HERE is a comparison of GIRM translations, comparing the GIRM text confirmed for use in the USA to the text confirmed for use in England and Wales.
~nb
Showing posts with label IGMR (GIRM). Show all posts
Showing posts with label IGMR (GIRM). Show all posts
Saturday, August 5, 2006
Thursday, January 26, 2006
IGNORANCE IS SUCH BLISS, EH?
This story from Clayton at The Weight of Glory.
Now - the GIRM specifically states:
UPDATE: Gerald Augustinus over at The Cafeteria is Closed goes even further.
Peace,
BMP
Now - the GIRM specifically states:
St. Joan of Arc has a different lay "speaker" nearly every week.66. The Homily should ordinarily be given by the priest celebrant himself. He
may entrust it to a concelebrating priest or occasionally, according to
circumstances, to the deacon, but never to a lay person. In particular cases and
for a just cause, the homily may even be given by a Bishop or a priest who is
present at the celebration but cannot concelebrate.
UPDATE: Gerald Augustinus over at The Cafeteria is Closed goes even further.
Peace,
BMP
Saturday, March 19, 2005
THE END OF THE LINE - Tour the IGMR - Part IV
We last left off at the end of the Eucharistic Prayer. Now we're going to wrap this tour up with coverage of the Communion and Concluding Rites.
THE LORD'S PRAYER
81. In the Lord's Prayer a petition is made for daily food, which for Christians means preeminently the eucharistic bread, and also for purification from sin, so that what is holy may, in fact, be given to those who are holy. The priest says the invitation to the prayer, and all the faithful say it with him; the priest alone adds the embolism, which the people conclude with a doxology. The embolism, enlarging upon the last petition of the Lord's Prayer itself, begs deliverance from the power of evil for the entire community of the faithful.
The invitation, the Prayer itself, the embolism, and the doxology by which the people conclude these things are sung or said aloud.
In many Protestant denominations, the Lord's Prayer is said, with the doxology ("For thine is the kingdom...") as the ending. As Roman Catholics, this doxology was added on with the Novus Ordo Mass. It was never used in the Tridentine Mass. The correct format in Catholic liturgy is the Lord's Prayer itself - from "Pater Noster"/"Our Father" to "Sed libera nos a malo"/"But deliver us from evil", followed by the "embolism", which the priest says the prayer "Deliver us, Lord, from every evil...", the followed by the proclaiming of the people, "For the kingdom, the power, and the glory are yours, now and for ever." The text is not to be altered.
Last half of 82. The priest breaks the Bread and puts a piece of the host into the chalice to signify the unity of the Body and Blood of the Lord in the work of salvation, namely, of the living and glorious Body of Jesus Christ. The supplication Agnus Dei, is, as a rule, sung by the choir or cantor with the congregation responding; or it is, at least, recited aloud. This invocation accompanies the fraction and, for this reason, may be repeated as many times as necessary until the rite has reached its conclusion, the last time ending with the words dona nobis pacem (grant us peace).
This prayer, sung or said by all, is a three-verse litany. Yes, three and only three verses. When sung, it is usually cantor or choir intoning "Agnus Dei, qui tollis peccata mundi"/"Lamb of God, you take away the sins of the world", to which the people respond "Miserere nobis"/"Have mercy on us" the first two times, and "Dona nobis pacem"/"Grant us peace", the third time. Additional tropes detracting from the meaning of the text, such as "Jesus, Lamb of God", or "Risen Lord", or "Bread of Life and food for our souls" should be avoided. If the repetition as many times as necessary, as stated above, is a must, then the first two verses (those ending in "Have mercy on us") should be the verses repeated, with no text changes.
THE COMMUNION CHANT
86. While the priest is receiving the Sacrament, the Communion chant is begun. Its purpose is to express the communicants' union in spirit by means of the unity of their voices, to show joy of heart, and to highlight more clearly the "communitarian" nature of the procession to receive Communion. The singing is continued for as long as the Sacrament is being administered to the faithful.
If, however, there is to be a hymn after Communion, the Communion chant should be ended in a timely manner. Care should be taken that singers, too, can receive Communion with ease.
87. In the dioceses of the United States of America there are four options for the Communion chant: (1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons, approved by the United States Conference of Catholic Bishops or the Diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song chosen in accordance with no. 86 above. This is sung either by the choir alone or by the choir or cantor with the people.
If there is no singing, however, the Communion antiphon found in the Missal may be recited either by the faithful, or by some of them, or by a lector. Otherwise the priest himself says it after he has received Communion and before he distributes Communion to the faithful.
In the case of the antiphon from the Roman Missal or Roman Gradual (option 1), these antiphons are generally short, and serve as just that - an antiphon. Verses from Psalms can be used, via the Simple Gradual Psalm choice (e.g., option 2) or other suitible Psalms (e.g., option 3). In the case of option 4, the "suitable liturgical song" may be a hymn by the congregation, a motet by the choir, or a responsory consisting of parts by cantor/choir and congregation.
One should take care that if option 4 is used (not the most preferred by the Church, but most popular amongst many parishes in North America), the song should be Christ-focused, even on those feasts that would pertain to Mary, unless it is prescribed in the Proper for Communion of that day. The Magnificat would be an exception of those which should be avoided, as it is not a hymn to Mary, but to God by Mary. However, such devotional pieces as "Ave Maria" and "Hail, Holy Queen Enthroned Above" should be avoided here, and perhaps placed elsewhere.
