Pictures at an Exhibition (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

Notes from the Editor

It might seem to border on sacrilege to create a “new” edition of this wildly popular staple of the orchestral trumpet repertoire, but there are certainly valid reasons for doing so.

1.    The practice of showing multiple trumpet parts on one page is both lazy publishing and, in this case, has always created problematic and completely unnecessary page-turning issues.  By extracting separate Trumpet 1 and 2 parts, the player will no longer have to navigate a problematic turn from p. 5 to 6, nor be forced to print an extra photocopy of p. 11 or 12. 
 
2.    All Promenades and movement titles are now listed in all parts.

3.    Goldenberg and Schmuÿle now appears for Piccolo Trumpet in A.  This has become the industry standard horn choice with very few exceptions, so the modern part should reflect that.  The first section of the Trumpet 1 part is shown (in concert pitch) in the Trumpet 2 part, as well as the entire Trumpet 1 part shown in the Trumpet 3 part (if the Principal would like one of the other players to assist). I usually ask the 3rd Trumpet 3 to play the final four notes of the Trumpet 1 part (unison with the Trumpet 2) to give me more time to switch back to C trumpet if the music director moves on to 7. Limoges near attacca. 

4.    Ravel is certainly known as being one of the greatest orchestral colorists and orchestrators of all time.  While I wholeheartedly agree with that sentiment, I believe the trumpet parts themselves could be more effectively distributed in the final movement, The Great Gate of Kiev.  I have bracketed a few notes in the Trumpet 1 part to tacet, and have added (also in brackets) them to the Trumpet 3 part.  This not only allows the Principal player to be able to remain focused on the upper register and take a few notes off, but it also has the added benefit of making the Trumpet 3 part more interesting to play.  

5.    The Trumpet 1 and 2 parts are now only eight and seven pages long, respectively, instead of the original twelve-page combined part.

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