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  • £25.00 £25.00
    Buy from Peter Meechan Music

    Cantus (on E.D.) - Peter Meechan

    From Leanne Stamp:"As musicians,I think we really identify ourselves and our existence on being musicians. And we collect these teachings and bondsalong our path. But whendoes it happen? When does that moment happen that someone becomes an integral part of the fabric that makes you who you are? Or when can you pinpointthe momentthat you realize that a person was essential in your path? I don’t think we know. And all too many times it isn’t until someone is gone that we truly reflect and try to figure it out.When Ed De'Ath joined our band (Las Vegas Brass Band) he hadn’t played in over 20 years. He heard the brass band and decided he wanted to go back to playing, and within a few weeks became a member of LVBB.He had grown up playing in Canada, where his father was a brass musician too, and Ed was quite an accomplished young euphonium player competing in competitions and playing in Salvation Army bands.But life happened and it lead him away from playing.Even though I was in LVBB a few years before Edjoined, he quickly became an essential part of what makes that group a family. I spent the better part of a decade playing in the same section as him and then about 5 years sitting next to him on either side.Ed always took a sincere interest in myplaying. Praising the good and giving constructive criticism for improvement. For about two years almost every otherSaturdaywasspent playing duets at his house.I left to study at the RNCM in Manchester, UK, before returning to Las Vegas.My first rehearsal back from the RNCM Ed looked at me said, “here you go kiddo, you’ve earned this solo seat”.There was no ego. Only the wish for me to reach my potential. It was always so apparent with Ed the love he shared for the younger musicians and his desire for them to succeed.Ed lit up the room with his enthusiasm and love for music – he just truly loved being there. That special quality that makes a band a family...he knew and treasured that.And although Ed wasn’t my teacher per say, he was an integral part of my fabric.The way Ed left was sudden. He had been fighting bladder cancer in and off for quite a while but things were looking up. Tests were clear. And then a very aggressive pancreatic cancer stole him very quickly, almost without warning.And I will never forget how I felt getting that call. We decided to have rehearsal that night. And for one reason. Because Ed would’ve wanted us to.I will always be grateful to Ed. Grateful that I got tolearn things from him, receive advice, enjoy his company, and feel his love – part of him is with me whenever I play."

    Estimated delivery 12-14 days
  • £34.95

    SLOW RIDE IN A STATIC MACHINE, A (Brass Band) - Lawrence, Phil

    A Slow Ride in a Static Machine was inspired some time ago when my (late) Father came to visit me "down in London" as he put it. It was based not on one of his circular mishaps, but on several! He was always directed carefully, but refused to carry a map in the car! At one time when I lived in North London I would meet him outside the capital, and he would then follow be back to my place, but after I moved to East London I made him bite the navigational bullet and transverse the 'M25 Orbital'. His main problem seemed to be getting off this mesmerising circular cark park. He would often phone (in a weary tone) from the Dartford Tunnel (which is 5 junctions past the one he needed to get off at), asking me to, "bring him in" so to speak. I would always refuse. And then, he would do the opposite (especially when travelling at night), he would phone me up from near Cambridge (he'd gone the wrong way up the M11 away from London by 45 miles), and would ask where he was!The title is obviously a play on John Adams' composition, A Short Ride In A Fast Machine. This quirky tone poem starts as a wind-up by using those unwanted intervals of augmented 4th's and minor 9th's & 7th's in the main tune, before hearing the road works, the juggernauts multi horns, fender-benders, ambulance and police sirens! This then all works to a back beat on kit. The wind-up start gets to an almost Go-Go 1960's Disco middle section (the nostalgic hay-days of the open road), where our wind-up tune falls into place and we all relax as we can now drive at 42.1 mph! We DC, and then get into a right car mess in the Coda!Phil Lawrence.Duration:4:00

