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
- Trumpet 4 in C
- Trumpet 5 in C (Opt. Reinforcement of Horns)
- Offstage Trumpet 1-3 in C
Notes from the Editor
One of the biggest issues most original engravings of Mahler Symphonies suffer from is reading the terribly cramped and dense spacing of the music. In this new edition I have endeavored to provide a clear and concise layout devoid of the myriad collisions of the original(s).
For this modern edition, all trumpet parts originally shown in F or B-flat now appear in concert pitch Trumpet in C, and thus all notes are finally spelled enharmonically correct. This also solves the issue of deciphering passages in the Trumpet 4 part which appear with an unreasonable amount of ledger lines below the staff in the original part.
A new custom set of cues have been created for this edition. I have retained some of the original cues, modified them when necessary, deleted some which were superfluous, and added others which I found helpful.
Brackets have been added to triplets throughout the symphony, greatly improving readability.
Articulation and dynamic inconsistencies between the different trumpet parts have been corrected.
A separate offstage part has been prepared which shows the Trumpet 1, 2 & 3 parts in a three stave score. This is helpful both for seeing how all three parts fit together as well as not having to carry the music on stage after performing the offstage section.
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: 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