THE CONCLUDING RITES
THE UNOFFICIAL RECESSIONAL HYMN
Neither the Roman Missal nor the Roman Gradual make mention of the "Recessional Hymn". The Recessional Hymn was started by custom, probably around the time Vatican II was in the works. However, this "Recessional Hymn" was only used in the case of Low Mass. You see, it was originally intended that when Low Mass (Missa Recitata) was used, that the people were given hymns to sing - Entrance, Offertory, Communion, and Recessional, and the sung Ordinary and Proper be recited; and that High Mass (Missa Cantata) was (still is) the complete sung Mass - the Introit, Kyrie, Gloria (when seasonally correct), Gradual, Alleluia (or Tract in Lent), Credo, Offertory Proper, Sanctus, Agnus Dei, Communion Proper, and Ite Missa Est, along with any other sung dialogues between priest and people.
YOU FORGOT THE CREDO WHEN YOU WROTE PART II
OOPS!!! I did!
67. The purpose of the Symbolum or Profession of Faith, or Creed, is that the whole gathered people may respond to the word of God proclaimed in the readings taken from Sacred Scripture and explained in the homily and that they may also call to mind and confess the great mysteries of the faith by reciting the rule of faith in a formula approved for liturgical use, before these mysteries are celebrated in the Eucharist.
68. The Creed is to be sung or said by the priest together with the people on Sundays and Solemnities. It may be said also at particular celebrations of a more solemn character. If it is sung, it is begun by the priest or, if this is appropriate, by a cantor or by the choir. It is sung, however, either by all together or by the people alternating with the choir.
Very rare is the case of the Creed in the Vernacular sung for some reason. Perhaps it's because of its length. It could be sung, obviously, as seen in paragraphs 67 and 68 above. It doesn't have to be, but it's definitely encouraged. It would be great to see it done. In a Latin High Mass (Missa Cantata), it is always sung.
Here endeth the Lesson, and the tour of the IGMR. Any questions?
+In Christ,
BMP
THE LORD'S PRAYER
81. In the Lord's Prayer a petition is made for daily food, which for Christians means preeminently the eucharistic bread, and also for purification from sin, so that what is holy may, in fact, be given to those who are holy. The priest says the invitation to the prayer, and all the faithful say it with him; the priest alone adds the embolism, which the people conclude with a doxology. The embolism, enlarging upon the last petition of the Lord's Prayer itself, begs deliverance from the power of evil for the entire community of the faithful.
The invitation, the Prayer itself, the embolism, and the doxology by which the people conclude these things are sung or said aloud.
In many Protestant denominations, the Lord's Prayer is said, with the doxology ("For thine is the kingdom...") as the ending. As Roman Catholics, this doxology was added on with the Novus Ordo Mass. It was never used in the Tridentine Mass. The correct format in Catholic liturgy is the Lord's Prayer itself - from "Pater Noster"/"Our Father" to "Sed libera nos a malo"/"But deliver us from evil", followed by the "embolism", which the priest says the prayer "Deliver us, Lord, from every evil...", the followed by the proclaiming of the people, "For the kingdom, the power, and the glory are yours, now and for ever." The text is not to be altered.
Last half of 82. The priest breaks the Bread and puts a piece of the host into the chalice to signify the unity of the Body and Blood of the Lord in the work of salvation, namely, of the living and glorious Body of Jesus Christ. The supplication Agnus Dei, is, as a rule, sung by the choir or cantor with the congregation responding; or it is, at least, recited aloud. This invocation accompanies the fraction and, for this reason, may be repeated as many times as necessary until the rite has reached its conclusion, the last time ending with the words dona nobis pacem (grant us peace).
This prayer, sung or said by all, is a three-verse litany. Yes, three and only three verses. When sung, it is usually cantor or choir intoning "Agnus Dei, qui tollis peccata mundi"/"Lamb of God, you take away the sins of the world", to which the people respond "Miserere nobis"/"Have mercy on us" the first two times, and "Dona nobis pacem"/"Grant us peace", the third time. Additional tropes detracting from the meaning of the text, such as "Jesus, Lamb of God", or "Risen Lord", or "Bread of Life and food for our souls" should be avoided. If the repetition as many times as necessary, as stated above, is a must, then the first two verses (those ending in "Have mercy on us") should be the verses repeated, with no text changes.
THE COMMUNION CHANT
86. While the priest is receiving the Sacrament, the Communion chant is begun. Its purpose is to express the communicants' union in spirit by means of the unity of their voices, to show joy of heart, and to highlight more clearly the "communitarian" nature of the procession to receive Communion. The singing is continued for as long as the Sacrament is being administered to the faithful.
If, however, there is to be a hymn after Communion, the Communion chant should be ended in a timely manner. Care should be taken that singers, too, can receive Communion with ease.
87. In the dioceses of the United States of America there are four options for the Communion chant: (1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons, approved by the United States Conference of Catholic Bishops or the Diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song chosen in accordance with no. 86 above. This is sung either by the choir alone or by the choir or cantor with the people.
If there is no singing, however, the Communion antiphon found in the Missal may be recited either by the faithful, or by some of them, or by a lector. Otherwise the priest himself says it after he has received Communion and before he distributes Communion to the faithful.
In the case of the antiphon from the Roman Missal or Roman Gradual (option 1), these antiphons are generally short, and serve as just that - an antiphon. Verses from Psalms can be used, via the Simple Gradual Psalm choice (e.g., option 2) or other suitible Psalms (e.g., option 3). In the case of option 4, the "suitable liturgical song" may be a hymn by the congregation, a motet by the choir, or a responsory consisting of parts by cantor/choir and congregation.
