Choir Handbook

Transcription

1 All the earth proclaim the Lord, sing your praise to God - Psalm 100 Choir Handbook All Saints Parish Choir Timothy Lewicki, Director of Music All Saints Catholic Church Office of Music and Liturgy 9300 Stonewall Road, Manassas, VA

2

3 September 2017 Welcome to our new music season at All Saints! We will continue growing as a choir and as a music ministry at large, in song and fellowship, working toward our goal to use our music to pray and to help others to pray. This handbook will explain some general thoughts, requirements, expectations, and goals for the year ahead. In the back of the handbook, you will find a full schedule of rehearsals, liturgies, repertoire, and other helpful information. YZ The musical tradition of the universal Church is a treasure of inestimable value, greater even than that of any other art. The main reason for this preeminence is that, as sacred song closely bound to the text, it forms a necessary or integral part of the solemn liturgy. - Constitution on the Sacred Liturgy (1963) The Church also needs musicians. How many sacred works have been composed through the centuries by people deeply imbued with the sense of the mystery! The faith of countless believers has been nourished by melodies flowing from the hearts of other believers, either introduced into the liturgy or used as an aid to dignified worship. In song, faith is experienced as vibrant joy, love, and confident expectation of the saving intervention of God. - Letter to Artists, St. John Paul II (1999) God has bestowed upon his people the gift of song. God dwells within each human person, in the place where music takes its source. Indeed, God, the giver of song, is present whenever his people sing his praises. - Sing to the Lord: Music in Divine Worship (2007) When they had sung the hymn, they went out to the Mount of Olives. - Matthew 26:30 And let the peace of Christ control your hearts, the peace into which you were also called in one body. And be thankful. Let the word of Christ dwell in you richly, as in all wisdom you teach and admonish one another, singing psalms, hymns, and spiritual songs with gratitude in your hearts to God. - Colossians 4:

4 Goals Develop and foster musical skills, including sight-singing, vocal training, ear training, hymn singing, and unison singing Grow our choir by welcoming new members Explore the current choral library further Foster prayer and participation in sung liturgy Continue to develop bilingual repertoire for larger parish celebrations/liturgies Members The All Saints Parish Choir is comprised of parishioners who have a desire to share their gift of song. The volunteer mixed choir (SATB) meets twice a week, once to rehearse and once to sing at, throughout the choir season. Anyone of high school age or older interested in singing is welcome. The ability to read music is not required, but it is helpful. Those in the parish wishing to join the choir seasonally for Christmas or Easter should contact the director, there are additional rehearsals scheduled for these liturgies (announced on the parish website or in the bulletin). Attendance Consistent attendance is necessary to build the choir community and to develop the sound and musicianship of the ensemble. As a norm, attendance at weekly practice is your ticket to sing on Sunday morning. Regular attendance at is also expected. From time to time, occasions will arise that will prevent rehearsal or attendance. In such situations, please contact the director as soon as possible via , phone, or text message. A calendar is posted in the Music Room to mark expected absences well in advance of an absence. The choir season will run from Thursday, September 7, 2017 until Sunday, June 3, 2018 (Body and Blood of Christ). s will end on Thursday, May 31, s Regular choir rehearsals are held on Thursday evenings from 7:30-9:00 pm in the School Music Room, beginning on Thursday, September 7, s begin promptly at 7:30 pm with a vocal warm-up. Please be punctual and prepared. It is highly encouraged that you arrive a few minutes early so that you will be ready when rehearsal starts. Please have a pencil (or two, so you can share!) ready at each rehearsal. Make marks and notes in your music (octavo, hymnal, etc.) in pencil only. The rehearsal order will be posted on the white board and/or ed before the rehearsal. As you arrive early for rehearsal, organize your music in rehearsal order to save valuable time. Extra rehearsals may be added in preparation for Christmas, the Triduum, or other special events. Times and locations for additional rehearsals will be announced as needed. If you know you will not be present for a rehearsal, please contact the director so he can plan accordingly. Timothy Lewicki, Director of Music tlewicki@allsaintsva.org (office) Amy Godeaux, Music Office Admin agodeaux@allsaintsva.org (office) 4

