Almighty - Full Score

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Instrumentation 3 Flutes (3rd doubles Piccolo) 2 Oboes English Horn 2 Bassoons Contrabassoon Eb Clarinet 3 Bb Clarinets 2 Bb Bass Clarinets Bb Contrabass Clarinet 2 Alto Saxophones Tenor Saxophone Baritone Saxophone 3 Bb Trumpets 4 Horns 3 Trombones Bass Trombone 2 Euphoniums 2 Tubas String Bass Timpani Percussion (6 players max.) Percussion 1 (1 or 2 players): Gong, Bass Drum Percussion 2: Thundersheet (or Small Gong) Percussion 3: (2 players) Crash Cymbals, Suspended Cymbal, Sizzle Cymbal Percussion 4: Crotales, Chimes Scoring is one-on-a-part, with the exception of Flutes and Bb Clarinets, where more players may be added.
Program Note During the first two weeks of my freshman year at the University of North Texas, incredible thunderstorms rolled across the skies. I was fascinated by their tremendous power, and their billowing clouds reminded me of towering cathedrals, of which might have some divine purpose. The majesty and the powerful display of natural force of these storms inspired me to write something similar. The result is this piece, which takes the form of a broad arc. The piece begins with a timid chorale, that of which draws inspiration from the sacred Gregorian Chants. This represents the "calm" before the storm. As the piece develops, a second theme is introduced; this idea suggests a feeling of awe and fear, and is primarily showcased by the French Horns. This motif drives the piece all the way to its peak, which symbolizes a brilliant lighting strike that resonates across the land. As the music settles, the second theme returns one last time, now in a more consonant setting. Then, as the storm disperses, the opening chorale returns, symbolizing the "calm" after the storm. This brings the piece full circle, and provides a satisfying, peaceful closure. R Y A N F I L L I N G E R This composition was named a Finalist in the 2022 ASCAP Morton Gould Young Composer Awards. Performance Notes All accents should be played with weight, and not with too much "front." At rehearsal measure 43, the forte marking should be interpreted with power rather than volume. Not until rehearsal measure 51 should the players play true to the fortissimo dynamic. At measure 59, Percussion 4 should drag the hammer across the chimes quite instantaneously, with the sustain pedal down. The resulting effect should be a bright, cacophonous ringing. Performance time: Ca. 7'
Page 1: R Y A N F I L L I N G E R Almighty
Page 8 and 9: 2 Fl. 1 & 2 hold back. . . A tempo
Page 10 and 11: 4 Fl. 1 & 2 Fl. 3/Picc. ° & hold b
Page 12 and 13: 6 Fl. 1 & 2 Fl. 3/Picc. Ob. 1 & 2 E
Page 14 and 15: 8 Fl. 1 & 2 Fl. 3/Picc. Ob. 1 & 2 E
Page 16 and 17: 10 Fl. 1 & 2 Fl. 3/Picc. Ob. 1 & 2
Page 18 and 19: 12 Fl. 1 & 2 67 A tempo ° & ˙ mf
Page 20 and 21: 14 Fl. 1 & 2 hold back. . . A tempo

Almighty - Full Score

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