One should take care that if option 4 is used (not the most preferred by the Church, but most popular amongst many parishes in North America), the song should be Christ-focused, even on those feasts that would pertain to Mary, unless it is prescribed in the Proper for Communion of that day. The Magnificat would be an exception of those which should be avoided, as it is not a hymn to Mary, but to God by Mary. However, such devotional pieces as "Ave Maria" and "Hail, Holy Queen Enthroned Above" should be avoided here, and perhaps placed elsewhere.
THE CONCLUDING RITES
90. The concluding rites consist of:
- Brief announcements, if they are necessary;
- The priest's greeting and blessing, which on certain days and occasions is enriched and expressed in the prayer over the People or another more solemn formula;
- The dismissal of the people by the deacon or the priest, so that each may go out to do good works, praising and blessing God;
- The kissing of the altar by the priest and the deacon, followed by a profound bow to the altar by the priest, the deacon, and the other ministers.
THE UNOFFICIAL RECESSIONAL HYMN
Neither the Roman Missal nor the Roman Gradual make mention of the "Recessional Hymn". The Recessional Hymn was started by custom, probably around the time Vatican II was in the works. However, this "Recessional Hymn" was only used in the case of Low Mass. You see, it was originally intended that when Low Mass (Missa Recitata) was used, that the people were given hymns to sing - Entrance, Offertory, Communion, and Recessional, and the sung Ordinary and Proper be recited; and that High Mass (Missa Cantata) was (still is) the complete sung Mass - the Introit, Kyrie, Gloria (when seasonally correct), Gradual, Alleluia (or Tract in Lent), Credo, Offertory Proper, Sanctus, Agnus Dei, Communion Proper, and Ite Missa Est, along with any other sung dialogues between priest and people.
YOU FORGOT THE CREDO WHEN YOU WROTE PART II
OOPS!!! I did!
67. The purpose of the Symbolum or Profession of Faith, or Creed, is that the whole gathered people may respond to the word of God proclaimed in the readings taken from Sacred Scripture and explained in the homily and that they may also call to mind and confess the great mysteries of the faith by reciting the rule of faith in a formula approved for liturgical use, before these mysteries are celebrated in the Eucharist.
68. The Creed is to be sung or said by the priest together with the people on Sundays and Solemnities. It may be said also at particular celebrations of a more solemn character. If it is sung, it is begun by the priest or, if this is appropriate, by a cantor or by the choir. It is sung, however, either by all together or by the people alternating with the choir.
Very rare is the case of the Creed in the Vernacular sung for some reason. Perhaps it's because of its length. It could be sung, obviously, as seen in paragraphs 67 and 68 above. It doesn't have to be, but it's definitely encouraged. It would be great to see it done. In a Latin High Mass (Missa Cantata), it is always sung.
Here endeth the Lesson, and the tour of the IGMR. Any questions?
+In Christ,
BMP
TOUR THE IGMR - Part III
In this chapter, we'll cover the Liturgy of the Eucharist from the Offertory right to the conclusion of the Eucharistic Prayer. In the Eucharistic Prayer is where you will find the Central Mystery of the Catholic Faith - Bread and Wine being transformed to the Body and Blood of our Lord Jesus Christ, right before our very eyes.
THE OFFERTORY
74. The procession bringing the gifts is accompanied by the Offertory chant (cf. above, no. 37b), which continues at least until the gifts have been placed on the altar. The norms on the manner of singing are the same as for the Entrance chant (cf. above, no. 48, or blog article "Let's Take a Tour of the IGMR - Part I"). Singing may always accompany the rite at the offertory, even when there is no procession with the gifts.
This may be a hymn, a motet, or (ideally) the Offertory as prescribed in the Roman Gradual. One should, however, be aware of the nomenclature here. "Preparation of the Gifts" or "Preparation of the Altar and Gifts" is the action going on by the priest. It is still traditionally known as the "Offertory", the priest offering the gifts of Bread and Wine to Almighty God. The hymn is still called (as you see in the above paragraph) the "Offertory Chant" - not "Presentation Hymn" or "Preparation Hymn" as many pseudo-liturgists call it, but the "Offertory Hymn". Don't let the wannabes fool you.
THE EUCHARISTIC PRAYER (Piece by piece)
79a. Thanksgiving (expressed especially in the Preface): In which the priest, in the name of the entire holy people, glorifies God the Father and gives thanks for the whole work of salvation or for some special aspect of it that corresponds to the day, festivity, or season.
The preface starts with a dialog (said or sung) between celebrant and congregation (The Lord be with you/And also with you/Lift up your hearts/etc.). This is followed by a prayer of thanksgiving, set usually be season or feast, said or sung by the celebrant.
79b. Acclamation: In which the whole congregation, joining with the heavenly powers, sings the Sanctus. This acclamation, which is part of the Eucharistic Prayer itself, is sung or said by all the people with the priest.
The last paragraph of the prayer of thanksgiving introduces this acclamation (the "Sanctus", or "Holy, Holy, Holy Lord") , which really, like the Gloria, is a hymn ("Now we join with the angels and archangels in the unending hymn of praise") sung by all. It should be sung straight through, and (also like the Gloria) the text is not to be altered in any way.
After the Sanctus is sung, the priest recites the first of two major bodies of the Eucharistic Prayer. There are now NINE Eucharistic Prayers for the celebrant to choose from (the original four, plus two for Masses of Reconciliation, and three for Masses with Children). The very first (beginning with "We come to you, Father, with praise and thanksgiving") is known as the "Roman Canon". Until the current Mass, this was the ONLY Eucharistic Prayer, and was simply named "The Canon of the Mass".
