Guitar - Level 2 - Digital Download SKU: A0.841182 By James Taylor. By James Taylor. Arranged by John Murphy C.S.M.V. Rock. Guitar Tab. 4 pages. John Murphy #5793051. Published by John Murphy (A0.841182). You can close your eyes     James TaylorLearn this classic James Taylor song and master his characteristic finger picking guitar technique.You will learn: 4/4 Fingerpicking rhythm patterns that you can use in many other songs and other genres.Popular and widely used great guitar chord inversions (also sometimes called slash chords, e.g. G/B )to create interesting bass lines that complement the melody of the tune and give direction and forward momentum to the song’s chord progression. Bass driven chord progressions are a characteristic feature of accomplished guitarists like James Taylor and Chet Atkins.‘Clawhammer’ technique or ‘Travis picking’ are the names often given to a style of playing four bass notes to the bar (usually alternating from root to fifth of the chord played with the R.H.thumb). If you listen to the great country guitarist Chet Atkins you will hear this ‘clawhammer’ style in most of his guitar arrangements.Useful hammer-ons/pull-offs and passing notes that will improve your technique and add a professional touch to enhance your guitar performances. See bar for 8 hammer on the A sus chord and also on the B minor in bar 32. Note the pull off on G chord in bar 11.Intro and outro sections are included in this James Taylor guitar arrangement of ‘You can close your eyes’Most songs have intros and outros so that the singer can get the tempo and start in the right key. However, many published arrangements often just start on a pick-up note or two on the last beat of the bar with no chord indicated and end the song on a chord that is not the tonic or main key chord that tells the listener the song has ended. ‘Leaving On A Jet Plane’ by John Denver is a good example. In the key of ‘D’ the song starts with the notes ‘C#’ and ‘E’ and then the first bar is indicated as ‘D’ major chord. If you start the song playing a ‘D’ chord you will most likely sing the wrong notes because ‘C#’ and ‘E’ belong to the A7 chord of the song. So a simple 2 bar intro of ‘D’ , A7 (start singing on the last beat) and back to ‘D’ would help the singer to get the tempo and sing the correct pick-up notes. The printed sheet music of ‘Leaving On A Jet Plane’ ends on an ‘A7’ chord of the chorus and as such does not indicate that the end chord should be ‘D’. So it is not always safe to assume that the end chord in printed music indicates the key of the song. Lyrics with chord symbols to show when to change chords. Matching the fingerpicking tab or sheet music to the lyrics can sometimes prove difficult so I have included a lyrics sheet of ‘You can close your eyes’ with chord symbols. This is a very popular format to give an indication when to change chords. However, the drawback is that there is no way of knowing how long each chord lasts as the bar structure is missing. But once you learn the bar structure from the sheet music or tab part you will find this Lyrics and chords sheet of ‘You can close your eyes’ your go to page for performing the song until you know it from memory.Downloads available Include:Score Tab Chords Lyrics For GuitarNotes Chords Lyrics For GuitarTab Chords Lyrics For GuitarIf you like or buy this arrangement it helps if you leave even a brief review- two words( very good) or even better one word (Awesome) :)Contact me at info@guitarlessonsdundrum.comTags :    Sheet music, Tab,  Pop/Rock, Folk , Country, Acoustic Guitar,  Easy  Intermediate

Piano Solo - Level 3 - Digital Download SKU: A0.906731 Composed by Joy GIlmore, Hsin Hui Kuo. 20th Century,Instructional. Score. 6 pages. Joyful Sound Music #13245. Published by Joyful Sound Music (A0.906731). Oh! My Goodness for Advance Level About this song: One of my students loves a song of mine, titled, Holy Moly Wow Wow Wow. She told me that I should write another song called, Oh! My Gosh or Oh! My God. I said I would think about it. Later, I felt as if it was strange to have God's name in the title, so this is the reason why I changed the title to Oh! My Goodness. This is a light, lively song. It is especially for the teen. From ms. 1 to 4, both hands are following the syllables of Oh! My Good-ness with the triads going down from A to G to F and E. The triad movement makes a sound of surprise like a scream. Watch for the coordination between the two hands on ms. 10, 14, 18, In ms. 28 and 29, the same two measures appear again with different fingering. The tempo control on this song is very important. Make sure not to drag or speed up in the middle of the song. This PDF is designed for two sided printing. It is going to look like a sheet music book. This is the reason why there is one blank page in some of the songs. You can also just print the sheet music pages only.  Youtube video https://www.youtube.com/watch?v=tlXJ_uyZJm4

Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - Digital Download SKU: A0.1475437 Composed by Chris North. Contest,Festival,Historic,Multicultural,World. Brass Band. 189 pages. Danetre Music #1052989. Published by Danetre Music (A0.1475437). A Suite for British Style Brass Band. Each movement is based on a famous French Impressionist painting as follows:1. Boulevard Montmarte (Pissarro – 1897) The Boulevard Montmartre is one of the four grand boulevards of Paris. This painting gave me the idea of writing a piece to portray a journey in a pony and trap through this busy street scene, starting out serenely in the suburbs, travelling through all the hustle and bustle, before trailing off into the distance.  An all pervasive Poulenc mouvement perpetual accompaniment style is present throughout this movement. 2. Lac d'Annecy  (Cézanne - 1896) Although marked Waltz triste (sad waltz), the mood of the music is rather reflective in nature. This movement is the longest of the five and I would not recommend it being played too slow. Stylistically, it is a characteristic accordion piece, so touches of rubato here and there wouldn’t be out of keeping.  3. La Cathédrale de Rouen  (Monet - 1894) This is the most difficult movement to play in respect of intonation, with lots of unisons, octaves and parallel intervals. The opening should be a true piano in order to allow the piece grow. The plainsong statements should be played smoothly and with plenty of air.  4. Les Parapluies  (Renoir - 1884) A jaunty, playful theme leading in to a little fugue. A little low in places for the euphoniums and baritones. The music should skip along comfortably without rushing to allow the finer detail to come through.  5. Au Moulin Rouge  (Toulouse-Lautrec - 1895) A lively tempo, always chasing forward without slackening. As in the previous movement, good dynamic contrast, swells and tight precise articulation. Lots of work for everyone, especially the baritones and euphoniums. Take care that the mf dynamic of the 'bass solo' is not overdone. If needs must, the siren whistle could be substituted with a referee's whistle, but I would like my duck call! The champagne cork 'pops' are really more visual than audible, however, it would be advisable for more of the band to join in,  as required. A super work to add to your repertoire as a concert or contest item. This title has already been played by a number of bands in various competitions, and was chosen as the 4th Section Test Piece for the Butlins Mineworkers Brass Band Championships 2015 in Skegness, UK.

Guitar - Level 3 - Digital Download SKU: A0.841181 By James Taylor. By James Taylor. Arranged by John Murphy C.S.M.V. Rock. Guitar Tab. 4 pages. John Murphy #5793043. Published by John Murphy (A0.841181). You can close your eyes     James TaylorLearn this classic James Taylor song and master his characteristic finger picking guitar technique.You will learn: 4/4 Fingerpicking rhythm patterns that you can use in many other songs and other genres.Popular and widely used great guitar chord inversions (also sometimes called slash chords, e.g. G/B )to create interesting bass lines that complement the melody of the tune and give direction and forward momentum to the song’s chord progression. Bass driven chord progressions are a characteristic feature of accomplished guitarists like James Taylor and Chet Atkins.‘Clawhammer’ technique or ‘Travis picking’ are the names often given to a style of playing four bass notes to the bar (usually alternating from root to fifth of the chord played with the R.H.thumb). If you listen to the great country guitarist Chet Atkins you will hear this ‘clawhammer’ style in most of his guitar arrangements.Useful hammer-ons/pull-offs and passing notes that will improve your technique and add a professional touch to enhance your guitar performances. See bar for 8 hammer on the A sus chord and also on the B minor in bar 32. Note the pull off on G chord in bar 11.Intro and outro sections are included in this James Taylor guitar arrangement of ‘You can close your eyes’Most songs have intros and outros so that the singer can get the tempo and start in the right key. However, many published arrangements often just start on a pick-up note or two on the last beat of the bar with no chord indicated and end the song on a chord that is not the tonic or main key chord that tells the listener the song has ended. ‘Leaving On A Jet Plane’ by John Denver is a good example. In the key of ‘D’ the song starts with the notes ‘C#’ and ‘E’ and then the first bar is indicated as ‘D’ major chord. If you start the song playing a ‘D’ chord you will most likely sing the wrong notes because ‘C#’ and ‘E’ belong to the A7 chord of the song. So a simple 2 bar intro of ‘D’ , A7 (start singing on the last beat) and back to ‘D’ would help the singer to get the tempo and sing the correct pick-up notes. The printed sheet music of ‘Leaving On A Jet Plane’ ends on an ‘A7’ chord of the chorus and as such does not indicate that the end chord should be ‘D’. So it is not always safe to assume that the end chord in printed music indicates the key of the song. Lyrics with chord symbols to show when to change chords. Matching the fingerpicking tab or sheet music to the lyrics can sometimes prove difficult so I have included a lyrics sheet of ‘You can close your eyes’ with chord symbols. This is a very popular format to give an indication when to change chords. However, the drawback is that there is no way of knowing how long each chord lasts as the bar structure is missing. But once you learn the bar structure from the sheet music or tab part you will find this Lyrics and chords sheet of ‘You can close your eyes’ your go to page for performing the song until you know it from memory.Downloads available Include:Score Tab Chords Lyrics For GuitarNotes Chords Lyrics  For GuitarTab Chords Lyrics  For GuitarIf you like or buy this arrangement it helps if you leave even a brief review- two words( very good) or even better one word (Awesome) :)Contact me at info@guitarlessonsdundrum.com

