Running head: ROLE OF COMPOSITION AND ORCHESTRATION 1
Transcript of Running head: ROLE OF COMPOSITION AND ORCHESTRATION 1
Running head: ROLE OF COMPOSITION AND ORCHESTRATION 1
The Role of Composition and Orchestration in the Contemporary Church:
A Practical Model of God-Honoring Creativity in Modern Worship
Lauren Bentley
A Senior Thesis submitted in partial fulfillment of the requirements for graduation
in the Honors Program Liberty University
Spring 2016
ROLE OF COMPOSITION AND ORCHESTRATION 2
Acceptance of Senior Honors Thesis
This Senior Honors Thesis is accepted in partial
fulfillment of the requirements for graduation from the Honors Program of Liberty University.
______________________________ Samuel Wellman, B.A., M.M., D.M.
Thesis Chair
______________________________
Don Marsh, B.M., M.S. Committee Member
______________________________ Neal Brasher, B.A., M.F.A.
Committee Member
______________________________
Marilyn Gadomski, Ph.D. Honors Assistant Director
______________________________
Date
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Abstract
The role of composition and orchestration in the contemporary church is sometimes
overlooked because of the simplicity of today’s worship songs. There is an obvious
tension between excellence and authenticity when approaching modern worship. Through
following examples of church arrangers as well as secular composers, the writer has
composed and orchestrated an original piece for use in a contemporary worship context.
A philosophy and methodology for creating this composition are both outlined,
with three components addressed in each: increasing the musical complexity, ensuring
theologically correct lyrics, and purifying the intention of the heart in order to glorify
God through the creative process. The result is a six-minute composition entitled My
Victory (He Brought Me Out).
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The Role of Composition and Orchestration in the Contemporary Church:
A Practical Model of God-Honoring Creativity in Modern Worship
Introduction
Many evangelical churches today have embraced the use of contemporary
Christian music in their services. The worship wars of decades past have been fought,
with contemporary music winning some of the battles, but traditional styles still prevalent
in many congregations. With the heart of many worshippers matching the psalmist’s
admonition to “Sing a new song to the Lord!,”1 some churches have embraced the idea of
writing songs specifically for their congregations. Songs are being born out of the local
church like never before, but through analyzing these tunes, one can observe that most of
these songs bear resemblance to one another. There are both positive and negative aspects
of these modern worship songs. Made from the same mold of I-vi-IV-V chord
progressions and generic melodic lines, these songs are simple and easy for the
congregation to sing. Some churches are limited in resources, so they use a simple
instrumentation for these songs, but other churches are blessed with players for expanded
instrumentation and do not take advantage of these resources. When these churches limit
themselves to the expected instrumentation of piano, guitar, and other members of a
rhythm section, an aspect of laziness in one’s musicianship is exposed. The creativity
expressed through congregational worship planning and execution should honor God
through a level of excellence,2 as the Bible instructs believers to work enthusiastically in
1 Psalm 96:1 (HCSB)
2 Greg Scheer, The Art of Worship: A Musician’s Guide to Leading Modern Worship (Grand Rapids, MI: Baker Books, 2006), 88.
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all that is done, “as something done for the Lord and not for men.”3 The modern church is
in need of practical examples of music to satisfy these tensions. This thesis aims to offer
a model created through a three step process of increasing the complexity of musical
content, analyzing the theology of lyrics, and purifying the intention of human hearts.4
Healthy Tension: Excellence vs. Authenticity
This avenue of skilled creative expression is just one of many ways to bring God
glory through musical talent. Simple songs and sparse instrumentation are powerful tools
in the right context. In his book, Worship Matters, Bob Kauflin reminded the musician,
“All the musical skill in the world won’t substitute for a genuine heart of worship.”5
Worship leaders cannot get lost in the desire for excellence and neglect to address the
state of the worshipper’s heart. The goal must not be to impress God with skill, but to
glorify Him through a genuine effort of excellence and lead His church well in worship
of Him. Thus, there is a healthy tension between God-honoring skill in creativity and
authentic heart engagement in worship. While worshippers must remain humble and
remember that worship is only acceptable to God because of the sacrifice of Jesus Christ,
they also must not fall prey to the negative effects of this tension. Kauflin stated,
“Churches that minimize the need for skill can tend toward sentimentalism, sloth, and
3 Colossians 3:23 (HCSB) 4 Warren W. Wiersbe, Real Worship: Playground, Battleground, or Holy Ground?, 2nd ed. (Grand
Rapids, MI: Baker Books, 2000), 137-140.
5 Bob Kauflin, Worship Matters: Leading Others to Encounter the Greatness of God (Wheaton, IL: Crossway Books, 2008), 195.
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pride in their ‘genuineness.’”6. Many people are skimping on musical intricacy and skill
in the midst of their worship leading. Through personal conversation with many
musicians, both those who desire to lead worship as well as those already in a worship-
leading position, the writer has gathered that there are many who believe that they do not
need to grow in their musical knowledge because they already have a guitar, capo, and
four chords. The Great Creator made humans in His image, giving them the same ability
of creativity and artistic expression. All of His creation should honor Him through using
that gift to its highest potential.
Models for Inspiration
Some churches do acknowledge the need for excellent music of diverse styles and
instrumentation, and employ highly skilled composers and arrangers to accomplish this.
Prestonwood Baptist Church in Plano, Texas, employed well-known arranger Bradley
Knight for thirteen years. Though he has stepped away from that role and now focuses on
full-time music producing, he is known to arrange and orchestrate some of the best choir
and orchestra music used in contemporary churches today. Other composers and
arrangers in the Christian music industry are Lari Goss, Dan Galbraith of
praisecharts.com, the musicians and choir at the Brooklyn Tabernacle, and Don Marsh,
who teaches at Liberty University. There are also many modern composers who
incorporate inventive musicianship into their music. Eric Whitacre is a classical
composer who, though best known for his choral works, also writes excellent
6 Ibid.
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instrumental music. His style features unconventional harmonies and unique sonorities.7
Another source of inspiration in this style of composition is film composer Mark
Mancina, who wrote the music in the movie August Rush as well as other films that show
a large compositional range.8
Creative Process
When one is writing music for the modern church, it is important to have a set of
standards for creating a piece. This guiding philosophy allows for creative expression
while ensuring certain benchmarks are being met. The three components of the writer’s
philosophy for arranging and orchestrating for the contemporary church are complexity
of musical content, biblical theology of lyrics, and pure intention of heart. This process
was derived from a set of evaluating standards given by Warren Wiersbe.9
Complexity of Musical Content
The creative process looks different for everyone. Inspiration can come quickly or
be revealed in a slower succession of ideas. When writing music, some musicians begin
with the lyrics, while others sing a melody and then find words and harmonies to match.
Some disregard the idea of inspiration, or spontaneous creativity, and rely on
perspiration, or hard work. In The Act of Musical Composition, Steven Stuckey wrote,
“You don’t make music with ideas, or poetic dreams or wishful thinking. You make it
7 “Biography,” EricWhitacre.com, accessed March 8, 2016, http://ericwhitacre.com/biography.
8 “Mark Mancina - Biography,” IMDb.com, accessed March 8, 2016, http://www.imdb.com/name/nm0006183/bio.
9 Wiersbe, Real Worship, 137-140.
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with notes–with technique, with hard work, with Edison’s 95 percent perspiration.”10 The
hard work required when writing for the contemporary church is finding new and
inventive ways to facilitate worship for the congregation. One way to do this is by not
limiting harmonic creativity to the key of the piece. Using non-diatonic chords can “add
beauty and pathos to the music” while stretching the composer’s creativity.11 When
writing melodies, “composers aim to create melodies that people will respond to and sing
after they hear just one verse; a good composer will seek musical intelligence with a deep
simplicity.”12 One can again observe the dichotomy between excellence and authenticity
when discussing the role of arranging and orchestration in the contemporary church.
Instrumentation is also another layer to consider, as an unexpected voicing may be the
key to “realizing the potential of a written score which may only define the basic melodic
and harmonic content.”13
Biblical Theology of Lyrics
The music used in a worship service can be powerful, moving, and skillful, but if
it is not accompanying lyrics that are Biblically sound and theologically correct, it is
meaningless noise. Kauflin stated, “We need songs that have substantive, theologically
10 Dave Collins, ed., The Act of Musical Composition: Studies in the Creative Process, Sempre
Studies in the Psychology of Music (Burlington, VT: Ashgate, 2013), 235. 11 Paul Baloche, Jimmy Owens, and Carol Owens, God Songs: How to Write and Select Songs for
Worship (Lindale, TX: Leadworship.com, 2004), 128. 12 Robert Woods and Brian Walrath, eds., The Message in the Music: Studying Contemporary
Praise and Worship (Nashville, TN: Abingdon Press, 2007), 139.