    Estimated delivery 12-14 days
  • £34.95

    A Slow Ride in a Static Machine - Phil Lawrence

    A Slow Ride in a Static Machine was inspired some time ago when my (late) Father came to visit me "down in London" as he put it. It was based not on one of his circular mishaps, but on several! He was always directed carefully, but refused to carry a map in the car! At one time when I lived in North London I would meet him outside the capital, and he would then follow be back to my place, but after I moved to East London I made him bite the navigational bullet and transverse the 'M25 Orbital'. His main problem seemed to be getting off this mesmerising circular cark park. He would often phone (in a weary tone) from the Dartford Tunnel (which is 5 junctions past the one he needed to get off at), asking me to, "bring him in" so to speak. I would always refuse. And then, he would do the opposite (especially when travelling at night), he would phone me up from near Cambridge (he'd gone the wrong way up the M11 away from London by 45 miles), and would ask where he was!The title is obviously a play on John Adams' composition, A Short Ride In A Fast Machine. This quirky tone poem starts as a wind-up by using those unwanted intervals of augmented 4th's and minor 9th's & 7th's in the main tune, before hearing the road works, the juggernauts multi horns, fender-benders, ambulance and police sirens! This then all works to a back beat on kit. The wind-up start gets to an almost Go-Go 1960's Disco middle section (the nostalgic hay-days of the open road), where our wind-up tune falls into place and we all relax as we can now drive at 42.1 mph! We DC, and then get into a right car mess in the Coda! Phil Lawrence.

    Estimated delivery 5-7 days
  • £102.00

    Rhapsody in Black - Andi Cook

    Rhapsody in Black - Andi Cook - 10'40'' - BVT126 The primary inspiration for this work comes from the composer’s first encounter with the genre of Symphonic Metal - the opening track of the 2004 Nightwish album 'Once', entitled Dark chest of Wonders. The combination of full orchestra, operatically trained female vocals and the raw power of a Scandinavian metal band was a potent mix that instantly had me hooked.That same dark and powerful sound is one that a brass band can generate, and I've tried to capture that in this composition. Heavy Rock/Metal as a genre is arguably fifty years old now, but symphonic metal is a newer concept, and I feel possibly the one that can bridge the gap between two musical styles very dear to me.Composer Gilbert Vinter had explored through music the connotations that different colours held for him, and his movement Purple from 'Spectrum' gave me an idea for the structure of ‘Rhapsody in Black’. Andi Cook explored the different connotations of one colour within his own life, black being an easy choice due to the personal dichotomy of the black leather jacket he wore to the rock club on Friday night and the black suit jacket and tie he wore to the concert hall the next day.To avoid repetition the word 'black' is omitted from the five movement titles, each of which is a different episode. '...as Thunder' is a furious argument between two people - the top and bottom of the band - set against the backdrop of a storm, with lightning flashing outside while barbs, insults, sarcasm, tears and even violence is traded inside. Following that '...Satin and Pearls' is an old black-and-white movie with a wistful character to it as if we're looking back a screen icon with fondness long after their career or even their life has ended. '...as the Raven's Wing.' is deliberately gothic and funereal, hinting at Edgar Allen Poe's similarly named poem, with undertones of death and afterlife. The shift into F/C Minor (band pitch) represents the descent - alive - into the grave that Poe had a paranoid fear of his entire life. Family and friends standing around grieving, oblivious as we're lowered into the earth despite frantic attempts to make ourselves heard. '...and Chrome' is an unashamed motorcycle reference with all its born-to-be-wild, open air, high speed and freedom overtones. In a deliberate contrast to what went before it continues several of the same motifs though this time in the major key. Lastly, we reprise the second movement with '...as the Night Sky' which is simply the feeling of walking home under the summer stars, with someone important - who that is, is left to the listener, but a walk under the stars is always that bit special.There's an old saying that very few things are black and white. I hope this work will prove that even black alone isn't quite as simple as it's often made out....‘Rhapsody in Black’ is dedicated to the composer’s friend and mentor John Roberts, who shares his love of both brass and rock.

