Kopprasch Horn Pdf

[Hetty Calin]

Activein the Berlin horn playing scene in the early 1800s, Kopprasch was acquainted with the inventor of the valved horn, Heinrich Stlzel. Because horns could not play chromatically prior to Stlzel's invention of valves, no chromatic etudes existed for the horn and it is likely Kopprasch composed his now seminal works to fill that need.[3]

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Horn Study Lists This PDF document contains suggested works for basic and intermediate college level horn study and is based on a survey of audition lists for undergraduate and graduate horn study at top level music schools. The goals of this list and the following list are to develop horn performance skills in a logical manner and to become very familiar with our best literature.

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Georg Kopprasch was born sometime before 1800, pursued a career as a horn player at least until 1832, and composed two sets of horn etudes which includes this set of 60 etudes, Op. 6. Most of the etudes focus on technical problems relating to the high range of the Horn. 46 pages.

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All the etudes have been cleaned up and spread out to help you read it easier. Some of the exercises have changes from the original like articulations, time signatures, ornaments, and clefs. These changes have been made so the exercises read better and play through with consistency.

There are also several helpful additions at the end, including exercises and tips for lip trills and multiple tonguing, stopped horn fingerings, a transposition chart, and all major/minor scales with arpeggios. The spiral binding lays nice and flat on a music stand as well. All in all, this is a great product, and I congratulate Mr. Wagner on his fine publication. The price is very reasonable, and I have already recommended it to several of my students.

I would propose that it is time horn teachers should rethink several elements of standard horn teaching. Do we just do things because we do them? Simply repeating the way we were taught? Are the materials actually effective? Are they just familiar and available?

Of course, as teachers, we try to be effective, and the materials we use are part of that equation. In my own case, I recently realized that my use of teaching materials has changed in recent years in several ways.

One style I really question is the type of teacher that focuses lessons on just a few exercises that to an outsider would look like warmup exercises. Weeks, months, even years spent focusing on just those exercises.

A related type of teacher focuses almost entirely on Kopprasch. In both cases, I think the idea is to achieve some sort of theoretical perfection in those materials (alone), and when you have mastered those singularly important (to the teacher) exercises, only then can you move on to real music.

I used Kopprasch regularly in lessons for years, as part of the mix of things, but this past couple of years I have hardly used it at all. I do not miss it. Kopprasch is very predictable and is not good music. Hype and devotion to it does not make it interesting music. Gallay etudes for example are much better music. Maxime-Alphonse has wonderful moments where you can show off all sorts of nuance.

Eventually Kopprasch became a rite of passage for the horn student. Why? Why keep using the same, tired, old materials? For 190 years? Today we have so many other options for teaching materials. It is time to make use of them.

I will just say for me, much of the older etude literature available is just not very interesting. The lone exception from the era is Gallay; he gets at some very interesting things musically and technically. I especially like to use his second horn etudes and the unmeasured preludes. Outside of that, most of the old standard etudes of this era I just mentally set aside as bad Kopprasch.

Moving into the early 20th century, Maxime-Alphonse has quite a few interesting etudes as well. He clearly is looking for some very specific things; roughly 2/3 of his etudes are well worth a good look in books 3 and 4. I can make great use of these in lessons.

Another category of etude is the very long etude. Two pages or more, and technically challenging. I am not a fan of these as well. Yes, you can work on endurance with them, but this can also be done with better music (solo horn works, etc.).

In my own case, I realized on reflecting on my teaching that in the past few years I have developed a teaching scheme based much more on shorter etudes than what I did in the past, also incorporating some duets as well.

This developed over time of course, but I think the two publications that most crystalized this change for me are the low horn version of my 35 Melodic Etudes and also my Modern Preparatory Etudes. I use both books a lot. One reason why short etudes such as these are great is the musical variety I can create. However, looking closer, another reason why both are good teaching material is that, being short, a student can work out the etudes relatively quickly, and then they reveal to me certain things as areas of interest. They give opportunities to expose and work on problem areas.

Kopprasch can do that too, but what happens is when one finally gets good at playing Kopprasch then you tend to play everything like Kopprasch. Moreover, many areas of technique are not addressed at all in Kopprasch, and the tonal language is very dated.

For me a summer project will be developing more formally a resource I need, a book of short transposition studies. Of course, many teachers use Kopprasch for this. I do not think these are very good for teaching transposition, as the etudes are too long and do not look like natural horn music. Again, a project for the summer.

Good teaching materials should help you teach and help students learn. Kopprasch and similar 19th century materials might help you as a teacher as it is so familiar (to you!), but I am not convinced they help students learn at the rate they might learn from other, more effective materials. It is time to cut the cord and move on from Kopprasch as the focus of horn teaching.

Kopprasch, Georg Sixty Studies for High Horn, op. 5, Volume 1 HornMost hornists are well acquainted with Kopprasch's op. 6 low horn etudes, as they have been an indispensable staple of the pedagogical repertoire for decades. Now we are proud to make available, for the first time in more than a century, his companion set of etudes for high horn, which make the familiar low horn studies seem awfully tame. This urtext edition respects the composer's indications of dynamics, etc., as reflected in the original 1832 Breitkopf publication, and includes a foreword by Kopprasch authority Dr. John Q. Ericson. The etudes are newly, painstakingly, engraved and are presented in two volumes. Text in German and English. For the traditional low horn etudes, op. 6, we recommend the Hofmeister edition, available herePLN 50.75

Kopprasch, Georg Sixty Studies for High Horn, op. 5, Volume 2 HornMost hornists are well acquainted with Kopprasch's op. 6 low horn etudes, as they have been an indispensable staple of the pedagogical repertoire for decades. Now we are proud to make available, for the first time in more than a century, his companion set of etudes for high horn, which make the familiar low horn studies seem awfully tame. This urtext edition respects the composer's indications of dynamics, etc., as reflected in the original 1832 Breitkopf publication, and includes a foreword by Kopprasch authority Dr. John Q. Ericson. The etudes are newly, painstakingly, engraved and are presented in two volumes. Text in German and English. For the traditional low horn etudes, op. 6, we recommend the Hofmeister edition, available herePLN 50.75

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