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  • £25.50

    Hopelessly Devoted To You - John Farrar - Gavin Somerset

    With Grease celebrating its 40th anniversary this year, this new Soprano Solo comes at the perfect time. The song was written by John Farrar, as the contractually agreed vocal solo for Olivia Newton-John to perform in the film. With simple accompaniments and a song well-known by audiences of all ages, this title is the perfect choice for Soprano players looking to combine their lyrical playing with power in the top register (highest note top C). A must have in the repertoire for soprano cornet soloists. **An alternate lower soloist part is also provided with this publication. FREE SOLOIST PART: CLICK HEREFREE ALTERNATE SOLOST PART: CLICK HERE

    In stock: Estimated delivery 1-2 days

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  • £27.50

    It's Not Where You Start - Coleman, C - Broadbent, D

    Cy Coleman, Tony awards for his Broadwaymusicals. Seesaw opened on Broadway in1973, ran for 296 performances and wenton to win a Tony Award for best musical. It'sNot Where You Start (It's Where you Finish)was one of the big hits of the show. A realjazzy addition to your library.4th section +

    In stock: Estimated delivery 1-2 days

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  • £27.50

    Well, Did you Evah! - Porter, C - Somerset, G

    Released in 1956, the Hollywood musicalHigh Society was a musical remake of ThePhiladelphia Story. It had a star studdedcast, including Frank Sinatra, Bing Crosby,Grace Kelly and Louis Armstrong (whoplayed himself). Gavin Somerset'sarrangement of Well, Did you Evah!faithfully reproduces the famous Crosby/Sinatra duet for two euphoniums.Entertainment at its best!!4th section +

    In stock: Estimated delivery 1-2 days

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  • £46.20

    Haven't Met You Yet - BublA?'AEAA(c)

    Estimated delivery 12-14 days
  • £24.00

    We Wish You a Merry Christmas (with Choir and optional Bell Choir) - Traditional

    This traditional carol is arranged for band and chorus with optional bell choir. It was designed - and has been used effectively in this way - as a short encore to a Christmas concert. It is possible to invite the audience to join the final chorus (letter C).The publisher permits the user to copy as many Choir and Bell Choir parts as necessary.

    Estimated delivery 12-14 days
  • £46.20

    You Needed Me - C.R. Goodrum

    Soprano Cornet Solo with Brass Band

    Estimated delivery 12-14 days
  • £49.95

    Blaze - Phil Lawrence

    Cornet/trumpet sounds have been changing for some years; they are becoming heavier, more robust, slower vibratos. The dynamic level now pushed out by your average solo cornet is 30% more than it was some 35/40 years ago. This, is mainly due to the bore size of instruments and mouthpiece sizes (as in bigger), and, demands of modern day works for band on the player/soloist, and of course a greater demand of styles on the player, and progressive teaching methods. The technical styles in Blaze are about these changes.In Blaze I have clearly blended symphonic blowing styles of the trumpet plus the virtuosic attributes of today's modern cornet player. Many solo cornets parts (more past than present) in band are often clearly defined between low A and top C above the stave. Orchestral trumpet players need a working range of another fourth at either end of this defined range; I have incorporated this range into the concerto. The low register is much explored, and the average tessitura throughout is constantly varied below and above the stave from pedal Eb to super F# opt. The ideology of this blend of course makes sense as the original dedication is to Rod Franks, LSO, and of course blending with that is Rod's history at Black Dyke Mills Band.The concerto is ten minutes long and in one movement comprising of four sections and one solo cadenza, with one section only appearing once, an episode. This singular section was a revised addition and dedicated to Richard Marshall who gave the first premier in New Zealand in June 2003. For the purists the form is thus, A, B, A (vari), C (episode). D (slow movement), E (3/8 episode 1), D (vari), E, (episode 2). A (last move), B, A (developed) = (coda finale).The compositional style? Well, I hope quintessentially, 21st C English with an element of nostalgia (modal/old English). There are some hints at jazz playing styles and rhumba, but romantic English I would say, and especially the slow movement.Blaze is also very bold; the title itself reflects this, full of bravura and constant amazement, offering little respite for the soloist and sapping much stamina. The opening statement from the soloist is without accompaniment; just as a matador stands alone in the ring for the first few seconds, and looks at the mass crowd in defiance, he thinks, "you are here to see me die", so the soloist stares the audience back in the face, and opens with the richest, largest sound (not loudest) one can muster, thus throwing the gauntlet down to the ears of all who might disbelieve what they are about to encounter, a gladiatorial cornet, a Blaze from the stage.For the soloist, it is a non-stop Blaze of sound, electrifying technique, sage-like musicianship, super-human stamina and sheer matador-like bravura with 10th Dan mastery of over-all control, a test beyond the reasonable. And for the audience? Of course, a BLAZE never to be forgotten. Phil LawrenceThis work can be heard performed by cornet soloist Richard Marshall & the Grimethorpe Colliery Band on their award winning album entitled 'BLAZE'

