Trumpet Etude Kopprasch 34

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

Performance Guide:
 This etude provides the opportunity to display tone, phrasing, dynamics, a=
nd overall musicality. Count in 6 beats per measure (eighth note gets the b=
eat) to aid in rhythmic accuracy and control of the tempo. Create as much d=
ynamic contrast as possible throughout. Good air support is key so always t=
ake full, low breaths. With each breath, strive to expand the stomach and l=
ower back. As you blow, stay expanded and keep focusing the support low by =
pushing down and out against your abdominal muscles and lower back. For the=
 second turn in m. 26, use the 2nd RH side key to play the upper note D and=
 return to the standard fingering for the D 64th note. One way to interpret=
 the phrases marked inquieto (m. 9) and incalzando (m. 13) is to play each =
phrase with a crescendo and with a slight acceleration into the 32nd notes.=
 Lean into the accented notes with your air to aid in making the crescendo.=
 In m. 18 be sure to rearticulate the second E in beat three. The trill in =
m. 25 should be played by fingering the B-flat and trilling with the top 2 =
RH side keys. Measure 37 is a cadenza so play this with a sense of freedom =
to create musical interest. Re-establish tempo for the repeated C quarter n=
otes in the second to last measure and try to imitate the sound of a large =
bell that decays on each note as you die away to the end.


Trumpet Etude Kopprasch 34
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Performance Guide:
 This etude contains a variety of articulation patterns. Treatment of note =
lengths throughout the entire etude should be consistent, even if some tong=
ued passages are not marked staccato (example mm. 36 and 37). All sixteenth=
 note passages should be performed like the opening phrase with staccato no=
tes tongued lightly and with separation. All eighth notes should be played =
short and lifted even though they do not contain staccato markings. Sixteen=
th notes should stay even and consistent in pulse at all times. Do not let =
articulation affect the rhythmic integrity of the performance.

There are two ways to finger clarion C-sharp, either in the left or right h=
and, depending upon the surrounding notes. Choosing the correct fingering w=
ill help students avoid sliding their right or left hand pinkies to connect=
 notes in the same hand. Use of right-hand clarion B is encouraged in arpeg=
giated sequences to facilitate technique. Use of side fingering for chalume=
au D-sharps is a must in measures 11, 13, and 14, etc. Use of side fingerin=
g for chalumeau F-sharp in measure 4 is encouraged rather than flipping. Fo=
rked low B can be used in measure 22 to more easily facilitate the jump to =
clarion F.=20

The breath marks provided in the etude are good suggestions, but breaths co=
uld be moved to other locations depending on your phrasing choices. For exa=
mple, many performances choose to breathe at the end of measure 9, rather t=
han measure 10, because they feel it fits the phrase change better.=20

Dynamic markings are limited in this etude. Students are encouraged to crea=
te musical phrases by adding crescendos and decrescendos to ascending or de=
scending lines. Observe sudden dynamics shifts in mm. 23-24. Also take noti=
ce of the few accents that are included. Remember that, although this is a =
technical etude, is should be played with expression, good phrasing, direct=
ion, and musicality.=20



Performance Guide:
 This slow etude offers many opportunities for musical playing. The utmost =
attention should be given by dynamic and style markings while not limiting =
the performance to only what is written on the page. The character instruct=
ions given at the beginning, "pleasingly and with taste", describe very wel=
l how this etude should be approached. Phrasing and musicality should be to=
p priority.

Measure 7 indicates a slide needed between the D-sharp and C-sharp in beat =
one. This can be done on the right hand side, or the left D-sharp can be us=
ed (if available on the instrument) which makes it possible to play beat on=
e and two without sliding. Side F-sharps should be used in anywhere they ar=
e juxtaposed with an E-sharp with the possible exception of mm. 19-20. Meas=
ure 10, beats 2 and 3, require that the student use right-hand B and left-h=
and C-sharp in order to get to the G-sharp in beat 3 easily. The use of for=
k B should be considered in m. 24 and 37 when next to an A-sharp.

The turn in m. 31 happens on the upbeat of count four and includes the foll=
owing notes: E, F-sharp, E, D-sharp, E. Likewise, the turn in m.32 happens =
on the upbeat of count four and includes the following notes: F-sharp, G-sh=
arp, F-sharp, E, F-sharp. In facilitating this turn, use as little wrist mo=
vement as possible.

Performance Guide:
 This etude has a combination of both technical and lyrical lines. Students=
 should aim to create contrast between these two styles by playing fast sta=
ccato passages cleanly and with separation between notes, and using good ai=
r support in lyrical sections to create smooth, connected phrases. Avoid ru=
shing in slurred notes, especially in slur-2-tongue-2 phrases where it is m=
ost common.=20

The turn in m.7 happens on the upbeat of count three and includes the follo=
wing notes: F, G, F, E, F. Grace notes in m.33 should be placed just before=
 the beat.

