As this is an older version (CS2), the Adobe Media Encoder does not have the H.264 (MPEG-4) option, so I am trying various other formats to see which one works the best. Are there any Premiere CS2 users out there who could recommend a setting for YouTube videos?

Kopprasch Project Continued, No. 43

After an extended hiatus, here is another installment in this series. No. 43 is deceptively tricky, especially when played at faster tempos. My edition suggests dotted-quarter = 104-132, and I topped out around dotted-quarter = 120. Try practicing this etude slurred or legato tongued to work on centering every pitch.

Kopprasch Project continued, No. 38, plus more Kopprasch Resources

Here’s the latest installment in the Kopprasch Project, No. 38, which is primarily a study in legato scales. Suggested tempo in my edition is dotted quarter=116-144, although I topped out around dotted quarter=126-132. *Note: In many editions this study is notated in 4/4 time with triplets. The edition I am using for the second half of this project is by Cornopub, and is notated in 12/8. Not sure if there is any advantage to one over the other.

One other point of interest with this etude is that it is on the Texas Music Educators Association All-State Audition list for 2012-2013. In fact, all three of the etude selections for TMEA this year come from Kopprasch, including No. 21, No. 38, and No. 46. The TMEA etude selection committee has put together a very helpful performance guide. Their suggested tempos are quite virtuosic, but certainly playable.  Horn player and teacher Ryan Palmer has recorded some great videos demonstrating these three etudes (No. 21, No. 38, and No. 46)

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