79e. Anamnesis: In which the Church, fulfilling the command that she received from Christ the Lord through the Apostles, keeps the memorial of Christ, recalling especially his blessed Passion, glorious Resurrection, and Ascension into heaven.
After the elevations of the Body and Blood of Christ, this Anamnesis (commonly known as the "Memorial Acclamation") is sung. The priest intones "Mysterium Fidei"/"Let us proclaim the Mystery of Faith", and the people respond by singing one of the approved acclamations. There are three in Latin, four in English. The four in English are as follows.
BMP
THE OFFERTORY
74. The procession bringing the gifts is accompanied by the Offertory chant (cf. above, no. 37b), which continues at least until the gifts have been placed on the altar. The norms on the manner of singing are the same as for the Entrance chant (cf. above, no. 48, or blog article "Let's Take a Tour of the IGMR - Part I"). Singing may always accompany the rite at the offertory, even when there is no procession with the gifts.
This may be a hymn, a motet, or (ideally) the Offertory as prescribed in the Roman Gradual. One should, however, be aware of the nomenclature here. "Preparation of the Gifts" or "Preparation of the Altar and Gifts" is the action going on by the priest. It is still traditionally known as the "Offertory", the priest offering the gifts of Bread and Wine to Almighty God. The hymn is still called (as you see in the above paragraph) the "Offertory Chant" - not "Presentation Hymn" or "Preparation Hymn" as many pseudo-liturgists call it, but the "Offertory Hymn". Don't let the wannabes fool you.
THE EUCHARISTIC PRAYER (Piece by piece)
79a. Thanksgiving (expressed especially in the Preface): In which the priest, in the name of the entire holy people, glorifies God the Father and gives thanks for the whole work of salvation or for some special aspect of it that corresponds to the day, festivity, or season.
The preface starts with a dialog (said or sung) between celebrant and congregation (The Lord be with you/And also with you/Lift up your hearts/etc.). This is followed by a prayer of thanksgiving, set usually be season or feast, said or sung by the celebrant.
79b. Acclamation: In which the whole congregation, joining with the heavenly powers, sings the Sanctus. This acclamation, which is part of the Eucharistic Prayer itself, is sung or said by all the people with the priest.
The last paragraph of the prayer of thanksgiving introduces this acclamation (the "Sanctus", or "Holy, Holy, Holy Lord") , which really, like the Gloria, is a hymn ("Now we join with the angels and archangels in the unending hymn of praise") sung by all. It should be sung straight through, and (also like the Gloria) the text is not to be altered in any way.
After the Sanctus is sung, the priest recites the first of two major bodies of the Eucharistic Prayer. There are now NINE Eucharistic Prayers for the celebrant to choose from (the original four, plus two for Masses of Reconciliation, and three for Masses with Children). The very first (beginning with "We come to you, Father, with praise and thanksgiving") is known as the "Roman Canon". Until the current Mass, this was the ONLY Eucharistic Prayer, and was simply named "The Canon of the Mass".
79e. Anamnesis: In which the Church, fulfilling the command that she received from Christ the Lord through the Apostles, keeps the memorial of Christ, recalling especially his blessed Passion, glorious Resurrection, and Ascension into heaven.
After the elevations of the Body and Blood of Christ, this Anamnesis (commonly known as the "Memorial Acclamation") is sung. The priest intones "Mysterium Fidei"/"Let us proclaim the Mystery of Faith", and the people respond by singing one of the approved acclamations. There are three in Latin, four in English. The four in English are as follows.
- Christ has died. Christ is risen. Christ will come again.
- Dying you destroyed our death; rising you restored our life; Lord Jesus, come in glory.
- When we eat this bread and drink this cup, we proclaim your death, Lord Jesus, until you come in glory.
- Lord, by your cross and resurrection, you have set us free. You are the Savior of the world.
In the ongoing re-translation process, it is said that the first of these acclamations might be eliminated. Two common communion hymns, "Keep in Mind" (by Lucien Deiss) and "We Remember" (by Marty Haugen) are just that - hymns. These are NOT Memorial Acclamations. This very common practice should be avoided by all means.
From that point, the second major body of the Eucharistic Prayer is prayed by the celebrant.
THE CONCLUDING DOXOLOGY
79h. Final doxology: By which the glorification of God is expressed and is confirmed and concluded by the people's acclamation, Amen.
The people's acclamation is just that - AMEN. The word "Amen" may be repeated multiple times (three is most common), though officially it is single. Other texts like "for ever and ever, for ever, alleluia" and "heaven and earth are full of your glory, hosanna on high" should not be added. Just "Amen." Further, the "Per Ipsum"/"Through him" prayer is intoned by the priest(s) only. The congregation comes in only on "Amen."
And Amen, I say to you, as we close this portion of the tour. Part four, coming soon, will guide you through the rest of the Mass - the Communion and Concluding rites.
+In Christ,BMP
Friday, March 18, 2005
TOUR THE IGMR - Part II
In my previous post, we covered the Introductory Rites. Here we will cover the Liturgy of the Word.