13 Jeff Astley, Timothy Hone, and Mark Savage, eds., Creative Chords: Studies in Music, Theology, and Christian Formation (Herefordshire: Gracewing, 2000), 146.
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rich, biblically faithful lyrics.”14 This does not mean that every song’s lyrics need to be
taken directly from the book of Psalms, or that no other lyrics can be used by God to
draw worshippers to Him. In the book God Songs by worship leader Paul Baloche, it is
stated, “Many fine worship songs express heartfelt devotion to the Lord without directly
quoting scripture, but their concepts come out of the writer’s knowledge and love of the
Word.”15 The lyrics presented for a congregation to sing must be grounded in truth, lest a
worship leader ignorantly teach the people something about God that is not accurate. It is
often true that people remember the songs they sing on Sunday more than the sermon the
pastor preaches. This is a heavy responsibility on the worship leader, as well as the
songwriter or composer, to carefully present the truths of Scripture in a singable and
meaningful way.
Pure Intention of Heart
Every person serving in the context of a local church ministry, whether worship
leader, instrumentalist, composer, or sound technician, should constantly check the
intention of their heart. Many Christian musicians fall prey to the desire of having
success through obtaining recognition or fame. That should not be the intention behind
worship in churches today. Even if the desire is masked and kept hidden, God sees the
heart. Jeremiah 12:3 says, “As for You, Lord, You know me; You see me. You test
whether my heart is with You.”16 Those who lead in worship also need to monitor their
14 Kauflin, Worship Matters, 92. 15 Baloche, God Songs, 44. 16 Jeremiah 12:3 (HCSB)
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attitude toward excellence, whether in songwriting or worship leading. As responsibilities
increase and time quickly passes, it is tempting to do just enough to get by on a Sunday
morning. For a worship leader, this may mean sending out music late to the worship team
or making rehearsals as short as possible, not pursuing the greatest potential outcome. As
a songwriter or composer, this might mean applying an overused chord progression or not
thinking inventively about the melody. Though a new musical idea is not always
required, the attitude of a musician’s heart should be striving for excellence.17 People
working at their God-given calling must have motivation to work at it with all that they
are, devoting extra time and effort to offer God the best they have. 18
Throughout Scripture, it is made clear that God has requirements for the sacrifices
brought to Him. In Genesis, Cain offered God some of his land’s produce, but Abel
presented the firstborn of his flock. “The Lord had regard for Abel and his offering, but
He did not have regard for Cain and his offering. Cain was furious, and he looked
despondent,”19 which led to Cain’s decision to murder Abel. In addition, Leviticus
mentioned that Aaron’s sons “presented unauthorized fire before the Lord, which He had
not commanded them to do. Then fire came from the Lord and burned them to death
before the Lord.”20 God is holy and requires holy sacrifice. Jesus provided the ultimate
sacrifice with His death on the cross. Believers in Christ are told through Scripture to
17 Kauflin, Worship Matters, 25. 18 Kauflin, Worship Matters, 26. 19 Genesis 4:4b-5 (HCSB)
20 Leviticus 10:1b-2 (HCSB)
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“present our bodies as living sacrifices, holy and pleasing to God,”21 and offer “all the
parts of yourselves to God as weapons for righteousness.”22 He deserves a worshipper’s
best, so people should strive to offer their best effort in everything they do, putting aside
laziness and mediocrity to pursue excellence.
Creative Methodology
The process outlined above was put into action when the writer began what is
now My Victory (He Brought Me Out). The method began with the chordal structure and
Biblical analysis, and the project was completed by the lyrical content being written and
the song being orchestrated.
Complexity of Musical Content
When the process of writing My Victory (He Brought Me Out) began, the goal
was to write for choir and orchestra, but the writer had little experience with orchestration
outside of a few previous class assignments. Several resources were beneficial in guiding
this attempt at composition. The first was The Instrumental Resource, which described
the different responsibilities of arrangers versus composers as well as giving an overview
of writing for instrumental groups. The most encouraging tip was, “When an arranger is
staring at the score without a clue as to what to do next, the solution begins with prayer-
God is the One who can free the musical imagination.”23 Another resource was
21 Romans 12:1b (HCSB)
22 Romans 6:13b (HCSB)
23 Julie Barrier, Jim Hansford, and Mark Johnson, eds., The Instrumental Resource for Church and School: A Manual of Biblical Perspectives and Practical Instruction for Today's Christian Instrumentalists (Nashville, TN: Church Street Press, 2002), 60.
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Instrumental Arranging, which offered helpful descriptions of instruments, especially
percussion, as well as extensive guides for scoring different textures.24 Lastly, the
Essential Dictionary of Orchestration was a constant guide in written and sounding
ranges as well as technical considerations.25 The process of inspiration for My Victory
(He Brought Me Out) began with the chord progression for the chorus, which features D-
Mixolydian mode, but returns to the original key by the end of the chorus. The aspect of
musical complexity was also considered when writing the introduction, which is an
extended instrumental section inspired by the style of composer Eric Whitacre. When
writing the final section that accelerates and repeats the word “victorious,” the writer
employed several borrowed chords common to Gospel music.
Biblical Theology of Lyrics
The lyrical content of the original composition had to be rooted in Scripture
because “True worship is always a response to God’s Word.”26 During the songwriting
process, a Scripture in Ephesians containing the words But God helped to shape the topic
of this project: “But God, being rich in mercy, because of the great love with which he
loved us, even when we were dead in our trespasses, made us alive together with
Christ—by grace you have been saved.”27 This verse is a reminder of the powerful nature
24 Gary White, Instrumental Arranging (Boston, MA: McGraw-Hill, 1996), 239.
25 Dave Black and Tom Gerou, Essential Dictionary of Orchestration: Ranges, General
Characteristics, Technical Considerations, Scoring Tips, The Essential Dictionary Series (Los Angeles, CA: Alfred Publishing Company, 1998), 146.
26 Kauflin, Worship Matters, 91.
27 Ephesians 2:4-5 (NIV)
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of God to redeem and restore sinners through Jesus Christ. Thus, an interest was sparked
in a study of Scripture verses that begin with the same phrase, But God. Over twenty-five
verses were found that contained these words and spoke to the same idea. One of the
most illustrative is found in the book of Jonah, when he prayed to the Lord while inside
the fish. He described his situation, which is a direct result of his disobedience, then said,
“But You, Lord my God, brought my life up from the pit.”28 Another powerful example
is found in Psalm 49:15, after the psalmist described the fate of those who trust in
themselves: “But God will redeem me from the realm of the dead; He will surely take me
to himself.”29 This course of Scripture study led to an in-depth study of the word victory.
All of the Old Testament references were found to have used the Hebrew word teshua,
which means salvation or deliverance. The New Testament references used the Greek
word nikaō, meaning to overcome, or be victorious in a struggle.30 Through careful study
of Scriptures containing these terms, the lyrical content of My Victory (He Brought Me
Out) was constructed.
Pure Purpose or Intent
The only way to purify one’s heart is to spend time with the only true and perfect
God. In her book, An Hour on Sunday, Nancy Beach said that we need intentional
solitude with the Lord in order to “cultivate a sober mind and heart about what’s at
stake,” and “acknowledge our acute need to abide in the only One able to bear fruit that
28 Jonah 2:6b (NIV)
29 Psalm 49:15 (NIV)
30 William D. Mounce, Mounce's Complete Expository Dictionary of Old and New Testament Words (Grand Rapids, MI: Zondervan, 2006), 765.
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will remain.”31 As My Victory (He Brought Me Out) was written, the writer spent time in
prayer and personal worship of God, meditating on the ideas of deliverance and victory
as well as Scripture verses that contained the words, But God. The desire behind the
project was to communicate the testimonies of all who claim to be believers. There are
three sections to every Christian’s testimony: I was, But God, and now. The inspiration
for this project was greatly aided by recalling the condition of the writer’s heart before
accepting salvation from Jesus Christ. This included looking back on what He brought
the writer out of and how He directly intervened in the writer’s life. The only response,
then, was to praise Him for setting the writer free from sin and bringing her closer to
Him. The creative process of writing this piece really was an act of worship, as the writer
reflected on all that God had done. The writer’s prayer is that He will continue to purify
her heart and intention toward any musical endeavor; but most of all, the writer prays that
God will use this piece to remind people of how He has brought them out from the snares
of sin and into His victory.
Project Summary
The goal of this creative project was to produce a quality piece of music that will
appeal to churches wanting to add this type of music to their repertoire. The result was an
original composition titled My Victory (He Brought Me Out). It offers an instrumentation
that goes beyond the normal rhythm section of a worship band. It features various styles,
shifting seamlessly from genre to genre within one piece. This task was completed, first
and foremost, through the selection of chords and overall musical complexity. The writer
31 Nancy Beach, An Hour On Sunday: Creating Moments of Transformation and Wonder (Grand Rapids, MI: Zondervan, 2004), 132.