5 Liturgy The Parish Choir normally sings at the 11:30 am each Sunday. There is a rehearsal at 10:30 am in the School Music Room each week. In addition to regular Sunday es, the Parish Choir sings at other parish liturgies/events: All Souls (Parish Memorial ) Monday, November 6, :30 pm ; call time 6:30 pm Advent Lessons and Carols Saturday, December 16, :30 pm concert; call time 6:00 pm Christmas Eve Sunday, December 24, :00 midnight ; call time 10:45 pm Holy Thursday Thursday, March 29, :30 pm ; call time 6:15 pm Good Friday Friday, March 30, :00 pm liturgy; call time 2:00 pm Easter Vigil Saturday, March 30, :30 pm ; call time 7:15 pm Easter Sunday, April :30 am ; call time 11:00 am Confirmation Tuesday, May 22, :00 pm ; call time 6:30 pm YZ Music The All Saints music ministry presents a diverse musical program, incorporating music from many different genres and styles, spanning from Gregorian Chant to newly composed music. All Saints has a large music library allowing for flexibility in music selection and room for growth. Through purchases of new music and further exploration of the current library, the All Saints Parish Choir aims to expand its repertoire. Distribution and Collection of Music: The music assistant and the music director distribute choral octavos, mass settings, hymnals, and other music via the existing cubby system. All music is distributed via choir cubbies in the school music room. Each singer is assigned a number which corresponds to each numbered piece of music and each singer s music cubby. Prior to each week s rehearsal, please collect the music in your cubby. At the end of rehearsal, singers may return the music to his/her cubby or may take it home for further practice. Music is collected regularly throughout the year. Please return pieces either after on Sunday or at the following Thursday rehearsal. All music belongs to All Saints Church Office of Music and Liturgy. All choral music must be returned when asked for by the director and/or assistant. All music will be collected at the end of the choir season in June. Members may be charged for replacement copies if music is lost or not returned. YZ 5

6 Inclement Weather In the case of bad weather, especially during the winter season, rehearsal will automatically be canceled if Prince William County Public Schools close for the day or have canceled afternoon/evening activities. The Director may choose to cancel rehearsal even if the school systems have not closed. An or phone call will be sent out no later than 4:00 pm regarding rehearsal status. Safety is the highest priority. YZ Choir Officers Volunteers who assist the Director and promote the choir and music ministry are choir officers. 1. Choir Librarian - This person assists with the choral music library. He/she maintains the library catalog, numbers, and stamps new music. 2. Choir Secretary/Treasurer - This person compiles and maintains a choir roster (complete with address, , phone information), collects money for various occasions (choir celebrations, funerals, social activity, etc.), and is involved with recruitment and choir sponsored events. 3. Choir Social Chair - This person (and any assistants) organizes, arranges, and supervises social gatherings throughout the year, including, but not limited to, a Christmas party, endof-year gathering, and monthly birthday celebrations. YZ Miscellaneous Attire: We serve a genuine liturgical function and therefore what we wear is important. The choir should wear clean, presentable, and modest clothing, as directed in Sing to the Lord (par ). No flip-flops, sneakers, shorts, jeans, t-shirts, etc. for Sunday or other liturgies. As a choir, we should strive to put our best appearance forward as we not only represent ourselves, but the music ministry and the parish as well. The Parish Choir normally wears choir robes. Each singer is assigned a robe. For some liturgies and occasions, an alternate dress code is given. In these cases, the dress code will be announced prior to each event. 6 Fragrance Sensitivity: Singing in a choir means being in close proximity to one another. Please refrain from using perfumes, colognes, or heavily scented hand creams, etc. Many are sensitive to these scents. All are encouraged to maintain good personal hygiene practices.