The RESPONSORIAL PSALM
61. After the first reading comes the responsorial Psalm, which is an integral part of the Liturgy of the Word and holds great liturgical and pastoral importance, because it fosters meditation on the word of God. The responsorial Psalm should correspond to each reading and should, as a rule, be taken from the Lectionary. It is preferable that the responsorial Psalm be sung, at least as far as the people's response is concerned. Hence, the psalmist, or the cantor of the Psalm, sings the verses of the Psalm from the ambo or another suitable place. The entire congregation remains seated and listens but, as a rule, takes part by singing the response, except when the Psalm is sung straight through without a response. In order, however, that the people may be able to sing the Psalm response more readily, texts of some responses and Psalms have been chosen for the various seasons of the year or for the various categories of Saints. These may be used in place of the text corresponding to the reading whenever the Psalm is sung. If the Psalm cannot be sung, then it should be recited in such a way that it is particularly suited to fostering meditation on the word of God.
In the dioceses of the United States of America, the following may also be sung in place of the Psalm assigned in the Lectionary for Mass: either the proper or seasonal antiphon and Psalm from the Lectionary, as found either in the Roman Gradual or Simple Gradual or in another musical setting; or an antiphon and Psalm from another collection of the psalms and antiphons, including psalms arranged in metrical form, providing that they have been approved by the United States Conference of Catholic Bishops or the Diocesan Bishop. Songs or hymns may not be used in place of the responsorial Psalm.
First, the position of the Psalmist. The preferred location for the Psalmist to proclaim the Responsorial Psalm is from the ambo. However, note the words to follow: "or another suitable place". In many places, cantors and Psalmists can be few and far between, therefore, the organist often has to lead from the console.
When accompanying the Psalms at the organ, the best result is playing the cantor parts on the swell with fairly soft 8' stops, and accompany the congregation in its response on the great with something much fuller (not necessarily the big 8', 4', 2' combination - a good full 8' and 4' is sufficient, especially in more somber Psalms).
The Psalm should be that of the Lectionary for Mass. However, the setting from the Roman Gradual or Simple Gradual may be used. The setting found in these latter two books is known as the "Gradual", and is usually an antiphon and one verse. This should be treated just like a Responsorial Psalm may be treated - that is, the antiphon intoned by the cantor, then repeated by all, the versicle sung by the cantor, followed by a repeat of the antiphon by all.
Psalms may be in a metrical form (e.g., the Gelineau Gradual, as found in the hymnal "Worship II" and much of "Worship, Third Edition", both published by GIA Publications). At least until a new translation of Mass arrives, the Grail/Gelineau settings are still approved by the USCCB. However, songs/hymns can never fill this spot. This means that you cannot program "Make Me a Channel of Your Peace" as a responsorial Psalm. Offertory? Sure! But not as the Psalm.
THE ALLELUIA
62. After the reading that immediately precedes the Gospel, the Alleluia or another chant indicated by the rubrics is sung, as required by the liturgical season. An acclamation of this kind constitutes a rite or act in itself, by which the assembly of the faithful welcomes and greets the Lord who is about to speak to them in the Gospel and professes their faith by means of the chant. It is sung by all while standing and is led by the choir or a cantor, being repeated if this is appropriate. The verse, however, is sung either by the choir or by the cantor.
The Alleluia is sung in every season other than Lent. The verses are taken from the Lectionary or the Graduale.
During Lent, in place of the Alleluia, the verse before the Gospel is sung, as indicated in the Lectionary. It is also permissible to sing another psalm or tract, as found in the Graduale.
Just before the Gospel reading, the Alleluia is sung. First, it is good to point out that the Alleluia is just that - ALLELUIA. It may be sung as a singlefold, twofold, twentyfold. However, adding words to the Alleluia (as an antiphon) is discouraged (e.g., "Give thanks to the risen Lord" or "Praise the Word of Truth and Life"). Like the Responsorial Psalm, it is intoned by a cantor, repeated by all, then again by all after the cantor sings the versicle.
The versicle can be taken from the Lectionary for Mass, or the Roman Graduale. The official musical setting from the Roman Gradual (often the same setting that had appeared in the Liber Usualis for Tridentine Masses) is a single Alleluia intoned by the cantor, repeated by all, but the repeat has an extended final syllable, usually by ten or more additional notes. However, multiple alleluias (double, triple, six-fold, etc.) are also allowed.
The Alleluia is replaced by an alternate Gospel acclamation during the season of Lent. The four choices of the Gospel Acclamation in the Lectionary for Mass in English are as follows:
BMP
The RESPONSORIAL PSALM
61. After the first reading comes the responsorial Psalm, which is an integral part of the Liturgy of the Word and holds great liturgical and pastoral importance, because it fosters meditation on the word of God. The responsorial Psalm should correspond to each reading and should, as a rule, be taken from the Lectionary. It is preferable that the responsorial Psalm be sung, at least as far as the people's response is concerned. Hence, the psalmist, or the cantor of the Psalm, sings the verses of the Psalm from the ambo or another suitable place. The entire congregation remains seated and listens but, as a rule, takes part by singing the response, except when the Psalm is sung straight through without a response. In order, however, that the people may be able to sing the Psalm response more readily, texts of some responses and Psalms have been chosen for the various seasons of the year or for the various categories of Saints. These may be used in place of the text corresponding to the reading whenever the Psalm is sung. If the Psalm cannot be sung, then it should be recited in such a way that it is particularly suited to fostering meditation on the word of God.
In the dioceses of the United States of America, the following may also be sung in place of the Psalm assigned in the Lectionary for Mass: either the proper or seasonal antiphon and Psalm from the Lectionary, as found either in the Roman Gradual or Simple Gradual or in another musical setting; or an antiphon and Psalm from another collection of the psalms and antiphons, including psalms arranged in metrical form, providing that they have been approved by the United States Conference of Catholic Bishops or the Diocesan Bishop. Songs or hymns may not be used in place of the responsorial Psalm.
