Symphony No. 7 (Neuheit Trompete)

Symphony No. 7 (Neuheit Trompete) This professionally re-engraved and transposed set of orchestral trumpet parts greatly eases learning and performance of the work. Trumpet 1 in C Trumpet 2 in C Trumpet 3 in C Notes from the Editor Many editions of the Bruckner Symphonies have significant engraving issues. I have modernized the Symphony No. 7 parts in the following manner: Deleted all rehearsal numbers reflecting 10 measure increments. Changed the entire piece from Trumpet in F to Trumpet in C, and deleted all key signatures in favor of accidentals, reflecting the true tonality of the piece. This also greatly simplifies the use of "double accidentals that appear in the original (e.g. showing written A preceded by both a natural and flat sign.) Additional helpful cues have been added, especially in longer passages of rest. 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