7 Resources The following pages contain helpful resources for basic music theory, vocal production, liturgy, and prayers for musicians. Care of the Human Voice Of all musicians, singers are the ones whose instrument is a part of the body and not an external contraption of metal or wood. Any instrument needs good care and regular preventative maintenance; the vocal instrument is no exception. Complicating this issue is the reality that we cannot easily examine the inner workings of the instrument for stress or damage; all we can do is evaluate based on how we feel at any given moment. Medications to treat bodily illness, effective as they may be for their intended purpose, sometimes have a negaive effect on the voice itself. Therefore preventative maintenance is by far the best route to pursue - take care of your body, head to toe, and your vocal instrument will in most cases take care of itself. You have doubtless heard it before, many times: Eat a sensible and balanced died, and avoid excessive caffeine, refined sugars and starches, and alcohol. Excerise regularly. Get plenty of rest. Avoid stress. Mental and emotional anxieties have profound and immediate effects on the body in general and tend to manifest very quickly in the voice and throat. Be aware of how you use your voice in non-singing situations. The best vocal singing technique can be completely undone by abuse of the vocal cords and poor vocal speaking technique. Above all, stay well hydrated, all the time, not just when you are singing. It cannot be stressed too much: You cannot care for your voice without caring for your whole self. Jennifer Kerr Breedlove and Paul Turner. Guide for Cantors, 2 ed. Chicago: Liturgy Training Publications: p YZ The Role of Choirs in Liturgy E. The Choir 28. The Second Vatican Council stated emphatically that choirs must be diligently promoted while ensuring that the whole body of the faithful may be able to contribute that active participation which is rightly theirs The choir must not minimize the musical participation of the faithful. The congregation commonly sings unison melodies, which are more suitable for generally unrehearsed community singing. This is the primary song of the Liturgy. Choirs and ensembles, on the other hand, comprise persons drawn from the community who possess the requisite musical skills and a commitment to the established schedule of rehearsals and Liturgies. Thus, they are able to enrich the celebration by adding musical elements beyond the capabilities of the congregation alone. 29. Choirs (and ensembles another form of choir that commonly includes a combination of singers and instrumentalists) exercise their ministry in various ways. An important ministerial role of the choir or ensemble is to sing various parts of the in dialogue or alternation with the congregation. Some parts of the that have the character of a litany, such as the Kyrie and the Agnus Dei, are clearly intended to be sung in this manner. Other parts may also be sung in dialogue or alternation, especially the Gloria, the Creed, and the three processional songs: the Entrance, the Preparation of the Gifts, and Communion. This approach often takes the form of a 7

8 congregational refrain with verses sung by the choir. Choirs may also enrich congregational singing by adding harmonies and descants. 30. At times, the choir performs its ministry by singing alone. The choir may draw on the treasury of sacred music, singing compositions by composers of various periods and in various musical styles, as well as music that expresses the faith of the various cultures that enrich the Church. Appropriate times where the choir might commonly sing alone include a prelude before, the Entrance chant, the Preparation of the Gifts, during the Communion procession or after the reception of Communion, and the recessional. Other appropriate examples are given in the section of this document entitled Music and the Structure of the (nos ). The music of the choir must always be appropriate to the Liturgy, either by being a proper liturgical text or by expressing themes appropriate to the Liturgy. 31. When the choir is not exercising its particular role, it joins the congregation in song. The choir s role in this case is not to lead congregational singing, but to sing with the congregation, which sings on its own or under the leadership of the organ or other instruments. 32. Choir members, like all liturgical ministers, should exercise their ministry with evident faith and should participate in the entire liturgical celebration, recognizing that they are servants of the Liturgy and members of the gathered assembly. 33. Choir and ensemble members may dress in albs or choir robes, but always in clean, presentable, and modest clothing. Cassock and surplice, being clerical attire, are not recommended as choir vesture. 41 SC, no Sing to the Lord: Music in Divine Worship. United States Conference of Catholic Bishops, Prayer of Preparation God, the maker of all that is, of all that can be seen, of all that can be heard, hear the prayer of your people, and make our voices resound with your praises, that they might please you with words and melodies that seek to show the wonder that is you. Through Christ our Lord. Amen. Guide for Cantors, Second Edition, p. 22 8

