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1812 Overture (Trumpet parts for sections with 3 players)

1812 Overture (Trumpet parts for sections with 3 players)

Tchaikovsky, Pyotr Ilyich

Arr. Bishop, Andrew

Ed. Andrew Bishop


  • Ensemble: Trumpet
  • Genre: Classical
  • Grade: 4
  • Duration: 16.0 minutes
  • Catalog Number: TSSP-1812-3

This professionally re-engraved and transposed set of orchestral trumpet parts greatly eases the learning and performance of the work.  Available as PDF download or hard copy (9" x 12"). You must buy and play all 3 parts as a set:

  • Trumpet 1 in C
  • Trumpet 2 in C
  • Trumpet 3 in C

This edition is specifically for trumpet sections with THREE players. If you have FOUR, buy this edition.

Notes from the Editor

A common issue for 1812 Overture (besides the original problematic engraving) is the fact that it appears on so many pops shows and patriotic events in cities/towns with orchestras of all sizes. It is often the only piece on a program that requires four trumpeters. And inevitably a decision is made to simply leave off either the Piston (Cornet) 2 or Trompete (Trumpet) 2 part. However, that creates both balance and orchestration issues. I've found myself in this scenario many times with different groups, so I've created a three-trumpet edition that preserves the integrity/balance/orchestration of the four-player original while "distributing the wealth" at the end to give some relief to the 1st player(s).

Additionally, the following engraving improvements have been made in this modern edition:

1. All key signatures have been deleted in favor of showing accidentals.

2. All parts previously appearing for Trumpets in B-flat and E-flat have been changed to Trumpets in C

3. Because all material is now in concert pitch, the proper enharmonic spelling of all notes appears, simplifying things immensely.

4. Superfluous and unhelpful cues that clutter up the page have been deleted. A few custom, more helpful cues have been added.

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 9x12 paper, and is best printed on that size. 

Reading it on 8.5x11 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:  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

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