Note the change in tempo and style in measure 20. Tempo here should be Quar=
ter Note =3D 88-94. Take advantage of the slower tempo to accentuate the st=
yle of this section. Look up definitions of all Italian instructions given =
and adhere to these styles.=20

Staccato notes should be played short and cleanly with the tip of the tongu=
e touching the tip of the reed. Marcato notes in m. 18 should be played wit=
h a heavier tongue stroke and quick bursts of air to create short and accen=
ted notes. Articulated notes in m. 23 should be played with a legato tongue=
 stroke using the syllable du" and deliberate pronunciation. All articulate=
d sixteenth notes in mm. 48-49 should be played staccato.

Performance Guide:
 This etude has two very distinct sections. The first, mm 1-44, is light an=
d bouncy. The second, mm45-108, is more lyrical and connected. There should=
 be no tempo change or slowing down in the second section. The rhythm and l=
yricism create the feeling of a slower tempo on their own, The entire etude=
 should be felt in one rather than three. Both sections should feel like a =
dance.
The first section, mm1-44, is in the key of c-sharp minor. The articulation=
 should be light. Rely more on the air to propel the tongue rather than for=
cing the tongue to move. While this section is marked staccato, this will b=
e taken care of by the tempo. Do not overwork the tongue trying to achieve =
staccato. Ine this section, beat one is most important. Everything should a=
lways lead to beat one, creating a sense of forward motion.
The second section is in the key of D-flat Major. In this section, the styl=
e is more connected and lyrical. The tempo should remain the same as the fi=
rst section with no slowing down. To help with this, make sure you are subd=
ividing the eighth notes accurately through the long notes and rests.
There are several C-sharps and D-flats. You will want to make use of both t=
he short and long fingerings. The short fingering will be used in more tech=
nical passages while the long fingering will be used in more lyrical passag=
es. Both fingerings are provided below.



Performance Guide:
 This etude has a feeling of melancholy. At times, it feels like it is wand=
ering through keys trying to find a tonal center. Use this to inform your m=
usical interpretation. While the etude should feel expansive and never rush=
ed, it is important to establish a steady pulse. Subdivide through long not=
es and rests.
This etude is in the key of b minor. It is important that the tuning of you=
r B-naturals and F-sharps are accurate. The first b-natural of the etude ca=
n be difficult, especially since the etude begins at a piano dynamic. Prepa=
re your voicing, air, and support before you begin. Your voicing should be =
low, think an "ahhh" syllable and start your support before you start the n=
ote.
There are several high F-sharps throughout this etude. For this etude, I re=
commend using the fingering provided below. This fingering will provide acc=
urate tuning and ease of response whether tongued or slurred.
M 10 and m 12 contain some grace notes that are important to discuss. It is=
 important to create space to execute these grace notes so that they don't =
feel rushed. The grace notes in m 12 will be started earlier than those in =
m 10, but in both cases be sure that beat three is not delayed. There are t=
wo trills in this etude, one in m 15 and one in m 40. The trill in m 15 sho=
uld be started on the A-natural and trill down to G-sharp. The trill in m 4=
0 should be started in the F-sharp and trill up to G-natural. In both cases=
, stop the trill in time for the grace notes to occur before the next beat.



Performance Guide:
 In this etude, the rooftop accents should be seen more as an emphasis on t=
he first note of each beat rather than a harsh accent. Although these accen=
ts are absent after the first measure, the emphasis on the first note of ea=
ch beat should continue whenever this pattern appears.

There are a lot of large leaps throughout this etude, specifically in mm 5-=
6 and mm 41-42. While these leaps are difficult, they can be helped by usin=
g what I refer to as "donkey calls". Think of the sound a donkey makes, "ee=
ee ahhh, eeee ahhh". By employing these quick vowel syllable changes intern=
ally, response on the low notes will improve.
Staccato on the sixteenth notes throughout this etude will be helped by the=
 tempo. Avoid over working your tongue and focus on allowing the air to pro=
pel the the tongue rather than forcing the tongue to move.
There are three trills and a mordent in this etude. The mordent in m 8 can =
be achieved by using the trill key between the first and second tone holes =
on the left hand. This is not a trill but rather a quick up and down, only =
once. The trills in m 32 are straightforward, C to D and E to F. For the F-=
sharp to G trill in m 45, start with the F-sharp fingering provided below t=
hen trill the second finger on the right hand. For all of the trills, stop =
the trill on the primary note before executing the grace notes.
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