ROLE OF COMPOSITION AND ORCHESTRATION 15
analyzed the work of those composers and arrangers that influenced her musical thinking
and incorporated the professional’s ideas of instrument selection, voicings, and other
details. Then, the lyrical content was written and carefully analyzed to ensure Biblical
accuracy as well as a genuine response of worship, because the message declared is just
as important as the notes used to deliver it.32 Most importantly, the writer quieted herself
before God and made sure her heart was right with Him in order to glorify Him through
the creative process.
Project Presentation
A link can be found in Appendix A which contains the audio file for My Victory
(He Brought Me Out). The Conductor’s Score of the completed composition is included
in Appendix B.
Conclusion
The role of composition and orchestration in contemporary churches is to
facilitate worship for the congregation through excellent and authentic musicianship.
After all, “music proclaims the Scriptures in a heavenly language and provides a means
through which the mystery of God in Christ is approachable.”33 When worshippers
approach music in modern worship, they should strive for excellence in their genuine
worship response, because the God of the universe has given them the gift of human
creativity. “This is a supreme gift, since in our own creativity we can know for ourselves
32 Wiersbe, Real Worship, 139.
33 Robert E. Webber, Worship Old and New: A Biblical, Historical, and Practical Introduction,
Revised. (Grand Rapids, MI: Zondervan, 1994), 195.
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something of the essence of God’s primary motivation and purpose.”34 Through
increasing musical complexity, ensuring Biblically sound lyrics, and purifying the
intention of the heart, one can honor God through the gift of creativity.35 This thesis and
accompanying composition was written in order to present a practical model of God-
honoring creativity, while offering a musical option for use in a worship ministry. It is the
hope of the writer that this composition will impact the heart of a congregant as well as a
worship practitioner desiring to glorify God through excellence in creativity in the
church.
34 Astley, Creative Chords, 145.
35 Wiersbe, Real Worship, 137-140.
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Bibliography
Astley, Jeff, Timothy Hone, and Mark Savage, eds. Creative Chords: Studies in Music, Theology and Christian Formation. Herefordshire: Gracewing, 2000.
Baloche, Paul, Jimmy Owens, and Carol Owens. God Songs: How to Write and Select
Songs for Worship. Lindale, TX: Leadworship.com, 2004. Barrier, Julie, Jim Hansford, and Mark Johnson, eds. The Instrumental Resource for
Church and School: A Manual of Biblical Perspectives and Practical Instruction for Today's Christian Instrumentalists. Nashville, TN: Church Street Press, 2002.
Beach, Nancy. An Hour On Sunday: Creating Moments of Transformation and Wonder.
Grand Rapids, MI: Zondervan, 2004. Black, Dave, and Tom Gerou. Essential Dictionary of Orchestration: Ranges, General
Characteristics, Technical Considerations, Scoring Tips. The Essential Dictionary Series. Los Angeles, CA: Alfred Publishing Company, 1998.
Collins, Dave, ed. The Act of Musical Composition: Studies in the Creative Process.
Sempre Studies in the Psychology of Music. Burlington, VT: Ashgate, 2013. EricWhitacre.com. “Biography.” Accessed March 8, 2016.
http://ericwhitacre.com/biography. IMDb.com. “Mark Mancina - Biography.” Accessed March 8, 2016.
http://www.imdb.com/name/nm0006183/bio. Kauflin, Bob. Worship Matters: Leading Others to Encounter the Greatness of God.
Wheaton, IL: Crossway Books, 2008. Mounce, William D. Mounce's Complete Expository Dictionary of Old and New
Testament Words. Grand Rapids, MI: Zondervan, 2006. Scheer, Greg. The Art of Worship: A Musician’s Guide to Leading Modern Worship.
Grand Rapids, MI: Baker Books, 2006. Webber, Robert E. Worship Old and New: A Biblical, Historical, and Practical
Introduction. Revised. Grand Rapids, MI: Zondervan, 1994. Wiersbe, Warren W. Real Worship: Playground, Battleground, or Holy Ground?, 2nd ed.
Grand Rapids, MI: Baker Books, 2000. White, Gary. Instrumental Arranging. Boston, MA: McGraw-Hill, 1996.
ROLE OF COMPOSITION AND ORCHESTRATION 18
Woods, Robert, and Brian Walrath, eds. The Message in the Music: Studying
Contemporary Praise and Worship. Nashville, TN: Abingdon Press, 2007.
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Appendix A
A link is provided to a digital copy of the audio track for My Victory (He Brought
Me Out). This track was recorded at Liberty University School of Music and was mixed
and produced by Kaleb Gooden. Vocal recording was done by Lauren Bentley.
https://vimeo.com/164090366.
ROLE OF COMPOSITION AND ORCHESTRATION 20
Appendix B
Enclosed is a copy of the Conductor’s Score for My Victory (He Brought Me
Out).
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My Victory (He Brought Me Out) Words and Music byLAUREN BENTLEY
© 2016 changewave music
ScoreSenior Honors Thesis
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∑∑
Œ œ œ Œ∑
˙ Ó˙ Ó
˙ Ó∑∑
˙ Œ œæŒ œœ œœ Œww
∑∑
∑Œ œ œ ŒŒ œ œ Œ
9
w
Dm(add2) Gm/D
Dm(add2) Gm/D
Dm(add2) Gm/D
’ ’ ’ ’∑
∑
’ ’ ’ ’∑
Ó ‰ œ œ œ œ œ œ
∑∑∑∑
Œ œ œ Œ∑∑∑∑∑
Ó Œ Ûæ˙ Œ œæŒ œœ# œœ Œww
∑∑
∑Œ œ# œ ŒŒ œ œ Œ
10
w
Dm(maj7) Gm/D
Dm(maj7) Gm/D
Dm(maj7) Gm/D
F
’ ’ ’ ’∑
∑
’ ’ ’ ’∑
w
∑∑∑∑
Œ œ œ Œ∑∑∑∑∑
| Ó˙ Œ œæŒ œœ œœ Œww
∑∑
Œ œœ œœ ŒŒ œ œ ŒŒ œ œ Œ
11
w
Dm Bb/D
Dm Bb/D
Dm Bb/D
F
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑∑∑∑
Œ œ œ Œ∑∑∑∑∑∑
˙ Œ œæŒ œœ œœ Œww
∑∑
Œ œœ œœ ŒŒ œ œ ŒŒ œ œ Œ
12
w
Dm Gm/D
Dm Gm/D
Dm Gm/D
22My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
bb
bbbb####
bb# ##
b
bb
bb
b
b
b
bb
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑∑∑∑
Œ œ œ Œ∑∑∑∑∑∑
˙ Œ œæŒ œœ œœ Œww
∑∑
Œ œœ œœ ŒŒ œ œ ŒŒ œ œ Œ
13
w
Dm(add2) Gm/D
Dm(add2) Gm/D
Dm(add2) Gm/D
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑∑
Œ ‰ jœ œœ. œœ. ŒŒ ‰ jœ œ. œ. ŒŒ œ œ ŒŒ ‰ Jœ œœ. œœ. ŒŒ ‰ jœœ œœ.
œœ.Œ
∑∑∑
Ó Œ Ûæ˙ Œ œæŒ œœ# œœ Œww
∑∑
Œ œœ# œœ ŒŒ œ# œ ŒŒ œ œ Œ
14
w
Dm(maj7) Gm/D
Dm(maj7) Gm/D
Dm(maj7) Gm/D
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑∑
ww
wŒ œ œ Œww
ww∑∑∑
| Ó˙ Œ œæŒ œœ œœ ŒwwÓ œœœggg ŒŒ œœœgg Ó
Œ œœ œœ ŒŒ œ œ ŒŒ œ œ Œ
15
w
Dm Bb/D
Dm Bb/D
Dm Bb/D
f
ff
f
f
f
f
f
f
f
f
f
f
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑∑∑∑
Œ œ œ Œ∑∑∑∑∑
Ó Œ Û˙ Œ œæŒ œœ œœ ŒwwŒ œœœggg ÓÓ œœœgg Œ
Œ œœ œœ ŒŒ œ œ ŒŒ œ œ Œ
16
w
Dm Gm/D
Dm Gm/D
Dm Gm/D
Triangle
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑∑∑∑
Œ œ œ Œ∑∑∑∑∑
Û Œ Ó˙ Œ œæŒ œœ œœ ŒwwÓ œœœgg ŒŒ œœœggg Ó
Œ œœ œœ ŒŒ œ œ ŒŒ œ œ Œ
17
w
Dm(add2) Gm/D
Dm(add2) Gm/D
Dm(add2) Gm/D
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑
Ó Œ œ œÓ Œ œœ œœ
Ó Œ œ œŒ œ œ Œ
∑∑
Ó Œ œ œ
Ó Œ œ œ∑∑
˙ Œ œæŒ œœ# œœ œ œwwŒ œœœbgg ÓÓ œœœggg Œ
Œ œœ# œœ œ œ
Œ œ# œ ŒŒ œ œ Œ
18
w
Dm(maj7) Gm/D
Dm(maj7) Gm/D
Dm(maj7) Gm/D
23My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
bb
bbbb####
bb# ##
b
bb
bb
b
b
b
bb
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ ’∑
∑
’ ’ ’ ’∑∑∑
www
w∑∑∑
w
w∑∑
˙ Œ œæwww
∑∑
w
∑∑
19
w
Dm
Dm
Dm
’ ’ ’ ’∑
∑
’ ’ ’ ’Ó ‰ œ œ œ
∑∑
˙Ó
˙̇ Ó
˙ Ó∑∑∑
˙ Ó
˙ Ó∑
Ó Œ Ûæ˙ Ó
˙ ‰ œ œ œww
∑Ó Œ œ
˙ ‰ œ œ œ
∑∑
20
w
Dm
Sus. cym.
