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Trumpet Etude Kopprasch 34


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Trumpet Etude Kopprasch 34


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.


Performance Guide: This etude provides the opportunity to display tone, phrasing, dynamics, and overall musicality. Count in 6 beats per measure (eighth note gets the beat) to aid in rhythmic accuracy and control of the tempo. Create as much dynamic contrast as possible throughout. Good air support is key so always take full, low breaths. With each breath, strive to expand the stomach and lower 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 notes 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.


Performance Guide: This etude contains a variety of articulation patterns. Treatment of note lengths throughout the entire etude should be consistent, even if some tongued passages are not marked staccato (example mm. 36 and 37). All sixteenth note passages should be performed like the opening phrase with staccato notes tongued lightly and with separation. All eighth notes should be played short and lifted even though they do not contain staccato markings. Sixteenth 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 hand, depending upon the surrounding notes. Choosing the correct fingering will 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 arpeggiated sequences to facilitate technique. Use of side fingering for chalumeau D-sharps is a must in measures 11, 13, and 14, etc. Use of side fingering for chalumeau F-sharp in measure 4 is encouraged rather than flipping. Forked low B can be used in measure 22 to more easily facilitate the jump to clarion F. The breath marks provided in the etude are good suggestions, but breaths could be moved to other locations depending on your phrasing choices. For example, many performances choose to breathe at the end of measure 9, rather than measure 10, because they feel it fits the phrase change better. Dynamic markings are limited in this etude. Students are encouraged to create musical phrases by adding crescendos and decrescendos to ascending or descending lines. Observe sudden dynamics shifts in mm. 23-24. Also take notice of the few accents that are included. Remember that, although this is a technical etude, is should be played with expression, good phrasing, direction, and musicality.


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 instructions given at the beginning, "pleasingly and with taste", describe very well how this etude should be approached. Phrasing and musicality should be top priority.Measure 7 indicates a s




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