Jazz Combo - Level 4 - Digital Download SKU: A0.970739 Composed by Eduardo Arolas. Arranged by Mike Strand. Concert,Jazz,Latin,World. Score and parts. 3 pages. Michael M. Strand #4895835. Published by Michael M. Strand (A0.970739). Arranged by Mike Strand, ASCAPâ??This is a lead sheet for a jazz or Latin combo or ensemble.  It may serve as the basis for a variety of arrangements, improvisations, or contrafacts.The audio sample is a jazz bossa nova iReal Pro accompaniment, combined with the lead sheet melody in Finale PrintMusic.  In this arrangement, you will hear acoustic guitar and violin, often heard in tango ensembles in the early 20th century. This bossa nova is inspired by Eduardo Arolasâ??s never-published tango, Volcán (Volcano).  At least itâ??s never been published according to the todotango.com web site.  Eduardo Arolas is a famous tango composer who is well documented on that web site.  Also on that web site, you can listen to Osvaldo Requenaâ??s piano performance of Volcán from Arolasâ??s original piano sheets (written circa 1917).   Years ago, I developed and wrote a tango quintet arrangement of Volcán by listening carefully to Requenaâ??s recorded piano performance on the web site.  My quintet arrangement, in turn, was my source for writing this bossa nova arrangement.   So, now Volcán has finally been published, but as a bossa nova!  Wherever Señor Arolas may be, I hope he understands.  In this bossa nova arrangement, I believe I've preserved the spirit of Arolas's original tango.Without knowing exactly what was in Eduardo Arolas's mind when he wrote the original tango, this is my personal idea of the message behind the music:Introduction:  Let me tell you a story about a volcano that happened long ago.Part A (bars 5-20):  It's a sad tale about human helplessness and suffering in the face of natural catastrophe.Part B (bars 21-36):  The people living in a town below a volcanic peak were going about business, leisure, and play, experiencing the ordinary cares and pleasures of life.Part C (bars 41-52): One day, without warning, the volcano erupted, with smoke, falling hot rocks and ash, and hot lava flows.  Some folks got away, but others were killed, buried or injured, and all that was left of the town was devastation, suffering, and, eventually, calm.Part A' (bars 53-end):  A sad tale, but may we learn from it, and may the souls of the poor victims rest in peace.If you listen to and read the lyrics of Arolas's great tango, La Cachila, or listen to another superb tango of his, El Marne, you will witness further his talent and skill in composing dramatic music.  My piano arrangement of La Cachila is for sale on this web site.

Piano Solo - Level 5 - Digital Download SKU: A0.1028034 Composed by Maxwell Olson. Contemporary,Jazz,Latin,World. Score. 7 pages. Jake Madeira #3223163. Published by Jake Madeira (A0.1028034). This étude is one of energetic character with simple, yet powerful melodies and rhythms that create a sense of curiosity. I composed this piece in a simpler form when I was around 17, in my high school music theory class. All of the ideas were there, melody and structure, but what it lacked was experience. It felt flat. So, 5 years later, after I rediscovered the piece, I decided to put some time into adding flavor, excitement, and intrigue. In doing so, I hope that I've created not only a technical challenge that will strengthen your skills, but a fun piece of music that you'll love to play!Split into three parts in an ABA format, this piece features a main theme divided by a softer second theme, both of which provide technical challenges in their own rights. The first focus of this étude is to build stamina in maintaining rapid octave progressions in each hand. This is coupled with quick jumps in the right hand that require precise and deliberate movements to perfect. The second focus is to strengthen control over legato passages in rolling arpeggios, while maintaining a delicate touch for the melody, and exercising the dynamic range of the fingers.In practicing this piece, it is very important to start slowly and with definitive control in all sections! It cannot be stressed enough how much of an impact bad habits can make on the execution of this étude. If you work diligently on finger control and technique, it will stick with you in all of your future endeavors! Be warned though: this is a difficult piano solo. It will take time and effort to learn, however, those efforts will all pay off in the end. Don't let it discourage you. I wish you all luck in learning this étude, and if you have any questions at all, please feel free to email me at walkingreject@gmail.com.