a2
F
p
’ ’ ’ ’∑
∑
’ ’ ’ ’.˙ œ œ
w
w∑∑∑∑∑∑∑∑∑
| Ó∑
.˙ œ œwwwœ Œ Ó
∑
.˙ œ œ
ww
21
w
Dm
Dm
Dm
FFFF
F
FP
P
P
P
’ ’ ’ ’∑
∑
’ ’ ’ ’œ œ œ œ ˙
˙ ˙
w∑∑∑∑∑∑∑∑∑∑∑
œ œ œ œ ˙˙̇̇ ˙̇̇
∑∑
œ œ œ œ ˙
˙ ˙˙ ˙
22
w
Dm7 Bb/D
Dm7 Bb/D
Dm7 Bb/D
’ ’ ’ ’∑
∑
’ ’ ’ ’œ œ .˙
w
œ .˙
œ œ .˙∑∑∑∑∑∑∑∑
Ó Œ ÛæÓ Œ œæœ œ .˙œœœ ...˙̇̇
Ó Œ ŒÓ Œ œ
œ œ .˙
œ .˙œ .˙
23œ .˙
Gm/D
Gm/D
G/D
Dm
24My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
bb
bbbb####
bb# ##
b
bb
bb
b
b
b
bb
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ ’∑
∑
’ ’ ’ ’˙ œ œ œ œ
˙ œ œ œ œ
w
w∑∑∑∑∑∑∑∑
| Ó˙ Ó˙ œ œ œ œwwwœ Œ Ó
∑
˙ œ œ œ œ
ww
24w
Dm/F
Dm/F
Dm/F
FFF
F
F
F
FF
F
’ ’ ’ ’∑
∑
’ ’ ’ ’œ œ œ œ ˙œ œ œ œ ˙w
w∑∑∑∑∑∑∑∑∑∑
œ œ œ œ ˙www
∑∑
œ œ œ œ ˙.˙ Œ.˙ Œ
25.˙ Œ
’ ’ ’ ’∑
∑
’ ’ ’ ’œœ> ..˙̇
w>
œ> .˙#
œ> .˙œ> .˙
œ> .˙#œ> .˙œ> .˙
œ> .˙œ> .˙
w>œ> .˙
∑∑
œ> .˙œ> .˙
œœœœ>...˙̇̇n
œœ> ..˙̇n
œœ> ..˙̇nœ> .˙
w>
26œ> .˙
Dm7/F G
Dm7/F G
Dm7/F G
FFF
F
F
FFF
FF
FFF
FF
FF
F
F
’ ’ ’ ’∑
∑
’ ’ ’ ’www
w#
ww
w#ww
ww
w#wÛ Œ Ó
˙ Ó
wwwwwww#gggww#ggg
ww#w
w
27w
A
A
A
FF
’ ’ ’ ’U
∑
∑
’ ’ ’ ’U..˙̇ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
.˙ ŒU
Ó Œ ŒU
Ó Œ ŒU
.˙ ŒU
...˙̇̇ ŒU
...˙̇̇ ŒU
..˙̇ ŒU
..˙̇ ŒU
.˙ ŒU
.˙ ŒU
28.˙ ŒU
molto rit.
25My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
bb
bbbb####
bb# ##
b
bb
bb
b
b
b
bb
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ ’∑
∑
’ ’ ’ ’‰ œ. œn . œ. Ó‰ œ. œn . œ. Ó‰ œ. œ# . œ. ÓŒ jœ# . ‰ ÓÓ œœ ŒÓ œ Œ‰ œ. œ# . œ. ÓÓ œœ ŒÓ œœ Œ‰ œ. œ# . œ. ÓŒ Jœ# . ‰ Ó
∑∑
œ> Œ œ œæ‰ œ. œn . œ. Ó‰ œœ. œœnn . œœ. ÓÓ œœœ Œ
∑
‰ œ. œn . œ. Ó‰ œ. œn . œ. Ó‰ œ. œn . œ. Ó
29
Œ jœn . ‰ Ó
N.C. A(no3)
N.C. A(no3)
N.C.
Con sord.
Con sord.
Con sord.
ƒ
ƒƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒƒƒ
ƒ
ƒ
ƒƒ
Con sord.
ƒ
ƒ
ƒ
Ï
ÏDetached
’ ’ ’ ’∑
∑
’ ’ ’ ’‰ œ œ œ œ œ. œn . œ.
‰ œ œ œ œ œ. œn . œ.
Ó ‰ œ. œ# . œ.
Ó Œ jœ# . ‰∑∑
Ó ‰ œ. œ# . œ.
∑∑
Ó ‰ œ. œ# . œ.
Ó Œ Jœ# . ‰∑∑
œ Œ Ó‰ œ œ œ œ œ. œn . œ.
Ó ‰ œœ. œœnn . œœ.
∑∑
‰ œ œ œ œ œ. œn . œ.
Ó ‰ œ. œ# . œ.
Ó ‰ œ. œn . œ.
30
Ó Œ jœn . ‰
’ ’ ’ ’∑
∑
’ ’ ’ ’Œ ‰ Jœ. œn . œ. ŒŒ ‰ Jœ. œn . œ. ŒŒ ‰ Jœ. œ. œ. ŒÓ jœ# . ‰ ŒŒ œœ ÓŒ œ ÓŒ ‰ Jœ. œ. œ. Œœ Œ Óœœ Œ ÓŒ ‰ Jœ. œ# . œ. ŒÓ Jœ# . ‰ Œ
∑Ó Œ Û
.œæ œ ÓŒ ‰ jœ. œn . œ. ŒŒ ‰ J
œœ. œœnn . œœ. ŒŒ œœœ. Ó.œœœ. Œ Ó
Œ ‰ jœ. œn . œ. ŒŒ ‰ Jœ. œ. œ. ŒŒ ‰ jœ. œn . œ. Œ
31
Ó jœn . ‰ Œ
D(no3) A(no3) N.C.
D(no3) A(no3) N.C.
Crash cym.
’ ’ ’ ’∑
∑
’ ’ ’ ’‰ œ. œ. œ. Ó‰ œ. œ. œ. ÓÓ œ Œ
∑∑∑
Ó œ Œ∑∑
Ó œ Œ∑∑
Ó Œ Û Û Û Û∑
‰ œ. œ. œ. ÓÓ œœ Œ
∑∑
‰ œ. œ. œ. ÓÓ œ ŒÓ œ Œ
32
∑
Dm/A
Dm/A
Dm/A
Wood block
’ ’ ’ ’∑
∑
’ ’ ’ ’‰ œ. œ. œ.
‰ œ. œ. œ# .
‰ œ. œn . œ. ‰ œ. œ. œ.
Ó Jœ ‰ Œ∑∑∑
Ó Jœ ‰ Œ∑∑
Ó Jœ ‰ Œ∑
‰ œ. œ. œ. ‰ œ. œ. œ# .
JÛ ‰ Œ Ó∑
‰ œ. œ. œ. ‰ œ. œ. œ# .
Ó jœœ ‰ Œ∑∑
‰ œ. œ. œ. ‰ œ. œ. œ# .
Ó Jœ ‰ ŒÓ jœ ‰ Œ
33
∑
N.C. A(no3)
N.C. A(no3)
N.C. A(no3)
26My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
bb
bbbb####
bb# ##
b
bb
bb
b
b
b
bb
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ ’∑
∑
’ ’ ’ ’Ó ‰ œ œ œ#
Ó ‰ œ œ œ#œ# Œ Ó
∑∑∑
œ# Œ Ó∑∑
œ Œ Ó
œ Œ Ó∑∑
œæ œ ÓŒ Œ ‰ œ œ œ#œœ# Œ Ó
∑∑
Œ Œ ‰ œ œ œ#œ# Œ Óœ Œ Ó
34œ Œ Ó
D/A N.C.
