KOPPRASCH HORN ETUDES PDF

While I think purchasing a copy is a better idea in the long run, the IMSLP edition is definitely suitable if you need something quick, or you want to look and see what the Kopprasch etudes are all about. Here is Kopprasch Without good tonguing, the slurs especially upwards will be much more difficult and labored and the repeated tongued note in the middle of each 16th-note group will sound more like a tie than a rearticulation. This is mostly arpeggios going up, and scales going down. There are only a couple of accidentals, so this mainly focuses and scales and arpeggios in the key of C.

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While I think purchasing a copy is a better idea in the long run, the IMSLP edition is definitely suitable if you need something quick, or you want to look and see what the Kopprasch etudes are all about.

Here is Kopprasch Without good tonguing, the slurs especially upwards will be much more difficult and labored and the repeated tongued note in the middle of each 16th-note group will sound more like a tie than a rearticulation. This is mostly arpeggios going up, and scales going down. There are only a couple of accidentals, so this mainly focuses and scales and arpeggios in the key of C. These dynamics are relatively nuanced for Kopprasch. Although there are only two main dynamics, there are quite a lot of written crescendo and diminuendo.

Technical Tips For the repeated notes: In order to get used to the strength of articulation necessary on the repeated note, practice the 16th note patterns very slowly, and with a short or clipped second and fourth note i.

While not a good habit to get into especially if you are trying to speed it up , this shorter note will enable you to hear and evaluate the quality of your articulation a little more easily.

Once you are aware of the feel and sound of the good articulation, then play the 2nd and 4th 16ths at their written length. Play just the first and second notes i. This is an example of some of the nicer editorial marks in the print versions of these etudes!

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Georg Kopprasch

Georg Kopprasch c. From a musical family, Kopprasch was the son of composer Wilhem Kopprasch c. By Kopprasch had returned to Dessau and played second horn in the court orchestra, where he likely spent the remainder of his career. Kopprasch wrote two sets of sixty etudes for horn, opus 5 for high horn and 6 for low horn, however only opus 6 low horn gained wide popularity, and is still published today—typically in two books of thirty each. Some early publications incorrectly attribute "C" Kopprasch. These etudes have also been transcribed for other brass instruments, such as tuba and trombone.

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Download the Original Kopprasch Etudes

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60 Etudes for High-Horn, Op.5 (Kopprasch, Georg)

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