 | | | Triumphant Spirit | |
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Full of emotional musical statements, "Triumphant Spirit" was written to capture the essence of the spirit of triumph that exists when we endure hardship, and prevail. Written by Timothy Johnson, and published by Curnow Music, "Triumphant Spirit" is destined to become a true concert band classic.
Technical Notes: The keyboard percussion part is labeled "Mallet Percussion" and contains the bells, xylophone and chimes parts. The 1st percussion part is for snare drum and bass drum. The 2nd percussion part is for triangle, tambourine, wind chimes, crash cymbals, suspended cymbal and tam tam.
Note to the Conductor: The opening section (through measure 24) represents the prophet Habakuk, crying out in the wilderness. The alto saxophone plays this plaintive cry solo (cued in the oboe and trumpet parts). The background harmonic structure must remain subservient to the solo. Measures 20 - 23 serve as transition material, during which time the dynamics must be carefully performed. The crescendo that leads into measure 24 must be strong, therefore be sure that the mp that immediately precedes it is performed softly enough, providing plenty of contrast. The Molto rallentando at measure 23 should be very dramatic.
When measure 24 begins, there should be a sudden shift in tempo, style, and rhythm, which is emphasized in the percussion section. The melody that begins in measure 28 should have a decidedly 6/8 feel (in 2), with slight emphasis placed on the downbeat. Measure 31 has a distinct 3/4 feel to contrast the 6/8 lilt. The accents in this measure will help create this contrast. It is important that the sixteenth notes in measure 35 not be rushed; yet, that they create a sweeping effect into measure 36. The dynamic contrast found at measure 44 helps create a diversion from the driving rhythm, which has been present thus far in this section. Notice that the 6/8, 3/4 feel alternates throughout this phrase. The crescendo found at measure 51 leads back to a restatement of the main theme at measure 51, which has a climax at measure 62. At this point, a variation of the 3/4 rhythm is presented in the low brass, low woodwinds, and percussion, which gradually fades away. Measures 74 - 78 serve as an introduction to the main hymn tune that is used in this composition. The hymn tune actually begins with the anacrusis to measure 79, and it found in the flute, clarinet, alto saxophone and trumpet. At this point, the optional congregational song sheet can be used if desired. The singing is not necessary - the composition will work without singing as well. Another possibility is to have a choir perform the hymn tune. The second version of the hymn begins with a total style change, starting at measure 94. A ponderous ostinato begins, which represents the "footsteps of God" coming in judgment (as mentioned in the second stanza). Measures 112 - 117 transition into the final stanza of the Hymn, which states the prophet's resolve "sing and worship, rejoicing in the Lord." During this last statement of the Hymn, there are fanfare inserts in the trumpet section. Do not allow them to overpower everything else that is happening. The crescendo at measure 133 leads back into a reprise of the 6/8 style. With the anacrusis in measure 137, the low brass and low woodwinds present the melody of the hymn, while the upper woodwinds and xylophone play a countermelody in the 6/8 style. The fanfare statement of the F Horns and alto saxophones found in measures 144 - 147 needs to be accentuated. In measures 150 and 168, there is a duple against triple rhythm - be sure that the parts are performed precisely. Measure 158 presents a countermelody in the bass line that also employs a duple rhythm. This line needs to balance the melody, which is found in the trumpet section. Beginning in measure 171, and continuing every second measure, the eighth notes grouped in three sets need to be emphasized with a strong accent. Be sure that the last two measures are played strongly and confidently, yet not overblown or rushed.
Estimated Performance Time: 6:40
Composed By: "Triumphant Spirit" was composed by Timothy Johnson.
Published By: "Triumphant Spirit" was published by Curnow Music Press.
Series: This piece is part of the series "Curnow Accolade Series".
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| Instrumentation | | 1 | - | Full Score | | 7 | - | Flute/Piccolo | | 2 | - | Oboe | | 2 | - | Bassoon | | 4 | - | 1st B Flat Clarinet | | 4 | - | 2nd B Flat Clarinet | | 4 | - | 3rd B Flat Clarinet | | 1 | - | E Flat Alto Clarinet | | 2 | - | B Flat Bass Clarinet | | 2 | - | 1st E Flat Alto Saxophone | | 2 | - | 2nd E Flat Alto Saxophone | | 2 | - | B Flat Tenor Saxophone | | 1 | - | E Flat Baritone Saxophone | | 2 | - | 1st B Flat Trumpet | | 2 | - | 2nd B Flat Trumpet | | 2 | - | 3rd B Flat Trumpet | | 2 | - | 1st Horn In F | | 2 | - | 2nd Horn In F | | 2 | - | 1st Trombone | | 2 | - | 2nd Trombone | | 2 | - | 3rd Trombone | | 2 | - | Baritone T.C. | | 2 | - | Baritone B.C. | | 4 | - | Tuba | | 1 | - | Bass | | 1 | - | Keyboard Percussion | | 2 | - | 1st Percussion | | 2 | - | 2nd Percussion | | 1 | - | Timpani | | 1 | - | Vocal Solo |
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| | Other Pictures | | Front Cover | | Conductor Score | | Instrumentation | | Descriptive Page |
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 Difficulty 3 on a scale of 1 to 6 with 6 being the hardest.
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