First, the position of the Psalmist. The preferred location for the Psalmist to proclaim the Responsorial Psalm is from the ambo. However, note the words to follow: "or another suitable place". In many places, cantors and Psalmists can be few and far between, therefore, the organist often has to lead from the console.
When accompanying the Psalms at the organ, the best result is playing the cantor parts on the swell with fairly soft 8' stops, and accompany the congregation in its response on the great with something much fuller (not necessarily the big 8', 4', 2' combination - a good full 8' and 4' is sufficient, especially in more somber Psalms).
The Psalm should be that of the Lectionary for Mass. However, the setting from the Roman Gradual or Simple Gradual may be used. The setting found in these latter two books is known as the "Gradual", and is usually an antiphon and one verse. This should be treated just like a Responsorial Psalm may be treated - that is, the antiphon intoned by the cantor, then repeated by all, the versicle sung by the cantor, followed by a repeat of the antiphon by all.
Psalms may be in a metrical form (e.g., the Gelineau Gradual, as found in the hymnal "Worship II" and much of "Worship, Third Edition", both published by GIA Publications). At least until a new translation of Mass arrives, the Grail/Gelineau settings are still approved by the USCCB. However, songs/hymns can never fill this spot. This means that you cannot program "Make Me a Channel of Your Peace" as a responsorial Psalm. Offertory? Sure! But not as the Psalm.
THE ALLELUIA
62. After the reading that immediately precedes the Gospel, the Alleluia or another chant indicated by the rubrics is sung, as required by the liturgical season. An acclamation of this kind constitutes a rite or act in itself, by which the assembly of the faithful welcomes and greets the Lord who is about to speak to them in the Gospel and professes their faith by means of the chant. It is sung by all while standing and is led by the choir or a cantor, being repeated if this is appropriate. The verse, however, is sung either by the choir or by the cantor.
The Alleluia is sung in every season other than Lent. The verses are taken from the Lectionary or the Graduale.
During Lent, in place of the Alleluia, the verse before the Gospel is sung, as indicated in the Lectionary. It is also permissible to sing another psalm or tract, as found in the Graduale.
Just before the Gospel reading, the Alleluia is sung. First, it is good to point out that the Alleluia is just that - ALLELUIA. It may be sung as a singlefold, twofold, twentyfold. However, adding words to the Alleluia (as an antiphon) is discouraged (e.g., "Give thanks to the risen Lord" or "Praise the Word of Truth and Life"). Like the Responsorial Psalm, it is intoned by a cantor, repeated by all, then again by all after the cantor sings the versicle.
The versicle can be taken from the Lectionary for Mass, or the Roman Graduale. The official musical setting from the Roman Gradual (often the same setting that had appeared in the Liber Usualis for Tridentine Masses) is a single Alleluia intoned by the cantor, repeated by all, but the repeat has an extended final syllable, usually by ten or more additional notes. However, multiple alleluias (double, triple, six-fold, etc.) are also allowed.
The Alleluia is replaced by an alternate Gospel acclamation during the season of Lent. The four choices of the Gospel Acclamation in the Lectionary for Mass in English are as follows:
- Glory and praise to you, Lord Jesus Christ.
- Praise and honor to you, Lord Jesus Christ.
- Glory to you, Word of God, Lord Jesus Christ.
- Praise to you, Lord Jesus Christ, King of endless glory.
During Lent, it is also permissible to sing another Psalm from the Graduale - known as the Tract. The Tract is just a straight-forward (not responsorial) Psalm before the Gospel. It can be sung by all, or just the choir, or alternately between cantor/all or choir/all. These vary in length - from short (Lent II) to really long (Lent I and Palm Sunday).
THE SEQUENCE
64. The Sequence, which is optional except on Easter Sunday and on Pentecost Day, is sung before the Alleluia.
In today's Mass, three sequences arise. The Corpus Christ sequence, "Lauda Sion" is optional. If sung, it should be done in full, though it's common to sing the last four verses ("Ecce Panis Angelorum"). The other two sequences, Easter Sunday ("Victimae Paschali Laudes") and Pentecost Sunday ("Veni, Sancte Spiritus") are required. Note that this is Easter and Pentecost SUNDAY and not VIGIL. On those two days are two seperate sets of Propers which should NEVER be interchanged. Note also that this is sung before the Alleluia. In the Tridentine Mass, it was sung after the alleluia. Efforts are being made by some to restore the sequence to that spot.
In the next chapter, we'll nit-pick through the Liturgy of the Eucharist - from the Offertory to the conclusion of the Eucharistic Prayer (Amen).
+In Christ,BMP
Thursday, March 17, 2005
LET'S TAKE A TOUR of the IGMR - part I
This new series gives a piece by piece look through what's really supposed be done at Mass, according to the Instructio Generalis Missalis Romanis, that is, the General Instruction of the Roman Missal, and compare these items with what goes on.
THE "Entrance Chant"
47. After the people have gathered, the Entrance chant begins as the priest enters with the deacon and ministers. The purpose of this chant is to open the celebration, foster the unity of those who have been gathered, introduce their thoughts to the mystery of the liturgical season or festivity, and accompany the procession of the priest and ministers.
48. The singing at this time is done either alternately by the choir and the people or in a similar way by the cantor and the people, or entirely by the people, or by the choir alone. In the dioceses of the United States of America there are four options for the Entrance Chant: (1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song similarly approved by the Conference of Bishops or the Diocesan Bishop.