D/A N.C.
D/A N.C.
’ ’ ’ ’∑
∑
’ ’ ’ ’œ œ. œ. œ. Œ ‰ Jœ.
œ œ# . œ. œ. Œ ‰ Jœ.
‰ œ. œ. œ. ÓŒ jœ. ‰ ÓÓ œœn ŒÓ œ Œ‰ œ# . œ. œ. ÓÓ Œ œ
Ó Œ œœb
‰ œ. œ. œ. ÓŒ Jœ. ‰ Ó
∑∑∑
œ œ. œ. œ. Œ ‰ jœ.‰ œœ. œœ. œœ. ÓÓ œœœb . ŒÓ Œ œœœb .
œ œ. œ. œ. Œ ‰ jœ.‰ œ# . œ. œ. Ó‰ œ. œ. œ. Ó
35
Œ jœ. ‰ Ó
Bb7(add4)
Bb7(add4)
’ ’ ’ ’∑
∑
’ ’ ’ ’œ. œ. Œ ‰ œ œ œ
œ. œ. Œ ‰ œ œ œ
Œ œ ÓŒ œ Ó
∑∑
Œ œ Ó∑∑
Œ œ ÓŒ œ Ó
∑Œ Û
>Ó
∑œ. œ. Œ ‰ œ œ œ
Œ œœ Ó∑∑
œ. œ. Œ ‰ œ œ œ
Œ œ ÓŒ œ Ó
36
Œ œ Ó
Bb N.C.
Bb N.C.
Bb N.C.
Snare
’ ’ ’ ’∑
∑
’ ’ ’ ’œ œ. œ. œ. Œ ‰ Jœœ œ# . œ. œ. Œ ‰ Jœ
‰ œ. œ. œ. ÓŒ jœ. ‰ ÓÓ œœn ŒÓ œ Œ‰ œ# . œ. œ. ÓÓ Œ œ
Ó Œ œœb
‰ œ. œ. œ. ÓŒ Jœ. ‰ Ó
∑Ó Ûæ Û
>Ó œæ œœ œ. œ. œ. Œ ‰ Jœ‰ œœ. œœ. œœ. ÓÓ œœœb . ŒÓ Œ
œœœb .
œ œ. œ. œ. Œ ‰ Jœ‰ œ. œ. œ. Ó‰ œ. œ. œ. Ó
37
Œ jœ. ‰ Ó
Eb C m
Eb C m
’ ’ ’ ’∑
∑
’ ’ ’ ’œ œ œ œ. œ. œ. Œœ œ œ œ. œ. œ. ŒŒ ‰ Jœ. œ. œ. ŒŒ ‰ jœ. œ. œ.
Œ∑∑
Œ ‰ Jœ. œ. œ. Œ∑∑
Œ ‰ Jœ. œ. œ. ŒŒ ‰ Jœ. œ. œ. Œ
∑∑∑
œ œ œ œ. œ. œ. ŒŒ ‰ J
œœ. œœ. œœ. Œ∑∑
œ œ œ œ. œ. œ. ŒŒ ‰ Jœ. œ. œ. ŒŒ ‰ Jœ. œ. œ. Œ
38
Œ ‰ jœ. œ. œ. Œ
N.C.
N.C.
27My Victory (He Brought Me Out)
&&
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bb
bbbb####
bb# ##
b
bb
bb
b
b
b
bb
n# #
n# #
n# #
n# #n# #
n# #n# # # #n# # # #n# # # #n# # # ## # #
n# #
n# #nn# # # # #n# # # #
n# #
n# #n# #
n# #n# #
n# #
n# #
n# #
n# #
n# #
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ ’∑
∑
’ ’ ’ ’‰ Jœ .˙
‰ Jœ .˙
‰ Jœ .˙
‰ jœ .˙Ó Œ œœÓ Œ œ‰ Jœ .˙
Ó œ ŒÓ œœ Œ‰ Jœ .˙
‰ Jœ .˙
‰ jœ .˙
∑‰ jœ .˙‰ jœ .˙
‰ jœ .˙Ó Œ œœœ.
Ó œœœ. Œ
‰ jœ .˙
‰ Jœ .˙
‰ jœ .˙
39
‰ jœ .˙
A m Dm
A m Dm
A m
subito psubito psubito psubito p
subito p
subito p
subito p
subito p
subito p
subito p
subito p
subito psubito p
subito p
subito psubito psubito psubito psubito p
Senza sord.
Senza sord.
Senza sord.
Senza sord.
subito p
subito p ’ ’ ’ ’∑
∑
’ ’ ’ ’‰ Jœ œn ‰ Jœ œ>
‰ Jœ œn ‰ Jœ œ>
‰ Jœ œ ‰ Jœ œ>
‰ jœ œ# ‰ jœ œ>Ó œœ# ŒÓ œ Œ‰ Jœ œ ‰ Jœ œ>
∑∑
‰ Jœ œ# ‰ Jœ œ>
‰ Jœ œ# ‰ Jœ œ>
‰ jœ œn ‰ jœ œ>
∑∑
‰ jœ œn ‰ jœ œ>
‰ jœ œn ‰ jœ œ>Ó œœœn . Œ
∑
‰ jœ œn ‰ jœ œ>
‰ Jœ œ ‰ Jœ œ>
‰ jœ œn ‰ jœ œ>
40
‰ jœ œn ‰ jœ œ>
G
G
G
’ ’ ’ ’∑
∑
’ ’ ’ ’œn > ‰ Jœ ˙
œn > ‰ Jœ ˙
œ> ‰ Jœ ˙
œ# >‰ jœ ˙
Ó ˙Ó ˙œ> ‰ Jœ ˙œ> Œ ˙
œn > ‰ jœ ˙œ# > ‰ Jœ ˙
œ# > ‰ Jœ ˙œn > ‰ jœ ˙
∑Œ ‰ jœ ˙œn > ‰ jœ ˙
œn > ‰ jœ ˙Ó œ œ œ œœœœn .
Œ Ó
œn > ‰ jœ ˙œ> ‰ Jœ ˙
œn > ‰ jœ ˙
41
œn > ‰ jœ ˙
A mEm
A mEm
A m
Sus. cym.
’ ’ ’ ’∑
∑
’ ’ ’ ’˙ ˙b
˙ ˙
˙ ˙n
œ œ œ œ˙ ˙n
˙ ˙˙ ˙˙ ˙
œ œ œ œœ œ œ œ
œ œ œ œ
˙ ˙b
|æ
Ó Œ œæ˙ ˙b
œ œ œ œ
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C m
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molto rit.
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28My Victory (He Brought Me Out)
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Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
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∑
’ ’ ’ Û Ûœé Œ Óœ é Œ Óœé Œ Ó
œé Œ Óœœnn é Œ Ó
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Œ Óœ> Œ Ó
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45
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D A m7
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Gospel Groove q = 116
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Ó œ œ œ œ
Ó œ œ œ œ∑∑∑
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jœœœœ ‰ Œ Ójœœ ‰ Œ Ó
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47.˙ œ œ
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B m7Em7
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∑
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Ó ‰ jœœ œœ. ..œœÓ ‰ jœ œ. .œÓ ‰ Jœ œ. .œ
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48
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∑
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49
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∑
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Œ œ œ œ
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29My Victory (He Brought Me Out)
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Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ Û Û∑
∑
’ ’ ’ Û Û˙̇ œœ œœ> œœ œœ>
˙ œ œ> œ œ>˙̇ œœ œœ> œœ œœ>
˙ jœ œ>jœ>
∑∑∑∑∑∑∑∑∑∑
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51.˙ œ œ
B m7Em7
B m7Em7
B m7Em7
’ ’ ’Û Û∑
∑
’ ’ ’Û Ûœœ Œ Ó
œ Œ Ó
œœ Œ Ó
œ Œ Ó∑∑∑∑∑∑∑∑∑∑
œœœ œ œ œœ ˙̇.œ jœ ˙
œœœ ‰ ‰ œœ jœœ ‰ Œœœ ‰ ‰ œœ J
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52
.œ jœ ˙
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A/C#
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∑
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C 2
C 2
C 2
Verse 1
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∑
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’ ’˙ness, ∑
∑
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D/F#
D/F#
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30My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
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C 2
C 2
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60.œ jœ> œ. œ. ‰ œ.
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C 2
C 2
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’jœ ‰ œ œ œ œtan gled in my
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31My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
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C 2
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G/B
G/B
œ œ œ œ œ œ œ œin the pit I was in.
