NEWSLETTER OF THE PASTORAL MUSICIANS NETWORK ARCHDIOCESE OF HOBART Rite Notes Volume 1, Issue 3 September 2006 Is there a problem with guitars in the liturgy? Sign up to receive this free newsletter Please send email to: pastoral.musicians @aohtas.org.au Please include your: name address email Sunday worshipping community Inside this issue: Q and A Developing common music across the parish A Blessing for Musicians Liturgical music on cue: knowing when to play that first note Coordinator s letter 2 2 3 4-5 6 Music review 6 In recent times there has been some discussion about contemporary music and instruments, especially guitars, in the liturgy. This is not a new debate. We have learnt over the years that whenever this debate revolves around personal preference it can become problematic and even divisive for a community. Reports in the media have even led some musicians to doubt their ministerial role because they heard that guitars have been banned in Church. This information is not correct. Whenever we speak about music and the liturgy we are mindful that the primary role of music is to serve and enhance the prayer of all who gather in Christ s name. Music and the Liturgy We might ask what does the Church actually say about music in the liturgy? Firstly, the Church gives pride of place to chant. It belongs to the Church and its simplicity is the essence of good worship. The Church also believes that the pipe organ, with its rich palate of sounds and ability to accompany the human voice, is an instrument of honour. The Church, however, does not exclude other instruments or musical forms in worship. Instruments must be able to accompany singing because the singing of the people is central. The culture and abilities of the people singers and players also are significant. Music is the pre-eminent art form in worship. In light of this we seek out people from within our communities and form them for music ministry. Ongoing formation of musicians like all other ministers, is important. A Ministry of Service Musicians exercise their ministry by choosing music that harmonises with the rites and is able to be sung by all present. They play sensitively so that people are led well without being drowned out and their playing doesn t attract undue attention. They have a sense of prayer and can read what is going on in the liturgy. They carefully teach the newer music so that people can participate with confidence. They rehearse so that they can lead accurately and reliably. They have a special desire to sing the parts of the liturgy itself and develop a broad repertoire to support this. It is clear that speaking of an instrument alone without an elaboration of the purpose of music in the liturgy, the availability of the people involved and the rich tradition of the Church is risky. Suitability of Instruments Whatever the instrument it must be suitable to support the prayer of the assembly and convey the sacredness of the liturgy rather than be allowed to dominate. People are especially sensitive to musical sounds in worship because music creates a powerful environment for prayer. So in short there is nothing wrong with guitars in the liturgy as long as the players, like all other musicians, have a sound understanding of their sacred ministerial role.
Page 2 Rite Notes Q and A Corner Question: I have been a cantor for some time but I have been told that I lack enthusiasm when I sing. I try and pray the music so what am I doing wrong? Please send questions to pastoral.musicians@ aohtas.org.au Answer: Nothing is wrong. When you have gained musical experience sometimes you become more aware (or others remind you) that you are not only singing for yourself but you are singing for others. This relates to how well you communicate. You might consider developing your expressive qualities and skills. Try contouring musical phrases with rise and fall elements, stressing only the important words. Use your face and eyes more when you sing and explore different colours of your voice. Consider working with a partner (and perhaps a mirror). Question: What is a trope? Answer: This unusual word from the Greek tropos (Latin tropus) means turn. In a liturgical sense it relates to inserting texts or musical phrases into an existing text or tune. When it comes to the liturgy and history, adaptation has been a significant feature, especially in music. In early Jewish worship, tropes were added to existing chant, especially where communities formed in new regions. In Medieval times, the trope was an important compositional technique. Today we mainly use tropes by inserting words into existing tunes, examples are: the Lord Have Mercy, the Alleluia Verse, General Intercessions and the Lamb of God. There is some skill required in making new texts fit a tune comfortably so music groups are indeed fortunate if they have a musician who is able to do this well. Developing common music across the parish A show and tell session can produce an instant common music list As parishes with more than one worshipping community are becoming more common, groups are emerging which combine these smaller communities in some way. For musicians, there have been opportunities to work together in single parish liturgical celebrations and also at formation sessions on liturgical ministry. The next challenge for parishes with multiple worshipping communities may be to promote unity by developing a core common repertoire across the Sunday Masses. It appears that most music groups tend to operate independently, so an excellent way to foster collaboration is to share lists of what they sing with other musicians in the parish. Musicians do not always have the opportunity to worship at any other time than their regular Sunday Mass because of their ministerial commitments. Their understanding of the liturgy and music ministry may also vary and each group may operate quite differently. Developing a common core group of songs across the community promotes parish unity and offers a number of benefits: whole parish celebrations are more participatory different music groups work together new music already known in other parts of the parish can be learnt more experienced musicians can pass on what they know worship across the parish expresses a united parish spirit Parish groups might begin by copying a contents page of their hymn collection and tick the music they use. A show and tell session will produce an instant core repertoire for the parish. When looking for new music, a community might ask other groups for suggestions first, especially settings for the parts of the Mass. There may even be a move to use a common worship book throughout the parish. Developing a core repertoire does not mean that all communities should sing exactly the same music every week. A desire to use common musical elements throughout the parish, however, will provide a greater sense of unity for the parish community during its central activity: Sunday worship.