First order of nit-picking: Note the nomenclature here - "Entrance Chant" or "Introit" (from the Latin, "Introitus"). Others may use the term "Processional". However, many of those who like a more contemporary worship tend to use the term "Gathering Song". Note what this accompanies. It does not accompany the gathering of the faithful. It accompanies the priest and ministers in procession to the altar. The gathering of the faithful has already happened before Mass begins. So, truthfully, use of the term "Gathering Song" would be out of the question.
Although this is usually done in the form of a hymn (option 4, as stated in paragraph 48 above) in many parishes, the preferred option is the "antiphon from the Roman Missal" or "Psalm from the Roman Gradual". Otherwise, why would this be listed first? Hymns are always the "easy way out". Don't get me wrong - they're not a bad thing. But think of this: as hymns are always printed to different tunes in most cases, the Introit from the Roman Gradual can just as easily be sung to a Psalm Tone as a hymn can be sung to a metrical tune. Though the "official" melody is hard to sing, one can use a Psalm Tone, in fact, use that SAME Psalm Tone for an entire season of Introits.
Let's rewind to the beginning of Paragraph 48. "The singing at this time is done either alternately by the choir and the people or in a similar way by the cantor and the people, or entirely by the people, or by the choir alone." Yes, a choir can sing a choral Introit, either to a Psalm Tone as previously mentioned, or in the form of choral polyphony (aka, the "motet"). This does not detract in any manner the Church's call for "full and active participation".
Another bad practice, usually when option 4 is being used, is the cantor or commentator announcing "Please stand and greet our celebrant and join in singing our gathering hymn, number xxx". We're not greeting the celebrant at this point. That's done socially before you enter (or as you leave) the church. A hilarious point is at one church I worked at, circa 1985. The commentator was absent, and I had doubled as organist and cantor with no microphone in the gallery. The pastor made the usual pre-Mass announcements, stepped into the sacristy for about three seconds, came back out and said "Will you please stand and greet ME by singing hymn number xxx".
THE "Kyrie Eleison"
52. After the Act of Penitence, the Kyrie is always begun, unless it has already been included as part of the Act of Penitence. Since it is a chant by which the faithful acclaim the Lord and implore his mercy, it is ordinarily done by all, that is, by the people and with the choir or cantor having a part in it. As a rule, each acclamation is sung or said twice, though it may be repeated several times, by reason of the character of the various languages, as well as of the artistry of the music or of other circumstances. When the Kyrie is sung as a part of the Act of Penitence, a trope may precede each acclamation.
The "Act of Penitence" as mentioned here is the "Confiteor", that is, "I confess to Almighty God..." After the Confiteor is prayed, the Kyrie is said/sung (preferably sung). The trope method of the Kyrie, mentioned in the last sentence of the above paragraph, is the very commonly used "Penitential Rite C", where the celebrant or deacon intones an invocation such as "You were sent to heal the contrite. Lord, have mercy/Kyrie eleison", and the congregation repeats "Lord have mercy/Kyrie eleison". In either case, the Kyrie is a sixfold Kyrie (was ninefold in the Tridentine liturgy and also in the Vernacular liturgy from 1964) - intoned by the celebrant/deacon/choir/cantor, and repeated by all.
THE RITE OF SPRINKLING
end of 51. On Sundays, especially in the Season of Easter, in place of the customary Act of Penitence, from time to time the blessing and sprinkling of water to recall Baptism may take place.
The Rite of Sprinkling can be done on any Sunday of the year, but, especially during Easter Season. At this time, the celebrant blesses the Holy Water and sprinkles it on the congregation. During the sprinkling itself, an antiphon is usually sung. Outside of Easter Season, it is usually the "Asperges Me" (Sprinkle me, O Lord, with hyssop, and cleanse us...). The verse that follows is from Psalm 51(50), "Miserere mei Deus/Have mercy on me, O Lord". During Easter Season, it is the "Vidi Aquam" (I saw water flowing, from the right side of the temple, alleluia...), and its verse is from Psalm 118 (117), "Confitemini Domino quoniam bonus/Give thanks to the Lord for he is good."
THE GLORIA IN EXCELSIS DEO
53. The Gloria is a very ancient and venerable hymn in which the Church, gathered together in the Holy Spirit, glorifies and entreats God the Father and the Lamb. The text of this hymn may not be replaced by any other text. The Gloria is intoned by the priest or, if appropriate, by a cantor or by the choir; but it is sung either by everyone together, or by the people alternately with the choir, or by the choir alone. If not sung, it is to be recited either by all together or by two parts of the congregation responding one to the other. It is sung or said on Sundays outside the Seasons of Advent and Lent, on solemnities and feasts, and at special celebrations of a more solemn character.
It is very clear here - This text may not be replaced. It may not be altered, paraphrased, or whatever. A sung setting should be through-composed (straight through), though it can be done responsorially (e.g., the "Gloria of the Bells" by C. Alexander Peloquin). The Gloria is omitted on Sundays of Advent and Lent - completely. It is, however, sung on Holy Thursday.
Part II will come soon, and will cover the Liturgy of the Word.
+In Christ,
BMP
THE "Entrance Chant"
47. After the people have gathered, the Entrance chant begins as the priest enters with the deacon and ministers. The purpose of this chant is to open the celebration, foster the unity of those who have been gathered, introduce their thoughts to the mystery of the liturgical season or festivity, and accompany the procession of the priest and ministers.