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Em7
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’ ’œ œ>But
˙̇ Œ œœ>But
˙̇ Œ œœ>
’ ’ ’ ’Œ .˙
Œ .˙
Œ .˙
Œ .˙Œ ..˙̇
Œ .˙Œ .˙
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68
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32My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
%’œœ> œ œ œ œ
God, He brought me out,
œœ> Œ œœ œœ œœ œœGod, He brought me out,
œœ> Œ œœ œœ œœ œœn
’ ’ ’ Û ÛŒ œé ÓŒ œé ÓŒ œé ÓŒ œé ÓŒ œœé ÓŒ œé ÓŒ œé ÓŒ œœé ÓŒ œé ÓŒ œé ÓŒ œé Ó
œ Œ œ œ œ œÛ>
Œ Óœ> Œ Ó
...œœœ œ œ œ œ œœœœn
..˙̇ œœ œœ Œ Œ ‰ jœœœœnÓ Œ ‰ jœœ
..˙̇ œœ œœ
.˙ œ œn
.˙ œ œ
69
.˙ œ œ
D A m7
D A m7
D A m7
Chorus 1
F
F
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’ ’ œ œ œ œout of the dark,
Ó œœ œœ œœ œœout of the dark,
Ó œœ œœ œœ œœ
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....˙̇˙˙ œ œœœœ˙ œ œ œ
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.˙ œ œ
.˙ œ œ
70.˙ œ œ
B m7
B m7
B m7
’ ’ œ œ œ œHe's my De liv
Ó œœ œœ œœ œœHe's my De liv
Ó œœ œœ œœ œœ
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71
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B m7
B m7
B m7
’jœ œ jœ œer er.jœœ œœ jœœ œœ Œer er.
Jœœ œœn Jœœ œœ Œ
’ ’JÛ Û JÛ∑∑∑∑
Ó ‰ jœœ œœ ..œœÓ ‰ jœ œ .œ
Jœœ œœ> Jœœ> œœ Œ
Jœœ œœn >Jœœ> œœ Œ
jœ œn > jœ> œ Œ
Jœ œ> Jœ> œ œ œ .œ
jœ œ> jœ> œ œ œ .œ∑
Ó Œ ÛæÓ æ̇
jœœœœ œœœn >jœœœ>
œ œ œ œjœ œn jœ ˙
∑Ó Œ œ
jœœ œœn >jœœ> ˙̇
jœ œ>jœ> ˙
jœ œn > jœ> ˙
72
jœ œn > jœ> ˙
GC
GC
GC
D
’œ œ œ œ œGod, He's on my side,
œœ Œ œœ œœ œœ œœGod, He's on my side,
œœ Œ œœ œœ œœ œœ
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œé Œ Ó
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73
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D Em7
D Em7
D Em7
-
-
--
--
33My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ œ œ œ œright here with me,
Ó œœ œœ œœ œœright here with me,
Ó œœ œœ œœ œœ
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’ ’ œ œ œ œHe is my Vic
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Ó œœ œœ œœ œœ
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75.˙ œ œ
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B m7D/F#
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to ry.
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- -
- -
34My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
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Verse 2
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35My Victory (He Brought Me Out)
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Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
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36My Victory (He Brought Me Out)
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Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
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A. Sx.
T. Sx.
Bls.
Perc.
Timp.
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Vla.
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D.B.
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SA
TB
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B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
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A. Sx.
T. Sx.
Bls.
Perc.
Timp.
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fi Coda
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38My Victory (He Brought Me Out)
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Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
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D.B.
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TB
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’ ‰ jœ œ œ œI am set,Œ ‰ jœœ œœ œœ œœI am set,
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P
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’ ‰ jœ jœ œ jœI am set free.Œ ‰ jœœ jœœ œœ jœœI am set free.
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’ ‰ jœ œ œ œI am set,Œ ‰ jœœ œœ œœ œœI am set,
Œ ‰ Jœœ œœ œœ œœ
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39My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ‰ jœ jœ œ jœI am set free.Œ ‰ jœœ jœœ œœ jœœI am set free.
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’ ‰ jœ œ œ œYou are myŒ ‰ jœœ œœ œœ œœYou are my
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cresc.
p
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cresc.
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40My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
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’ ‰ jœ œ œ œI am set,Œ ‰ jœœ œœ œœ œœI am set,
Œ ‰ Jœœ œœ œœ œœ
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’ ‰ jœ jœ œ jœI am set free!Œ ‰ jœœ jœœ œœ JœœI am set free!
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’ ’ ’ ’Œ ‰ Jœœ Jœœ
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118˙ œ œ
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41My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’œ œ œ œ œGod,God, He brought me out,∑
∑
’ ’ ’ Û Û∑∑∑∑∑∑∑∑∑∑∑∑∑∑
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119
.˙ œ œ
D A m7
D A m7
D A m7
Chorus 2
p
p
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p
p
p
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∑
’ ’ ’ Û Û∑∑∑∑∑∑∑∑∑∑∑∑∑∑
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∑∑
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120.˙ œ œ
B m7
B m7
B m7
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121
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122
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∑
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D Em7
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124
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42My Victory (He Brought Me Out)
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LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
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125.˙ œ œ
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B m7D/F#
D/F#
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126
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A
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Sus. cym.
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œœ Œ œœ œœ œœ œœGod, He brought me out,
œœ Œ œœ œœ œœ œœn
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127
.˙ œ œ
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D A m7
D A m7
Chorus 2a
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Ó œœ œœ œœ œœout of the dark,
Ó œœ œœ œœ œœ
’ ’ ’ Û Û∑∑∑∑∑∑∑∑∑∑∑∑∑∑
....˙̇˙˙ œ œœœœ˙ œ œ œ
....˙̇̇̇ ‰ jœœœ
..˙̇ ‰ Jœœ
..˙̇ œœ œœ
.˙ œ œ
.˙ œ œ
128.˙ œ œ
B m7
B m7
B m7
’ ’ œ œ œ œHe's my De liv
Ó œœ œœ œœ œœHe's my De liv
Ó œœ œœ œœ œœ
’ ’ ’ Û Û∑∑∑∑∑∑
Ó œœ œœ œœ œœ>
Ó œœ œœ œœ œœ>
Ó œ œ œ œ>Ó œ œ œ œ>
Ó œ œ œ œ>∑∑∑
˙̇˙˙ œ œ œ œœœœ>˙ œ œ œ œ
˙̇̇ Ó˙̇ Ó
..˙̇ œœ œœ>
.˙ œ œ>˙ œ œ œ œ>
129
˙ œ œ œ œ>
B m7
B m7
B m7
’jœ œ jœ œer er.jœœ œœ jœœ œœ Œer er.
Jœœ œœn Jœœ œœ Œ
’ ’JÛ Û JÛ∑∑∑∑
Ó ‰ jœœ œœ ..œœÓ ‰ jœ œ .œ
Jœœ œœ> Jœœ> œœ Œ
Jœœ œœn >Jœœ> œœ Œ
jœ œn > jœ> œ Œ
Jœ œ> Jœ> œ œ œ .œ
jœ œ> jœ> œ œ œ .œ∑
Ó Œ ÛæÓ æ̇
jœœœœ œœœn >jœœœ>
œ œ œ œjœ œn jœ ˙
∑Ó Œ œ
jœœ œœn >jœœ> ˙̇
jœ œ>jœ> ˙
jœ œn > jœ> ˙
130
jœ œn > jœ> ˙
GC
GC
GC
D
-
-
- -
- -
- -
43My Victory (He Brought Me Out)
&
&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
# ## #
# ## #
# ## ## # # ## # # ## # # ## # # ## # #
# ## ## # # # ## # # ## #
# ## ## ## ## #
# ## ## ## #
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’œ œ œ œ œGod, He's on my side,
œœ Œ œœ œœ œœ œœGod, He's on my side,
œœ Œ œœ œœ œœ œœ
’ ’ ’ Û Û
∑∑∑∑
œœ é Œ Ó
œé Œ Ó∑∑∑
œé Œ Ó
œé Œ Ó
œ Œ œ œ œ œÛ>
Œ Óœ> Œ Ó
˙̇̇ œœœ œœœ œœœ œœœœ˙̇ œ œ œ œœ Œ Œ ‰ jœœœœÓ Œ ‰ Jœœ
..˙̇ œœ œœ
.˙ œ œ
˙ œ œ œ œ
131
.˙ œ œ
D Em7
D Em7
D Em7
’ ’ œ œ œ œright here with me,
Ó œœ œœ œœ œœright here with me,
Ó œœ œœ œœ œœ
’ ’ ’ ’
∑∑∑∑∑∑∑∑∑
∑∑∑∑∑
....˙̇˙˙ œ œ œw˙̇̇̇ Ó˙̇ Ó
wwww
132
w
’ ’ œ œ œ œHe is my Vic
Ó œœ œœ œœ œœHe is my Vic
Ó œœ œœ œœ œœ
’ ’ ’ Û Û
Ó œœ œœ œœ œœ>
Ó œ œ œ œ>
Ó œœ œœ œœ œœ>
Ó œ œ œ œ>∑∑∑∑∑
∑∑∑∑∑
...˙˙˙ œœœ œœœ..˙̇ œœ œ
˙̇ Ó˙̇ Ó
..˙̇ œœ œœ
.˙ œ œ
.˙ œ œ
133.˙ œ œ
B m7D/F#
B m7D/F#
B m7D/F#
.œ jœ .œ jœto ry.