9 liz phair what makes you happy [melody from chorus] whitechocolatespaceegg (1998) music theory for musicians and normal people by toby w. rush Notation: Pitch music notation is the art of recording music in written form. # #g#f#d#dµd#sµs#d#mf#sµsµg#f œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ modern music notation is a product of centuries of transformation... and it is neither efficient nor intuitive! pitch is the highness or lowness of a sound. the system of musical notation we use is essentially a stylized graph of pitch versus time. & œ œ œ œ œ œ œ œ for example, a flute has a high pitch, while a tuba has a low pitch. pitch pitch the five lines on which notes appear is called a staff. a note is a written representation of a particular pitch. time notation is based on the piano keyboard; lines and spaces on the staff represent the white notes on the keyboard. to display notes outside the staff, we use shortened staff lines called ledger lines. the clef determines what notes each staff line corresponds to. the four modern clefs are shown here; the note displayed on each staff corresponds to middle c. To notate the black notes on the piano keyboard, we use accidentals, which alter the note by one or two half steps. a half step is the distance between two adjacent keys on the piano keyboard, regardless of what color the keys are. & treble clef # n b w B w alto clef The double sharp raises the note by two half steps. The sharp raises the note by one half step. The natural cancels out any previous accidental. The flat lowers the note by one half step. The double flat lowers the note by two half steps. F g a b c d e F g a b c d e the white notes on the keyboard are labeled with letters from A to G. B w tenor clef? bass clef middle c is the c that is closest to the middle of the piano keyboard. these symbols are placed to the left of the note that they affect, and they apply to all the notes on that line or space for the rest of the measure. & bœ œ nœ two notes which have the same pitch (for example, f sharp and g flat) are called enharmonics. w # œ œ œ nœ œ F g a b c d e F g a b c d e licensed under a creative commons BY-NC-ND license - visit tobyrush.com for more 9

10 frederic chopin nocturne in b major, op. 62, no. 1 (1846) music theory for musicians and normal people by toby w. rush Notation: Rhythm double whole note W w h whole note half note quarter note q eighth note while pitch is pretty clearly notated on a vertical axis, note length is indicated using a somewhat arcane system involving noteheads, stems and flags. e sixteenth note x thirty-second note x K sixty-fourth note xk one-hundredtwenty-eighth note xk in this chart, each successive type of note is half as long as the note to its left. none of these notes has a standard length; a half note in one piece may be the same length as an eighth note in a different piece. note lengths in a piece are indicated by the tempo marking at the beginning of a piece or section. double whole rest whole rest half rest quarter rest Œ eighth rest sixteenth rest thirty-second rest sixty-fourth rest Ù one-hundredtwenty-eighth rest  a rest is a period of silence that a length which corresponds to a particular note. usually rests are placed on the staff at a particular vertical position as shown here. the augmentation dot is a dot placed to the right of a notehead. though small, this dot wields some serious power: it adds half of the original note s length! q. = q + e q.. = q + e + x q... q e ties are curved marks which connect two notes together to create a single, extended sound. j œ j œ = + + x multiple dots can also be added, each one adding half of the previously added value. +x K to tie more than two notes together, draw ties between each note; do not use a single, extended tie. j œ œ œ œ. œ œ œ œ œ œ œ œ = =. ack! Get it off! GEt it off! a tuplet is any non-standard division of a note. these are usually written as a group of notes delineated with a bracket and a number showing the division being made. most tuplets are simple divisions, like the triplets to the left. but anything is possible! chopin, for example, would often go to town with these things. 3 for example, these aren t exactly quarter notes; they are each a third as long as a half note. œ œ œ wha... gah! chopin, no! down, boy! 10 licensed under a creative commons BY-NC-ND license - visit tobyrush.com for more