    Estimated delivery 10-14 days

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  • £34.95

    Glory, Hallelujah (Brass Band - Score and Parts) - Larsson, Kevin

    This bright and fun setting of the classic Salvation Army song 'Glory, Hallelujah!', which first appeared in 1899, stylistically embraces music associated with Hollywood. Behind all the 'razzmatazz', the direct message is always clear: 'The devil and me we don't agree, Glory, Hallelujah! I hate him and he hates me Glory, Hallelujah!'

    Estimated delivery 12-14 days
  • £17.50

    Glory, Hallelujah (Brass Band - Score only) - Larsson, Kevin

    This bright and fun setting of the classic Salvation Army song 'Glory, Hallelujah!', which first appeared in 1899, stylistically embraces music associated with Hollywood. Behind all the 'razzmatazz', the direct message is always clear: 'The devil and me we don't agree, Glory, Hallelujah! I hate him and he hates me Glory, Hallelujah!'

    Estimated delivery 12-14 days
  • £44.95

    A Pastoral Symphony (Brass Band - Score and Parts) - Redhead, Robert

    This symphony for brass band seeks to explore the thought that 'the greatest need of any congregation is its pastor's personal holiness'. The first movement challenges the pastor 'to serve the present age', the tunes 'Majesty' and 'Lathbury' are used. The second movement expresses a priority to 'Seek...first the Kingdom of God'. The short third movement presents the question 'Except I am moved with compassion, how dwellest they Spirit in me?' before the triumphant finale reflects the desire of every Christian that his life and work will always be for the glory of God with the presentation of 'In my life Lord, be glorified'.

    Estimated delivery 12-14 days
  • £22.50

    A Pastoral Symphony (Brass Band - Score only) - Redhead, Robert

    This symphony for brass band seeks to explore the thought that 'the greatest need of any congregation is its pastor's personal holiness'. The first movement challenges the pastor 'to serve the present age', the tunes 'Majesty' and 'Lathbury' are used. The second movement expresses a priority to 'Seek...first the Kingdom of God'. The short third movement presents the question 'Except I am moved with compassion, how dwellest they Spirit in me?' before the triumphant finale reflects the desire of every Christian that his life and work will always be for the glory of God with the presentation of 'In my life Lord, be glorified'.

    Estimated delivery 12-14 days
  • £44.95

    Fantasia on 'Glory to his Name' (Brass Band - Score and Parts) - Bright, Dudley

    This Fantasia is a celebration of the work of Ray Steadman-Allen. Through most of his 92 years, his music has had a profound and wide-ranging impact on Salvation Army music. Always innovative, rather than stylistically stereotypical, his music has led the way forward for Salvationist composers. As the title suggests, his light-hearted 1960's vocal solo provides thematic material and highlights his motivation. There are also references to and quotations from several more of his pieces. Yet, although much of his music can be challenging, he has also given us music that speaks directly to the heart. His much-loved songs 'He giveth more grace' ('Blacklands') and 'Remember Me' are heard in humble and sincere tribute to a life dedicated to giving the glory to God through his music.

    Estimated delivery 12-14 days
  • £22.50

    Fantasia on 'Glory to his Name' (Brass Band - Score only) - Bright, Dudley

    This Fantasia is a celebration of the work of Ray Steadman-Allen. Through most of his 92 years, his music has had a profound and wide-ranging impact on Salvation Army music. Always innovative, rather than stylistically stereotypical, his music has led the way forward for Salvationist composers. As the title suggests, his light-hearted 1960's vocal solo provides thematic material and highlights his motivation. There are also references to and quotations from several more of his pieces. Yet, although much of his music can be challenging, he has also given us music that speaks directly to the heart. His much-loved songs 'He giveth more grace' ('Blacklands') and 'Remember Me' are heard in humble and sincere tribute to a life dedicated to giving the glory to God through his music.

    Estimated delivery 12-14 days