..œœ jœœ ..œœ jœœto ry.
..œœ Jœœ ..œœ Jœœ
’ ’Û Û Û Û..œœ Jœœ
> ..œœ Jœœ>
.œ Jœ> .œ Jœ>
..œœ Jœœ> ..œœ Jœœ>
.œ jœ> .œ jœ>∑∑∑∑∑
∑∑∑∑∑
...œœœ jœœœ ...œœœ jœœœ.œ jœ œ œ œ
∑∑
..œœ jœœ ..œœ jœœ
.œ jœ .œ jœ
.œ Jœ œ œ> œ
134
.œ jœ œ œ> œ
A G
A G
A G
wwwww
’ ’ ’ ’www
ww
w∑∑∑∑∑
∑∑∑∑∑
wwwwwwwwggggwwgggg
wwww
135w
jœ> œ>jœb> jœ .œn>
∑
∑
JÛ>Û> JÛ> JÛ .Û
>Jœœ> œœ> Jœœbn >
Jœœ..œœn >
Jœb > œn > Jœ> Jœ .œ>
jœ> œ> Jœn > Jœ .œn >
jœ> œ>jœn > jœ .œn >
jœœ> œœ>jœœnn >
jœœ ..œœn >
jœn > œn >jœ> jœ .œ>
jœœn > œœn > Jœœn >Jœœ ..œœ>
Jœ> œ> Jœb > Jœ .œn >
jœœ>œœ>
jœœbb >jœœ ..œœnn >
Jœ> œ> Jœn > Jœ .œn >
Jœ> œ> Jœn > Jœ .œ>
jœœ>œœ>
jœœbb >jœœ ..œœnn >
Ó Œ ÛæJœ> œ> Jœ> Jœ .œ>
jœœœb > œœœœn >jœœœn >
jœœœ ...œœœ>jœœ>
œœ>jœœbb >
jœœ ..œœnn >∑∑
jœœ> œœ>jœœbn >
jœœ ..œœn >jœb > œn > Jœ> Jœ .œ>
jœ> œ>jœb >
jœ .œn >
136
jœ> œ>jœb >
jœ .œn >
Gm A m7 Bb C
Gm A m7 Bb C
- -
- -
44My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
# ## #
# ## ## ## ## # # ## # # ## # # ## # # ## # #
# ## ## # # # ## # # ## #
# ## ## ## ## #
# ## ## ## #
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
jœ œ jœ œ œ œYou brought me out, now You're∑
∑
’ ’ ’ ’œœé Œ Óœé Œ Óœé Œ Ó
œé Œ Óœœé Œ Ó
œé Œ Óœœé Œ Óœœé Œ Óœœé Œ Óœé Œ Óœé Œ Óœœ> Œ ÓÛ>
Œ Óœ> Œ Ó
...œœœ jœœœ œœœ œœœ
..˙̇ œ œ˙̇̇̇ Ó˙̇ Ó
œ> Œ Œ œœ œœ
œ> Œ Œ œ œ.˙ œ œ
137
.˙ œ œ
D
D
D
Bridge 2
ff
ff
f
f
f
f
f
ff
ff
fff
ffff
f
f
Praise Shuffle q = 140
œ œ œ œ œbring ing me clos er.∑
∑
’ ’ ’ ’∑∑∑∑
Ó œ œ
Ó œ œ∑
Ó œ œ
Ó œœ œœ∑∑
Ó œ œ∑
Ó œ œæ˙̇̇ œœœœ œœœœ œ œ œœ œœÓ œœœœ. ŒÓ œœ. Œ
œœ œœ œœ œœ œœ
œ œ œ œ œ
œ œ œ œ œ
138œ œ œ œ œ
Em7 D
Em7 D
Em7 D
’ ’ ’ ’jœœ œœ jœœ œœ œœ œœ
You brought me out, now You're
Jœœ œœ Jœœ œœ œœ œœ
’ ’ ’ ’∑∑∑∑
œ> Œ Óœ> Œ Ó
∑œ> Œ Óœœ>
Œ Ó∑∑
œ Œ ÓÛ>
Œ Óœ> Œ Ó
...œœœ jœœœ œœœ œœœ
..˙̇ œ œ˙̇̇̇ Ó˙̇ Ó
œœ> Œ Œ œœ œœ
œ> Œ Œ œ œ.˙ œ œ
139
.˙ œ œ
D
D
D
f
’ ’ ’ ’
œœ œœ œœ œœ œœbring ing me clos er.
œœ œœ œœ œœ œœ
’ ’ ’ ’∑∑∑∑
Ó œ œ
Ó œ œ∑
Ó œ œ
Ó œœ œœ∑∑
Ó œ œ∑
Ó œ œæ˙̇̇ œœœœ œœœœ œ œ œœ œœÓ œœœœ. ŒÓ œœ. Œ
œœ œœ œœ œœ œœ
œ œ œ œ œ
œ œ œ œ œ
140œ œ œ œ œ
Em7 D
Em7 D
Em7 D
jœ œ jœ œ œ œVic to ri ous, Je sus,Œ Œ Œ œ œ
Je sus,
Œ Œ Œ œ œ
’ ’ ’ ’∑∑∑∑
œ> Œ Óœ> Œ Ó
∑œ> Œ Óœœ>
Œ Ó∑∑
œ Œ ÓÛ>
Œ Óœ> Œ Ó
...œœœ jœœœ œœœ œœœ
..˙̇ œ œ˙̇̇̇ Ó˙̇ Ó
œœ> Œ Œ œœ œœ
œ> Œ Œ œ œ.˙ œ œ
141
.˙ œ œ
D
D
D
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
- - - ---
- - -
45My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
# ## #
# ## ## ## ## # # ## # # ## # # ## # # ## # #
# ## ## # # # ## # # ## #
# ## ## ## ## #
# ## ## ## #
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
œ œ œ œ> œ œ>You have o ver
œ œ œ œ> œ>You have o ver
œ œ œ œ> œ>
’ ’ ’ ’Ó œœn œœbÓ œn œbÓ œn œn
Ó œn œnÓ œœn œœn
Ó œn œnÓ œœn œœnÓ œn œbÓ œœnn œœbbÓ œn œnÓ œn œn
Ó œn œb∑
Ó œ œæ
œ œ œ œœœn œœœbn˙̇ œœnn œœbbÓ œœnn œœbbÓ œœnn œœbb
œœ œœ œœ œœn œœb
œ œ œ œn œb˙ œn œb
142
˙ œn œb
C Bb
C Bb
C Bb
’ ’œ> ‰ jœcome! Yea
œ> Œ Œ ‰ jœœcome! Yea
œ> Œ Œ ‰ Jœœ
’ ’ ’ Û Ûœœ> Œ Œ ‰ Jœœ>
œ> Œ Œ ‰ Jœ>
œ> Œ Œ ‰ jœ>
œ>Œ Œ ‰ jœ>œœ> Œ Œ ‰ Jœœ
>
œ> Œ Œ ‰ jœ>œœ> Œ Œ ‰ Jœœ
>
œ> Œ Œ ‰ Jœ>
œœ>Œ Œ ‰ jœ>
œ> Œ Œ ‰ Jœ>
œ> Œ Œ ‰ jœ>œ> Œ Œ ‰ jœ>Û>
Œ Œ ‰ JÛ>œ> Œ Œ ‰ Jœ>
...œœœ jœœœ ...œœœjœœœœ>
..˙̇ œœ œœ>˙̇̇̇ Œ ‰ jœœœ>˙̇ Œ ‰ J
œœ>
œœ> Œ Œ ‰ Jœœ>
œ> Œ Œ ‰ Jœ>
.˙ œ œ>
143
.˙ œ œ>
D Em7
D Em7
D Em7
.œ jœ ˙ah!..œœ jœœ ˙̇ah!..œœ Jœœ ˙̇
’ ’ ’Û Û
Jœœ. Œ Jœœ> ˙̇
Jœ. Œ Jœ> ˙jœ. Œ jœ> ˙
jœ.Œ jœ> ˙
Jœœ. Œ Jœœ> ˙˙
jœ. Œ jœ> ˙
Jœœ. Œ Jœœ> ˙̇
Jœ. Œ Jœ> ˙
jœ. Œ jœ> ˙
Jœ. Œ Jœ> ˙jœ. Œ jœ> ˙.œ jœ> ˙.Û JÛ>
|.œ Jœ> œ œæ
....œœœœjœœœ> ˙̇̇
..œœjœœ>
˙̇