48. The singing at this time is done either alternately by the choir and the people or in a similar way by the cantor and the people, or entirely by the people, or by the choir alone. In the dioceses of the United States of America there are four options for the Entrance Chant: (1) the antiphon from the Roman Missal or the Psalm from the Roman Gradual as set to music there or in another musical setting; (2) the seasonal antiphon and Psalm of the Simple Gradual; (3) a song from another collection of psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song similarly approved by the Conference of Bishops or the Diocesan Bishop.
First order of nit-picking: Note the nomenclature here - "Entrance Chant" or "Introit" (from the Latin, "Introitus"). Others may use the term "Processional". However, many of those who like a more contemporary worship tend to use the term "Gathering Song". Note what this accompanies. It does not accompany the gathering of the faithful. It accompanies the priest and ministers in procession to the altar. The gathering of the faithful has already happened before Mass begins. So, truthfully, use of the term "Gathering Song" would be out of the question.
Although this is usually done in the form of a hymn (option 4, as stated in paragraph 48 above) in many parishes, the preferred option is the "antiphon from the Roman Missal" or "Psalm from the Roman Gradual". Otherwise, why would this be listed first? Hymns are always the "easy way out". Don't get me wrong - they're not a bad thing. But think of this: as hymns are always printed to different tunes in most cases, the Introit from the Roman Gradual can just as easily be sung to a Psalm Tone as a hymn can be sung to a metrical tune. Though the "official" melody is hard to sing, one can use a Psalm Tone, in fact, use that SAME Psalm Tone for an entire season of Introits.
Let's rewind to the beginning of Paragraph 48. "The singing at this time is done either alternately by the choir and the people or in a similar way by the cantor and the people, or entirely by the people, or by the choir alone." Yes, a choir can sing a choral Introit, either to a Psalm Tone as previously mentioned, or in the form of choral polyphony (aka, the "motet"). This does not detract in any manner the Church's call for "full and active participation".
Another bad practice, usually when option 4 is being used, is the cantor or commentator announcing "Please stand and greet our celebrant and join in singing our gathering hymn, number xxx". We're not greeting the celebrant at this point. That's done socially before you enter (or as you leave) the church. A hilarious point is at one church I worked at, circa 1985. The commentator was absent, and I had doubled as organist and cantor with no microphone in the gallery. The pastor made the usual pre-Mass announcements, stepped into the sacristy for about three seconds, came back out and said "Will you please stand and greet ME by singing hymn number xxx".
THE "Kyrie Eleison"
52. After the Act of Penitence, the Kyrie is always begun, unless it has already been included as part of the Act of Penitence. Since it is a chant by which the faithful acclaim the Lord and implore his mercy, it is ordinarily done by all, that is, by the people and with the choir or cantor having a part in it. As a rule, each acclamation is sung or said twice, though it may be repeated several times, by reason of the character of the various languages, as well as of the artistry of the music or of other circumstances. When the Kyrie is sung as a part of the Act of Penitence, a trope may precede each acclamation.
The "Act of Penitence" as mentioned here is the "Confiteor", that is, "I confess to Almighty God..." After the Confiteor is prayed, the Kyrie is said/sung (preferably sung). The trope method of the Kyrie, mentioned in the last sentence of the above paragraph, is the very commonly used "Penitential Rite C", where the celebrant or deacon intones an invocation such as "You were sent to heal the contrite. Lord, have mercy/Kyrie eleison", and the congregation repeats "Lord have mercy/Kyrie eleison". In either case, the Kyrie is a sixfold Kyrie (was ninefold in the Tridentine liturgy and also in the Vernacular liturgy from 1964) - intoned by the celebrant/deacon/choir/cantor, and repeated by all.
THE RITE OF SPRINKLING
end of 51. On Sundays, especially in the Season of Easter, in place of the customary Act of Penitence, from time to time the blessing and sprinkling of water to recall Baptism may take place.
The Rite of Sprinkling can be done on any Sunday of the year, but, especially during Easter Season. At this time, the celebrant blesses the Holy Water and sprinkles it on the congregation. During the sprinkling itself, an antiphon is usually sung. Outside of Easter Season, it is usually the "Asperges Me" (Sprinkle me, O Lord, with hyssop, and cleanse us...). The verse that follows is from Psalm 51(50), "Miserere mei Deus/Have mercy on me, O Lord". During Easter Season, it is the "Vidi Aquam" (I saw water flowing, from the right side of the temple, alleluia...), and its verse is from Psalm 118 (117), "Confitemini Domino quoniam bonus/Give thanks to the Lord for he is good."
THE GLORIA IN EXCELSIS DEO
53. The Gloria is a very ancient and venerable hymn in which the Church, gathered together in the Holy Spirit, glorifies and entreats God the Father and the Lamb. The text of this hymn may not be replaced by any other text. The Gloria is intoned by the priest or, if appropriate, by a cantor or by the choir; but it is sung either by everyone together, or by the people alternately with the choir, or by the choir alone. If not sung, it is to be recited either by all together or by two parts of the congregation responding one to the other. It is sung or said on Sundays outside the Seasons of Advent and Lent, on solemnities and feasts, and at special celebrations of a more solemn character.
It is very clear here - This text may not be replaced. It may not be altered, paraphrased, or whatever. A sung setting should be through-composed (straight through), though it can be done responsorially (e.g., the "Gloria of the Bells" by C. Alexander Peloquin). The Gloria is omitted on Sundays of Advent and Lent - completely. It is, however, sung on Holy Thursday.
Part II will come soon, and will cover the Liturgy of the Word.
+In Christ,
BMP
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