Symphony in D minor (Trumpet Parts)

This professionally re-engraved and transposed set of orchestral trumpet parts greatly eases the 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 (a.k.a. Piston 1)
• Cornet 2 in C (a.k.a. Piston 2)
• Trumpet 1 in C (a.k.a. Trompete 1)
• Trumpet 2 in C (a.k.a. Trompete 2)

Notes from the Editor

Trumpet (Trompette) parts originally in F now appear for Trumpet in C (concert pitch)

Cornet (Piston) parts originally in B-flat and A now appear for Cornet in C (concert pitch)

Both Trumpet 1,2 and Cornet 1,2 parts that originally both appeared on the same page have been extracted to four separate parts.  

Correct enharmonic spelling of all notes have been employed.

Clinton F. Nieweg/Jennifer A. Johnson did publish a new edition recently, which did format the parts better than the original engraving (extracted into four separate parts, spaced decently and changed all parts in F or A to B-flat).  However, they chose to show all parts in B-flat and added key signatures, which I found curious since all the parts in the original publication were sans key signatures.  This still creates poor enharmonic spellings, and clumsy usage of accidentals in certain key signatures. 

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 9×12 paper, and is best printed on that size. 

Reading it on 8.5×11 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