Mahler Symphony No. 6 (Trumpet Parts)

This professionally re-engraved and transposed set of orchestral trumpet parts greatly eases learning and performance of the work.  Available as PDF download or hard copy (9″ x 12″). You can buy the parts individually or as a package:

• Trumpet 1 in C
• Trumpet 2 in C
• Trumpet 3 in C (doubles on B♭)
• Trumpet 4 in C (doubles on B♭)
• Trumpet 5 in C (doubles on B♭)
• Trumpet 6 in C (doubles on B♭)

Notes from the Editor

This new edition of the trumpet parts for Mahler Symphony No. 6 was prepared by studying the score of the 2010 New Complete Critical Edition produced by the Internationale Gustav Mahler Gesellschaft and the Kaplan Foundation. The Trumpet 1 extracted part of this edition was also used as a reference. While the trumpet parts to this edition were vast improvements from the original manuscript engraving, many best-practices of music notation were still in need of modernization.

Changes that were made for this new edition include:

• Beaming to better reflect time signatures and tempos.
• Consistent usage of ties/dotted notes, especially as it pertains to beat 3 in 4/4 time.
• Addition of missing tempo markings.
• Modern spacing/style of multi-measure rests.
• Total revision of cues. The trumpet parts for Mahler 6 are significantly independent between the six trumpet parts, and therefore are rife with the potential for wrong entrances, especially after long periods of rest. Many new cues of other trumpet parts have been added to avoid such confusion. Other cue changes include deleting those which seemed superfluous and dense (to the point where they actually obscured regular notes to be played) and changing other cues to more instrument-appropriate examples. All cues now appear in concert pitch as well (except in instances where the part appears for trumpet in B-flat).
• Similarly, mute indications have been carefully curated in this edition. Many instances occur when some trumpet parts are playing muted at the same time that others are open. To further avoid confusion, many mute indications have been added in parenthesis (con sord.) and (senza sord.), usually indicating that while one trumpet part is one way, others are the opposite.
• Courtesy accidentals have been refined. Many have been added, while others that served no purpose have been removed.
• Page layouts, specifically how many systems appear, have been made more consistent. The pages of the 2010 engraving vary wildly, presumably to facilitate page turns, but that has been changed to reflect significantly more equal system distribution.
• All trumpet parts now appear in concert pitch trumpet in C, except in instances in the Trumpet 3–6 parts where range considerations demand switching to Trumpet in B-flat. Trumpet 2 does contain one entrance of sustained low concert F, but the editor determined it was not necessary to list Trumpet 2 as “Doubling B-flat Trumpet.” Furthermore, while it is necessary for Trumpets 3–6 to perform on B-flat trumpet, not every single instance where low F concert is to be played demands a switch to B-flat trumpet. It was the editor’s prerogative to show certain passages in concert pitch, while other passages were determined either significantly easier on B-flat or absolutely necessary—when low concert D is required (in Trumpets 4–6). Those low concert D passages also appear with a footnote stating that alternate and creative solutions are required to play the note(s), such as utilizing an extra-long third valve slide on a B-flat trumpet or perhaps using a four-valve instrument.

The Andrew Bishop Orchestral Editions explore the concept of how these orchestral masterworks would appear if they were composed today.  There are myriad differences in how music is currently published compared to when many of these works were originally engraved.  “Tradition” is usually the (poor) excuse I hear when the topic of updating these masterworks is discussed – most often in reference to transposition(s).  As a performer and teacher, I remain committed to the practice of honing vigorous transposition skills.  However, there are many of these original engravings set in keys that are truly antiquated, and make almost no sense whatsoever to keep perpetuating.  Transposition, however, is the least of the issues most of these original editions suffer from.  Paper is no longer a premium and scarce product, and therefore the practice of cramming as much material on a page is not necessary.  “Readability” was obviously not a concern with copyists of the times, and it is my opinion that the music suffered because of it.  Therefore, a ”Bish Edish” (as they are popularly referred to) features many upgrades, including:

• Judicious spacing throughout the engraving (not too cramped, not too open)
• Correct enharmonic spellings of notes.  This is an unfortunate byproduct of writing in asinine transpositions.
• A careful reconsidering of cue usage.
• Corrections of many inconsistencies between original parts and score, and even between parts themselves.
• The addition of measure numbers, including helpful ranges listed under multi-measure rests.
• Deleting key signatures and writing all parts utilizing accidentals only.
• All parts are formatted for standard Concert 9×12 paper, and is best printed on that size.

Reading it on 8.5×11 is not ideal, but the compression percentage isn’t too significant.  Similarly, reading it off a larger tablet (e.g. iPad Pro) doesn’t present any significant issues.

In some instances, there are other upgrades specific to individual works that will be mentioned within the respective product.  If you happen to find something questionable that you would like to bring to my attention, please feel free to do so at:  trptshallsound@gmail.com.  If it is something that I need to correct, I will be happy to do so and make sure you receive a corrected part/parts.  If you have other works that you would like to have a custom edition made, please also reach out with that as well.

Andrew Bishop, Editor