Mahler Symphony No. 8 (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
• Trumpet 4 in C
• Offstage Trumpet 1 in C
• Offstage Trumpet 2 in C
• Offstage Trumpet 3 in C
• Offstage Trumpet 4 in C

Notes from the Editor

• This new modern edition of Mahler Symphony No. 8 is yet another effort to bring some of our most important repertoire into the best engraving practices of the 21st century.

• Most importantly is the relaxed spacing format which is much easier to read than the cramped original edition, with material colliding throughout the work.  Other upgrades I have made include the following:

  • A revision of the cues throughout.  I retained some of the cues appearing in the original edition, deleted some I considered superfluous, and added others I felt were more helpful. And all cues are now in their proper concert pitch.  I also supplied a significant amount of cues from the other trumpet parts to help avoid confusion.  

  • I removed the poor practice of double barring every time signature change.  

  • I implemented a modern engraving treatment of beaming and when slurring over ties.

  • All parts now appear in concert pitch Trumpet in C, and therefore all notes are finally spelled enharmonically correct.  

  • I removed all "tacet bis" sections in the trumpet parts within the orchestra in favor of showing at least all major rehearsal numbers/Tempo indications.  I understand why the original edition shows them, but we no longer have to worry about the scarecity of paper.  I did retain some "tacet" sections in the four Offstage Trumpet parts since they are only used at the ends of both Part 1 and 2.  

  • Finally, I added a measure of material that has always been missing from the Trumpet 3 part at rehearsal [193].

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