String quartet - difficult - Digital Download SKU: S9.Q771471 ‘hana no hanataba’. Composed by Julian Anderson. Downloadable. Duration 23 minutes. Schott Music - Digital #Q771471. Published by Schott Music - Digital (S9.Q771471). My 3rd String Quartet is in six contrasted movements. Certain musical figures recur across the work, but there are few themes as such. The main emphasis is on contrast of mood, texture, harmony, pacing and timing. Unlike many of my works this quartet had no extra-musical inspiration, and in principle should have no subtitle. Certain features already present in my music became more prominent in this new work: modes (limited collections of pitches) have always helped me to focus musical character, but here a sense of key note for each mode became much more pronounced, as did the difference between modes for each section of the work. A sort of hybrid key-system emerged (even with equivalents of major and minor) which is not normal tonality, nor does it aim to imitate it. Unlike tonality this key-system includes noises, extended performance techniques and intervals outside Western tuning as available resources. What I hope it does is to focus the listening experience onto different musical areas, to encourage a sense of both modulation from one area to another and to give the music a sense of goal. No conscious knowledge of this is needed when listening: the music should communicate directly on its own.Here, then, is this collection of six musical colours, related and unrelated, different yet belonging together, variable yet in a set order. Hence the subtitle, chosen both for both its sound and its sense: ‘hana no hanataba’ meaning, in Japanese, ‘bouquet of flowers’.A brief description:1)Moderately fast. Short droplets of sounds gather increasing momentum. 2)Very fast. Canons and bells at different speeds.3)Very slow – fast – very slow – very fast – very slow. The main slow movement and its main scherzo. An emphasis on non-tempered tunings and on inhaling and exhaling waves of sound. The slow sections feature florid melodic writing. In the exuberant scherzo competing duos and trios create imaginary folk music.4)Extremely fast/extremely slow. Open strings and harmonics fuse into a single string instrument – like a sort of large resonating Medieval tromba marina.5)Very fast. A variation on movement 2). Variation, Schoenberg told Cage, is just a sort of repetition ‘with some things changed and others not.’6)Slow - Very Fast - Fast – Slow. The opening calm harmonies and florid melodies evoke movement 3) in different music. The fast part features one overt theme: a fanfare-like call to attention which is subject to extensive development. There is much use of non-Western tuning. At its climax the music freezes into a frieze – a wall of sound standing in front of the audience with increasing obstinacy and certainty as the work grinds towards its cadence.

Trumpet Solo - Level 4 - Digital Download SKU: A0.1018953 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078693. Published by Benjamin Sajo (A0.1018953). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Double Bass,String Bass Solo - Level 4 - Digital Download SKU: A0.1018960 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078717. Published by Benjamin Sajo (A0.1018960). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Violin Solo - Level 4 - Digital Download SKU: A0.1018956 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. 2 pages. Benjamin Sajo #6078707. Published by Benjamin Sajo (A0.1018956). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Bassoon Solo - Level 4 - Digital Download SKU: A0.1018948 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078681. Published by Benjamin Sajo (A0.1018948). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Clarinet Solo - Level 4 - Digital Download SKU: A0.1018946 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078675. Published by Benjamin Sajo (A0.1018946). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Cello Solo - Level 4 - Digital Download SKU: A0.1018958 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 2 pages. Benjamin Sajo #6078715. Published by Benjamin Sajo (A0.1018958). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

French Horn Solo - Level 4 - Digital Download SKU: A0.1018950 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Individual part. 1 pages. Benjamin Sajo #6078687. Published by Benjamin Sajo (A0.1018950). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.

Full Orchestra - Level 4 - Digital Download SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  â€ƒThe second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.