11 the corrs heaven knows [drum intro] forgiven, not forgotten (1996) music theory for musicians and normal people by toby w. rush Notation: Meter there are two types of beat units: those containing two divisions, called simple beat units... a fundamental feature of most pieces of music is a consistent rhythmic pulse. this pulse is called the beat, and a single pulse is called a beat unit. q E E q. E E E...and those containing three divisions, called compound beat units. in music, beats are organized into patterns of accented and unaccented beat units. in fact, if you listen to a sequence of repeated notes, your brain will probably start to perceive the notes as groups of two, three, or four, even if no accents are present! > > > > > these groups are called measures, and they are delineated with barlines. barline measure the organization of beat units and measures in a piece is called meter. Meter is described by two numbers placed at the beginning of the piece: the time signature. 3 4 simple TIME SIGNATURES are easy. the top number indicates the number of beats in a measure. the bottom number indicates the type of note which serves as the beat unit. 3 4 the code for the bottom note is pretty easy: 4 refers to a quarter note, 8 to an eighth note, 16 to a sixteenth note, and so on. by looking at the top number of the time signature, you can tell two things about the meter: whether it s simple or compound, and how many beats are in a measure. beats per measure 6 8 compound TIME SIGNATURES are kind of lying to you simple the top number indicates the number of divisions in a measure. to get the number of beats, divide it by three. the bottom number indicates the type of note which serves as the division. to get the beat unit, use the note that is equal to three of these notes. in a compound meter, the beat unit is always a dotted note! compound notes that have flags can be grouped together by using beams in place of flags in fact, wouldn t this be an easier way to notate compound meters? sorry... the man says you have to do it the other way. however, beaming is only used to group notes within beats. for the most part, you shouldn t beam notes between beats, nor should you tie notes within beats. licensed under a creative commons BY-NC-ND license - visit tobyrush.com for more 11

12 Liturgical Year A 12 Date Event Repertoire/Notes Thursday, September 7, 2017 First Sunday, September 10, rd Sunday in Ordinary Time Thursday, September 14, 2017 Sunday, September 17, th Sunday in Ordinary Time Thursday, September 21, 2017 Sunday, September 24, th Sunday in Ordinary Time Thursday, September 28, 2017 Friday, September 29, 2017 Sunday, October 1, th Sunday in Ordinary Time Thursday, October 5, 2017 Sunday, October 8, th Sunday in Ordinary Time Thursday, October 12, 2017 Sunday, October 15, th Sunday in Ordinary Time Thursday, October 19, 2017 Sunday, October 22, th Sunday in Ordinary Time Thursday, October 26, 2017 Sunday, October 29, th Sunday in Ordinary Time Thursday, November 2, 2017 Sunday, November 5, st Sunday in Ordinary Time Monday, November 6, 2017 Parish Memorial Thursday, November 9, 2017 Sunday, November 12, nd Sunday in Ordinary Time Thursday, November 16, 2017 Sunday, November 19, rd Sunday in Ordinary Time World Day of the Poor and Liturgy Schedule Draw Us in the Spirit s Tether, Friedell Sicut cervus, Palestrina Lord, Make Us Servants, Roth Bless the Lord, O My Soul, Ippolitoff-Ivanoff The Call, Stroope The Eyes of All Wait Upon Thee, Berger Concert Series: Trio Illumino, 7:30 pm Teach Me O Lord, Stopford Christus factus est, Anerio Christ the Vine, Powell God Be in My Head, Rutter Columbus Day Weekend The King of Love My Shepherd Is, arr. Scott Come and Taste, arr. Parker Cantate Domino, Pitoni For the Beauty of the Earth, Rutter Ubi Caritas, Duruflé A New Commandment, Tallis Teach Me O Lord, Stopford O Sacred Feast, Willan Daylight Savings Time ends - Fall back! Women s Choir, harp, flute 7:30 pm ; 6:30 pm call time Requiem aeternam, plainchant Pie Jesu, Weber The King of Love My Shepherd Is, arr. Wilberg Lift Up Your Heads, Ferris The Eyes of All Wait Upon Thee, Berger Hymn for the Holy Year of Mercy, Inwood With Your Lives Adore Him, Powell O lux beatissima, Helvey