Volume 1, Issue 3 Page 3 A Blessing For Music Ministers HYMN or PSALM SIGN of the CROSS INTRODUCTION Dear Friends God has called us into service of the Church by assisting God s people to lift their voices in song. Let us pray for all who serve the community as liturgical ministers of music. PRAYER Loving Father since the dawn of time your Spirit has sung in all creation and in baptism you made us your own. You continually call us to your table and invite us to lift up our hearts in praise of your name. In your love you have given the gift of music to men and women of faith. Bless us as we use our gifts for your glory and the service of your holy people. Give us faith to lead your Church s song, strength to carry out our ministry of praise and an openness to the workings of the Spirit. Praise God with trumpet sound; praise him with lute and harp! We ask this in the name of Jesus, your Son. All: Amen GIVING OF HYMNBOOK N., take this hymnbook as a sign of your service to this parish community of N. May you praise God worthily in this assembly. Through your music ministry may you come to know and love Christ more deeply. Praise him with tambourine and dance; praise him with strings and pipe! Praise him with clanging cymbals; praise him with loud clashing cymbals! Music Minister: Amen BLESSING May almighty God bless us and keep us in his love and service. All: Amen Let everything that breathes praise the Lord! Ps 150
Page 4 Rite Notes Liturgical music on cue: knowing when to play that first note With experience, coming in at the One of the most nerve-wracking components of music in the liturgy for leaders and accompanists is starting the music at the right time. A one or two second delay can feel like an eternity. For first time accompanists, playing at the right time is often more difficult than playing the music itself. As music is an integral part of the rites, there are some key times in the liturgy that require leaders and accompanists to be alert and ready to begin the first note. Introductions are important in music so it is good to begin confidently. With experience, these responses become second nature but learning them may be a little daunting at first. It is good to have someone with you if you are leading the music for the first time. Lists of sung elements are also helpful. The list below may be of some assistance. The ministerial chants such as The Lord be with you etc.. have not been included as often these responses are unaccompanied and led by the presiding minister. A Missal can be used as a guide if you are unfamiliar with the parts of the Mass and their names. While not all of the parts of the Mass are necessarily sung during the liturgy they are all listed in order that it might become a handy reference. correct time becomes second nature. Test your memory look at the headings below and try to describe when you would come in with the first note of each piece. INTRODUCTORY RITES Processional Hymn Know when to start the first hymn. Await for a nod from the those in charge of the procession and check if any announcements are to be made before the liturgy begins. Some rites do not begin with a hymn so try and have the text in front of you at these times. Check the length of the procession and use of incense as these may require extra music. Penitential Rite If you are singing any part of the Lord have Mercy study the three different forms so that you come in with the correct music. The priest says words of introduction at the beginning of the rite. The Gloria The Gloria begins after the prayer May almighty God have mercy on you.. except for Form A of the Penitential Rite which concludes with Lord have Mercy.... There is no written introduction but sometimes presiding ministers may insert some words check with the priest before Mass. LITURGY OF THE WORD The Responsorial Psalm The Psalm begins after a period of silence that follows the first reading. Check that the cantor is ready (with music book open) before beginning. The Gospel Acclamation The Gospel Acclamation begins after a period of silence and the Minister is ready to begin the procession. Watching the minister is essential. Try and time the Gospel Acclamation so that it concludes as the Minister is ready to give the greeting before the Gospel The Lord be with you... General Intercessions The nature of the general intercessions is such that the text changes from Mass to Mass. If using music for the intercessions try to have the full text in front of you, especially if there are spoken and musical elements. If possible, unify the whole prayer with soft music in some way if some parts are spoken. The music would begin as soon as ministers are in place immediately after the Creed (on Sundays) and after a period of silence following the homily (on weekdays).
