Pines of Rome (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
• Offtstage Trumpet in C

Notes from the Editor
On the surface it might not seem that the original engraving of Pines of Rome is a good candidate for a modern edition overhaul.  It is simply one of those pieces that is performed (not to mention practiced) so often that the eye is just trained to see - and accept - the product on the page.  However, a closer inspection reveals that issues including spacing concerns and lack of helpful cueing warranted a modern rending of this orchestral showpiece.  

In this new edition, the following changes have been made:
* Spacing concerns have been tweaked.  Due to the 2/8 time signatures, not a lot of information appears in each bar.  There are instances in the original engraving, however, where staves seemed overly sparse, and that had been addressed in this new edition.
* Missing articulations have been added/standardized between all three trumpet parts.  
* Dynamics have been clarified.  Specifically in Tpt. 1 & 2 four bars before [22], an indication that the cresc. after the "fp" be only "poco" (it's actually a gradual four bar cresc. from p to fff at [22].
* Cues have been revamped in every part for greater road map clarity.
* Modern beaming engraving practices have been implemented. 
* A new separate offstage solo trumpet part has been created (with the flute cue leading up the solo as well).  This part remains in C.  And in line with one of the standart tenens of The Andrew Bishop Orchestral Editions being "if these masterworks were composed today, how would the engraving look?", all three trumpet parts now appear in concert pitch Trumpet in C.    

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