13 Thursday, November 23, 2017 Sunday, November 26, 2017 Christ the King of the Universe Date Event Repertoire/Notes No rehearsal - Thanksgiving Day Choral Fanfare for Christ the King, Smith Ave verum corpus, Byrd Thursday, November 30, 2017 Lessons and Carols (Music Room) Liturgical Year B Sunday, December 3, 2017 First Sunday of Advent Thursday, December 7, 2017 Sunday, December 10, 2017 Second Sunday of Advent Creator of the Stars of Night, arr. Lewicki Thou Shalt Know Him When He Comes, Sirett Comfort, Comfort, Ye My People, Goudimel Lo! How a Rose E er Blooming, Praetorius Thursday, December 14, 2017 Lessons and Carols Dress (Church) Saturday, December 16, 2017 Sunday, December 17, 2017 Third Sunday of Advent Concert Series: Advent Lessons and Carols Creator of the Stars of Night, arr. Lewicki Comfort, Comfort, Ye My People, Goudimel E en So, Lord Jesus, uickly Come, Manz Rejoice in the Lord Alway, anonymous Lo, He Comes with Clouds Descending, arr. Martin Lo! How a Rose E er Blooming, Praetorius Ave Maria, Arcadelt Carols/Hymns for Choir and Congregation Rejoice in the Lord Alway, anonymous E en So, Lord Jesus, uickly Come, Manz Tuesday, December 19, 2017 Extra Christmas in Church Thursday, December 21, 2017 Sunday, December 24, 2017 Fourth Sunday of Advent Sunday, December 24, 2017 Nativity of the Lord Monday, December 25, 2017 Nativity of the Lord Thursday, December 28, 2017 Sunday, December 31, 2017 Feast of the Holy Family Thursday, January 4, 2018 Sunday, January 7, 2018 Epiphany of the Lord Sunday Morning (During the Night) The Angel Gabriel, arr. Lohman Ave Maria, Arcadelt 12:00 midnight; call time 10:30 pm; Prelude 11:15 pm Bring a Torch, Jeannette, Isabella, arr. Nestor On Christmas Night, arr. Kinyon The Angel Gabriel, arr. Lohman Nativity Carol, Rutter For Unto Us a Child Is Born, Handel O Holy Night, Adam/arr. DeFord Carols arranged by Willcocks, Atwood, and Wilberg Parish Choir off Music at 11:30 led by Fil-Am Choir No - Christmas Break No Choral literature today, Parish Choir off No - Christmas Break Thursday, January 11, 2018 resumes Sunday, January 14, nd Sunday in Ordinary Time Thursday, January 18, 2018 Tollite Hostias, Saint-Saëns We Have Seen His Star in the East, Carter Here I Am, Lord, arr. Archer O Sacred Feast, Willan MLK Jr. Weekend

14 Friday, January 19, 2018 Sunday, January 21, rd Sunday in Ordinary Time Thursday, January 25, 2018 Sunday, January 28, th Sunday in Ordinary Time Thursday, February 1, 2018 Sunday, February 4, th Sunday in Ordinary Time Thursday, February 8, 2018 Sunday, February 11, th Sunday in Ordinary Time Thursday, February 15, 2018 Sunday, February 18, 2018 First Sunday of Lent Thursday, February 22, 2018 Sunday, February 25, 2018 Second Sunday of Lent Thursday, March 1, 2018 Sunday, March 4, 2018 Third Sunday of Lent Thursday, March 8, 2018 Sunday, March 11, 2018 Fourth Sunday of Lent Thursday, March 15, 2018 Sunday, March 18, 2018 Fifth Sunday of Lent 14 Date Event Repertoire/Notes Concert Series: Dr. William Atwood, organist Teach Me, O Lord, Attwood Jesu dulcis memoria, Giles How Lovely Are The Messengers, Mendelssohn Lead Me, Lord, Wesley Almighty and Everlasting God, Gibbons Esto les Digo, Lange Jubilate Deo, Mozart If Ye Love Me, Tallis Teach Me, O Lord, Attwood Jesus Walked This Lonesome Valley, arr. Van Be Thou My Vision, arr. Parker O lux beatissima, Helvey O Lord, Increase Our Faith, Loosemore Sicut cervus, Palestrina Laetare Jerusalem, plainchant Brother James Air, arr. Jacob God So Loved the World, Stainer Daylight Savings Time begins - Spring forward! Christus factus est, Anerio Ave verum corpus, Byrd Monday, March 19, 2018 Extra Holy Week rehearsal, in Church Thursday, March 22, 2018 Sunday, March 25, 2018 Palm Sunday of Our Lord s Passion Hosanna filio David, Chant/Victoria God So Loved the World, Stainer Agnus Dei from Missa Secunda, Hassler That Virgin s Child, Tallis Tuesday, March 27, 2018 Extra Dress for Triduum; Father Kelly Hall Choir Potluck to precede rehearsal Thursday, March 29, 2018 Evening of the Lord s Supper 7:30 pm, 6:00 pm call time Esto Les Digo, Lange Ubi Caritas, Duruflé Mandatum, Latona A New Commandment, Tallis The Holy Eucharist, Harris Anima Christi, Powell Agnus Dei from Missa Secunda, Hassler Ave verum corpus, Byrd