...œœœ jœœœ> ˙̇̇
..œœ Jœœ> ˙̇
..œœ Jœœ> ˙̇
.œ Jœ> ˙
.œ jœ> ˙
144
.œ Jœ> ˙
G
G
G
jœ œ jœ œ œ œYou brought me out, now You're∑
∑
’ ’ ’ ’œœé Œ Óœé Œ Óœé Œ Ó
œé Œ Óœœé Œ Ó
œé Œ Óœœé Œ Óœœé Œ Óœœé Œ Óœé Œ Óœé Œ Óœœ> Œ ÓÛ>
Œ Óœ> Œ Ó
...œœœ jœœœ œœœ œœœ
..˙̇ œ œ˙̇̇̇ Ó˙̇ Ó
œ> Œ Œ œœ œœ
œ> Œ Œ œ œ.˙ œ œ
145
.˙ œ œ
D
D
D
ff
ff
f
f
f
f
f
ff
ff
fff
ffff
f
f
œ œ œ œ œbring ing me clos er.∑
∑
’ ’ ’ ’∑∑∑∑
Ó œ œ
Ó œ œ∑
Ó œ œ
Ó œœ œœ∑∑
Ó œ œ∑
Ó œ œæ˙̇̇ œœœœ œœœœ œ œ œœ œœÓ œœœœ. ŒÓ œœ. Œ
œœ œœ œœ œœ œœ
œ œ œ œ œ
œ œ œ œ œ
146œ œ œ œ œ
Em7 D
Em7 D
Em7 D
’ ’ ’ ’jœœ œœ jœœ œœ œœ œœ
You brought me out, now You're
Jœœ œœ Jœœ œœ œœ œœ
’ ’ ’ ’∑∑∑∑
œ> Œ Óœ> Œ Ó
∑œ> Œ Óœœ>
Œ Ó∑∑
œ Œ ÓÛ>
Œ Óœ> Œ Ó
...œœœ jœœœ œœœ œœœ
..˙̇ œ œ˙̇̇̇ Ó˙̇ Ó
œœ> Œ Œ œœ œœ
œ> Œ Œ œ œ.˙ œ œ
147
.˙ œ œ
D
D
D
f
- -
- - -
- - -
46My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
# ## #
# ## ## ## ## # # ## # # ## # # ## # # ## # #
# ## ## # # # ## # # ## #
# ## ## ## ## #
# ## ## ## #
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
’ ’ ’ ’
œœ œœ œœ œœ œœbring ing me clos er.
œœ œœ œœ œœ œœ
’ ’ ’ ’∑∑∑∑
Ó œ œ
Ó œ œ∑
Ó œ œ
Ó œœ œœ∑∑
Ó œ œ∑
Ó œ œæ˙̇̇ œœœœ œœœœ œ œ œœ œœÓ œœœœ. ŒÓ œœ. Œ
œœ œœ œœ œœ œœ
œ œ œ œ œ
œ œ œ œ œ
148œ œ œ œ œ
Em7 D
Em7 D
Em7 D
jœ œ jœ œ œ œVic to ri ous, Je sus,Œ Œ Œ œ œ
Je sus,
Œ Œ Œ œ œ
’ ’ ’ ’∑∑∑∑
œ> Œ Óœ> Œ Ó
∑œ> Œ Óœœ>
Œ Ó∑∑
œ Œ ÓÛ>
Œ Óœ> Œ Ó
...œœœ jœœœ œœœ œœœ
..˙̇ œ œ˙̇̇̇ Ó˙̇ Ó
œœ> Œ Œ œœ œœ
œ> Œ Œ œ œ.˙ œ œ
149
.˙ œ œ
D
D
D
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
œ œ œ œ> œ œ>You have o ver
œ œ œ œ> œ>You have o ver
œ œ œ œ> œ>
’ ’ ’ ’Ó œœn œœbÓ œn œbÓ œn œn
Ó œn œnÓ œœn œœn
Ó œn œnÓ œœn œœnÓ œn œbÓ œœnn œœbbÓ œn œnÓ œn œn
Ó œn œb∑
Ó œ œæ
œ œ œ œœœn œœœbn˙̇ œœnn œœbbÓ œœnn œœbbÓ œœnn œœbb
œœ œœ œœ œœn œœb
œ œ œ œn œb˙ œn œb
150
˙ œn œb
C Bb
C Bb
C Bb
’ ’œ> ‰ jœcome! Yea
œ> Œ Œ ‰ jœœcome! Yea
œ> Œ Œ ‰ Jœœ
’ ’ ’ Û Ûœœ> Œ Œ ‰ Jœœ>
œ> Œ Œ ‰ Jœ>
œ> Œ Œ ‰ jœ>
œ>Œ Œ ‰ jœ>œœ> Œ Œ ‰ Jœœ
>
œ> Œ Œ ‰ jœ>œœ> Œ Œ ‰ Jœœ
>
œ> Œ Œ ‰ Jœ>
œœ>Œ Œ ‰ jœ>
œ> Œ Œ ‰ Jœ>
œ> Œ Œ ‰ jœ>œ> Œ Œ ‰ jœ>Û>
Œ Œ ‰ JÛ>œ> Œ Œ ‰ Jœ>
...œœœ jœœœ ...œœœjœœœœ>
..˙̇ œœ œœ>˙̇̇̇ Œ ‰ jœœœ>˙̇ Œ ‰ J
œœ>
œœ> Œ Œ ‰ Jœœ>
œ> Œ Œ ‰ Jœ>
.˙ œ œ>
151
.˙ œ œ>
D Em7
D Em7
D Em7
.œ jœ ˙ah!..œœ jœœ ˙̇ah!..œœ Jœœ ˙̇
’ ’ ’Û Û
Jœœ. Œ Jœœ> ˙̇
Jœ. Œ Jœ> ˙jœ. Œ jœ> ˙
jœ.Œ jœ> ˙
Jœœ. Œ Jœœ> ˙˙
jœ. Œ jœ> ˙
Jœœ. Œ Jœœ> ˙̇
Jœ. Œ Jœ> ˙
jœ. Œ jœ> ˙
Jœ. Œ Jœ> ˙jœ. Œ jœ> ˙.œ jœ> ˙.Û JÛ>
|.œ Jœ> œ œæ
....œœœœjœœœ> ˙̇̇
..œœjœœ>
˙̇
...œœœ jœœœ> ˙̇̇
..œœ Jœœ> ˙̇
..œœ Jœœ> ˙̇
.œ Jœ> ˙
.œ jœ> ˙
152
.œ Jœ> ˙
G
G
G
- -
- - - -
-
-
-
-
-
-
-
47My Victory (He Brought Me Out)
&&
??
&&&&&&&??
&&&ã?
&?
&?
&B??
# ## #
# ## ## ## ## # # ## # # ## # # ## # # ## # #
# ## ## # # # ## # # ## #
# ## ## ## ## #
# ## ## ## #
LS
Rthm.
Fl. 1-2
Ob.
Cl. 1-2
B. Cl.
Tpt. 1-2
Tpt. 3
Hn. 1-2
Tbn.
Tbn. 3Tba.
A. Sx.
T. Sx.
Bls.
Perc.
Timp.
Vln. I-II
Vla.
Vc.
D.B.
Hp.
SA
TB
Piano
jœ œ jœ œ ‰ JÛVic to ri ous!
Ó Œ ‰ jœœYea
Ó Œ ‰ Jœœ
’ ’ ’ Û Ûœœé Œ Œ ‰ Jœœ>
œé Œ Œ ‰ Jœ>
œé Œ Œ ‰ jœ>
œé Œ Œ ‰ jœ>œœé Œ Œ ‰ Jœœ>
œé Œ Œ ‰ jœ>œœé Œ Œ ‰ Jœœ
>œœé Œ Œ ‰ Jœ>
œœé Œ Œ ‰ jœ>œé Œ Œ ‰ Jœ>
œé Œ Œ ‰ jœ>œ> Œ Œ ‰ jœ>Û>>
Œ Œ ‰ JÛ>œ> Œ Œ ‰ Jœ>
...œœœ>jœœœ ...œœœ
jœœœœ>..˙̇
>œœ œœ>
˙̇̇̇> Œ ‰ jœœœ>˙̇> Œ ‰ J
œœ>
œœ> Œ Œ ‰ Jœœ>
œ> Œ Œ ‰ Jœ>
.>̇ œ œ>
153
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48My Victory (He Brought Me Out)
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49My Victory (He Brought Me Out)
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50My Victory (He Brought Me Out)