The Soldier's Tale L'Histoire du soldat (Cornet/Trumpet Part)

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:

• Cornet 1 in C

Notes from the Editor

This modern edition of Stravinsky's The Soldier's Tale endeavors to provide trumpet players with a part that is first and foremost able to be used in a performance situation without a conductor.  Therefore, a significant amount of cues have been added.  

Oversized time signatures have been implemented to better display the formidable amount of changes throughout the piece.

All cornet parts previously appearing for Cornet in A or B-flat now appear for Cornet in C throughout, however, using a trumpet in C is also acceptable.  The use of instrument choice between a cornet or trumpet for Soldier's Tale is many times a personal preference.  Roger Blackburn (former trumpet with the Philadelphia Orchestra 1974-2011) crafted an early transposition of Soldier's Tale for Trumpet in C in 1981.  He states:  "With this fully transposed part, a lot of time can be saved if one uses the C instrument throughout.  A cornet in C is preferable to the trumpet but is usually not required."  He also mentions specifically the quintuplets in the Royal March as it pertains to cornet vs. trumpet usage: "The quintuplets in 'Royal March' were explained to me by a former teacher, Robert Nagel, who recorded this work the composer conducting.  Mr. Nagel summarized Stravinsky as saying that when a cornet is used, slurring all the notes is preferable; when a trumpet is used, tonguing all the notes is preferred, because of each instrument's playing characteristics."  It is the editor's practice that the articulations (regardless of instrument) should be tongued, but also be based on personal preference and ability level of the individual performers.

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