Was lucky enough to meet Omar and be taught by him for for a lecture a while back, and he’s an absolutely phenomenal person. He treated everyone as equals and gave such incredibly insightful answers to any questions we had. He also went into his process of writing “Come Sunday” and the challenges he had with it, and it’s still something that has stuck with me to this very day. He’s just a really inspiring composer and I hope to be at his level someday 🐙
Nice....This is a great piece that is getting a LOT of exposure in the last 3-4 years. I always wondered if the parts were more " written" of if there was gliss or ad lib in it. I say that as I have seen groups make it really swing and they play with the beat and tempo
@@tritl65716 months late, but if you look at the 3rd measure of page 35, around 10:40, the bari sax does have a low G#, which is impossible without extending the instrument(to my knowledge)
I actually asked Mr. Thomas why he did this 2 days ago, he said its too much for 1 person, and having the percussion all play certain parts just amplifies the drums part. So its on purpose!
Even in actual church music, the drums are supplemented by tracks that add more percussion than is actually there. Its over-scored on purpose, makes it more authentic to the source material.
Thank you Omar Thomas for throwing the double reeds a doggie bone here.
As an oboist myself it’s rare to find us playing more then the trumpets and flutes lol
I fcking love that the crowd started cheering when the music got quiet at 11:36. It makes it so much better listening.
This kind of music praises God in the highest! I love it! Hallelujah!!
Played this a couple years ago in the Cleveland youth wind symphony. Best song I’ve ever been a part of!
Excess in the right way.
The clarinets at 9:10 🤩🤩🤩
Was lucky enough to meet Omar and be taught by him for for a lecture a while back, and he’s an absolutely phenomenal person. He treated everyone as equals and gave such incredibly insightful answers to any questions we had. He also went into his process of writing “Come Sunday” and the challenges he had with it, and it’s still something that has stuck with me to this very day. He’s just a really inspiring composer and I hope to be at his level someday 🐙
This masterpiece change my life.
Saw this performance live and Baylor absolutely played the Shipoopi out of this. Congrats and such a fine piece!! 👏👏
Nice....This is a great piece that is getting a LOT of exposure in the last 3-4 years. I always wondered if the parts were more " written" of if there was gliss or ad lib in it. I say that as I have seen groups make it really swing and they play with the beat and tempo
Went to JMU and overlapped with Omar... his music is almost as awesome as his character. Awesome person. 🙂
0:06 - I. Testimony
6:49 - II. Shout!
You picked the best recording 😎 sic em bears!
love the bass trombone on the last note. were you in this recording?
I remember playing bass trombone on this a couple semesters ago and just recently. Definitely one of the better written base trombone parts
Yeah, it’s quite a workout.
@@bassbone52 honestly. I remember sweating buckets with those baselines.
Played this at superstate last year. It was beautiful
*bass not base
@@nickmatheos3689 *bass lines not base lines
Pure perfection.
Beautiful Tenor sax in there 🧑🍳💋
oh my gosh
why the hell did the video which this recording came from get taken down???
Yk the Baylor one
idk rip
copyright probably
@@t1m0thyduk3 but.. Baylor posted it themselves?
@@msewell763 well if it was the tmea recording than im pretty sure it could still be taken down. idk im not sure how that works exactly
its almost grainger esc, welp the first movement at least.
Grainger esc? Huh?
Not even close
10:11
Errant was here
Some of the notes on Bari sax in this are impossible to play litteraly
What part?
@@tritl65716 months late, but if you look at the 3rd measure of page 35, around 10:40, the bari sax does have a low G#, which is impossible without extending the instrument(to my knowledge)
7:59 mm: 42
Percussion is overscored and shouldve just been a drumset part with an auxiliary part.
I actually asked Mr. Thomas why he did this 2 days ago, he said its too much for 1 person, and having the percussion all play certain parts just amplifies the drums part. So its on purpose!
Imagine it was all written on one score and just titled it “drums”
Even in actual church music, the drums are supplemented by tracks that add more percussion than is actually there. Its over-scored on purpose, makes it more authentic to the source material.