Volume 1, Issue 3 Page 5 Liturgical Music On Cue: continued.. the nod is a great standby LITURGY OF THE EUCHARIST Preparation of the Gifts The music begins during the preparation of the gifts after people are seated and continues until the conclusion of the washing of the hands by the presiding minister. The prayers Blessed are you Lord God of heaven.. are not spoken aloud. Holy Holy The Holy Holy begins immediately the Preface concludes. There are more that 90 Prefaces that begin the Eucharistic Prayer (there are also 11 Eucharistic Prayers). Prefaces conclude with the priest putting his hands together after words like And so with all the choirs of angels.. although these words vary. If you are unsure, check with the Priest before Mass and obtain a copy. Most Missals have the Prefaces printed. Memorial Acclamation The Memorial Acclamation begins immediately after the invitation Let us proclaim the mystery of faith. Check if the priest requires a note if he sings this introduction. Great Amen The Great Amen begins immediately after the Doxology: Through him with him If possible the doxology should be sung as it is very difficult to sing the Amen if this prayer is spoken. The priest may require a starting note or some accompaniment for support. The Lord s Prayer The Lord s Prayer begins immediately after the priest s invitation. There are 4 options for this invitation but they are all short. Sometimes priests use their own words. The priest may need a starting note. If you are unsure check with the priest before Mass. Often this prayer is unaccompanied. Doxology (concluding the Lord s Prayer ) If the Lord s Prayer is sung then it is good if the Doxology (For the kingdom..) that concludes it is also sung. This doxology begins immediately after the prayer Deliver Us Lord from every evil. which the priest may also sing. Lamb of God The Lamb of God begins after the Rite of Peace has concluded and the minister begins to break the consecrated hosts. It continues until the sacred elements have been divided. The Communion Hymn The communion hymn begins immediately the Priest receives communion and continues until the communion procession has finished. Thanksgiving Hymn The thanksgiving hymn begins when the distribution of communion is completed and the presiding minister is seated. CONCLUDING RITE The Recessional Hymn The recessional hymn begins after the final response Thanks be to God. Some rites (eg Funerals) do not conclude this way and have prayer options for ministers. If unsure, it is best to check with the priest and if possible, have the text in front of you. Of course, you can always ask for someone to give you the nod - it is a great standby.
From the Liturgy Office Coordinator Page Page 66 NEWSLETTER OF THE PASTORAL MUSICIANS NETWORK ARCHDIOCESE OF HOBART Pastoral Musicians Rite Notes Network Editor: Cathy Murrowood Catholic Diocesan Centre Coordinator 35 Tower Rd, Liturgy New Office Town Archdiocese GPO of Hobart Box 62 HOBART 7001 Ph 6208 6257 Fax 6208 6299 pastoral.musicians@aohtas.org.au Liturgy Office Archdiocese of Hobart Dear Network Members A few months ago church musicians and instruments were in the news. What began as a comment by Pope Benedict at a concert turned into something much bigger as local commentators added their own complaints and preferences. The cover article may help put things in perspective. The idea of developing a common parish repertoire is discussed in this issue. A simple blessing is also offered for music ministers which may be led by a choir member or other lay leader. You might want to begin the new Liturgical Year by praying this at the beginning of a choir practice or when new members are recruited. A handy list of the music cues during the Mass is presented for those who may be a little uncertain about when to play in the Mass. It would make a helpful checklist for school and parish musicians, particularly newer ministers. With the new Sacraments of Initiation Policy in full swing in the Archdiocese it is timely to thinking about music for the rites. In the music review, music for the Sacraments of Initiation (Baptism, Confirmation and Eucharist) is considered. These selections would be suitable for adults as well as children. Cathy Music Review: Sacraments of Initiation Come to the Table Words: Christopher Walker, Music: O FILLI ET FILIAE Collections: Christ We Proclaim Volume III, Use: Easter, Preparing the Table and Gifts, First Eucharist, RCIA Description: This joyful and well known tune (see Easter Alleluia in Gather Australia) has an alleluia refrain with a fine new text for preparing the table and bringing the gifts, especially appropriate for celebrations of First Eucharist. Acclamation for the Renewal of Baptismal Promises Adaptation: Amen from Mass of Creation M. Haugen Collections: Mass of Creation, Gather Australia, As One Voice Volume I Use: Rite of Confirmation, RCIA, Easter Vigil, Easter Sunday. Description: This well known acclamation has been used to conclude the Renewal of Baptismal Promises in the Rite of Confirmation. This adaptation of an existing acclamation has worked very well and is very effective. Other Amen settings may also be adapted for this rite. Visit the diocesan website to view liturgy guidelines and this newsletter http:// www.hobart.catholic.org.a u/liturgy-commission.htm Holy, Sacred Spirit Words and Music: Monica Brown Collections: Gather Australia Use: Laying on of Hands, Before Confirmation Mass (or Liturgy) begins Description: This single refrain can be repeated as needed. Its very simple melody can be learnt instantly and it has an accompaniment which all musicians would be able to manage. It creates a prayerful and reflective atmosphere making it a good selection for calling. God Is Love Words and Music: David Haas Collections: As One Voice Volume I, Gather Australia Use: Baptism, RCIA, Communion Processions Description: The text is part of the baptismal rite and speaks of walking in the light of God s love as God s children. The simple refrain has a very restful quality. It is repeated and can be learnt instantly. The verses are a little higher and so the support of a cantor or choir would be helpful.