    Estimated delivery 5-7 days
  • £6.99

    Favourite Marches and Hymn Settings of The Salvation Army

    Marches include: Amsterdam Congress; A.R.C Centennial March; Balga Citadel; Brazil ‘75; Cairo Red Shield; California; Camp Fellowship; Cobham Hall; Croydon Citadel; Danforth Citadel; Etobicoke Youth; Hadleigh Camp; Hollinwood; In the King’s Service; Minneapolis IV; New Commission; Norwich Citadel; Powerpoint; Rosehill; Rousseau; South Coast; Spirit of Endeavour; The Fount; The Young Salvationist; Visitors Acclaimed; Victory Parade; Washington Salute 125; Wisbech Citadel; Zimbabwe Centenary.Hymns include: A Gaelic Blessing; Amazing Grace!; As the Deer; Be Still for the Presence of the Lord; Blacow; Come, Beautiful Christ; Deep and Wide; Deep River; Fall Afresh; From Earth’s Confusion; He Cares for Me; I Know Thou Art Mine; I Love You, Lord; I Need Thee; I Vow to Thee, My Country; I Will Enter His Gates; In Perfect Peace; It is Jesus; Knowing You; Lift Up the Banner; Lord, With My All I Part; Make Me a Channel of Your Peace; Martyn; ‘Mid All the Traffic; Morning Star; Of Whom I Sing; People Need the Lord; Peter, James and John; Pie Jesu; Praise Him with Song!; Prayer of Childhood; Prayer of Thanksgiving; Reverie; Sacrament; Serenity; Share My Yoke; Someone Cares; Stand Up for Jesus!; Standing Somewhere in the Shadows; Swing Hosanna; The Pearl; The Reason; This is My Story; Thy Will to See; Whiter than the Snow; You Know that We Love You!.

    Estimated delivery 12-14 days
  • £38.00

    Seafood Shuffle - Peter Martin

    Energetic music which invites you to dance, because it is hard to keep still with this shuffle. And you don't have to. Feel like a fish in water in this Seafood Shuffle which includes some flashy solos. Solo parts in C, Eb and Bb are included.

    Estimated delivery 10-12 days

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  • £10.00

    Paul McGhee: Kjeden

    Subtitled dialogue for Euphonium and Brass Band, Kjeden aims to explore the relationship between soloist and ensemble. The ensemble, rather than merely accompanying; interacts with the soloist and creates soundscapes which become the backdrop for the soloists extended passages. Many instruments from the ensemble become lead lines in the material and there is a constant dialogue between the instruments as each fights for importance. Using the idea of a chain the five sections of the piece are interlinked and the point where one ends and another begins is often blurred and distorted. Each section emerges from the material which precedes it and constantly gives reminders of what has gone before as well as introducing new material.Dance like passages and fast rhythmical sections flow in and out and morph into musical ideas of highly differing character with contrast being the primal element which propels the music and creates momentum. Although the music draws to a definite conclusion, the re-introduction at the end of the piece of motifs and moods that occur at the beginning of the work mean that the music comes full circle, finishing where it began. Indeed, it is the intention that the music in fact has no ending and is to be played on a loop continuously; further blurring the boundaries and becoming an unbroken chain of material.A recording of Kjeden can be heard below (from Paul’s Soundcloud page)and you can see a preview of the solo part here.Duration: c.21 minutes

    Estimated delivery 5-7 days

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