15 Friday, March 30, 2018 Commemoration of the Lord s Passion Saturday, March 31, 2018 Easter Vigil Sunday, April 1, 2018 Easter Sunday Thursday, April 5, 2018 Date Event Repertoire/Notes Sunday, April 8, nd Sunday of Easter/Divine Mercy Thursday, April 12, 2018 Sunday, April 15, rd Sunday of Easter Thursday, April 19, 2018 Sunday, April 22, th Sunday of Easter Tuesday, April 24, 2018 Good Friday liturgy 3:00 pm, 2:00 pm call time That Virgin s Child, Tallis Christus factus est, Anerio God So Loved the World, Stainer 8:30 pm, 7:00 pm call time Most Glorious Lord of Life, Harris (arr. Atwood) Hallelujah from Messiah, Handel 11:30 am, 11:00 am call time Regina coeli, Aichinger Most Glorious Lord of Life, Harris (arr. Atwood) Hallelujah from Messiah, Handel No - Easter break Parish Choir off today Fil-Am Choir leads music at 11:30 am With a Voice of Singing, Shaw Stay With Us, Hovland Cry Out With Joy, Chepponis Brother James Air, arr. Jacob Concert Series: Blue Ridge Singers, 7:30 pm Thursday, April 26, 2018 Parish Festival is April Sunday, April 29, th Sunday of Easter Thursday, May 3, 2018 Sunday, May 6, th Sunday of Easter Thursday, May 10, 2018 Sunday, May 13, 2018 Ascension of the Lord Mother s Day Thursday, May 17, 2018 Sunday, May 20, 2018 Pentecost Sunday Sing to the Lord a New Song, Haydn, arr. Hopson Christ the Vine, Powell A New Commandment, Tallis Ubi Caritas, Duruflé Regina Coeli, Aichinger Ascendit Deus, Ravenello I Will Not Leave You Comfortless, Titcomb Veni Creator Spiritus, plainchant Draw Us in the Spirit s Tether, Friedell Gracious Spirit Dwell with Me, Scott Tuesday, May 22, 2018 Confirmation, choral repertoire TBD Thursday, May 24, 2018 Friday, May 25, 2018 Sunday, May 27, 2018 Holy Trinity Sunday Concert Series: Trio Sirènes, 8:00 pm None Can Guess, Gawthrop O Sacrum convivium, Lawrence Memorial Day Weekend Thursday, May 31, 2018 Last of the year Sunday, June 3, 2018 Body and Blood of Christ Anima Christi, Powell The Holy Eucharist, Harris

16 A Singer s Prayer Everlasting Father, in the beginning your Word brought forth life and called us into being. In the fullness of time, Jesus, your Son, became flesh and lived among us. In the upper room, after the meal, He and his apostles sang a hymn before their journey to the Mount of Olives. In an act of everlasting love He opened his arms on the cross and by his death, He intoned the primordial song of the liturgy, the canticle of victory over sin and death. Lord, you dwell in each human person in the place where music takes its source. Open my lips, that my mouth may declare your praise. Open my ears, that I may know the song of your people. Open my heart and strengthen my mind, that I may live in the holy words we sing. Amen. adapted from The New St. Joseph Handbook for Proclaimers of the Word (New Jersey: Catholic Book Publishing Co. 2003) p 6; and Sing to the Lord: Music in Divine Worship, USCCB 2007.