Tuesday, June 9, 2009
Sing the Chant
A reader writes that he is confused. "I thought that we weregetting some place, but what do we do now?" The answer is simply:sing the chant! Not that singing it is always so simple. And notthat seeming difficulties are insurmountable. It is not only a matterof acquiring the proper books (an adequate list of which appeared inVol. 84, No. 1 of Caecilia) which, after all, we are presently boundto use. The impression that we have opined for two generationsthat the book was all we needed will not down.This may lead us to our first point. The most important thingabout singing the chant is singing. It is manifestly absurd to supposethat chant is something quite apart from the broad stream of music,and that the sound vocal procedure necessary to any other type ofsinging does not apply to it. Yet one fears this has been happeningfor too long. Why do Mr. and Mrs. average worshipper not getespecially excited about chant? Because most of its sounds bad. Thishas nothing to do with one chant book or another. Listen to theRequiem Mass from one end of the country to the other. On theface of it, it might be read from fifty different versions, but propervocalization and some musicianship would make amends for a greatdeal else.It is not an uncommon experience to behold chant educatorswho have taught their charges everything but the most basic things.These will know the horrificent names of all the neums and combinationsthereof (the picture, if your please, is more important thanthe name), they are liable to know the minutest detail of emerge andsubmerge in matters chyronomical, and probably can place an ictuseven when it isn't marked. They can, for that matter, know theintricacies of the modes, and have the Vatican Preface at their fingertips.But start singing-and the musical voice, the elementaryrhythm of the neums, and sensible phrasing of text and vocal line ismissing. If one does not have necessary knowledge of voice placementand other tonal matters, what should he do? Either stopteaching any kind of singing or seek to learn from someone who does.The Holy Fathers have been as e:xplicit about sufficiently qualifiedpersonnel as anything. Reading will help-even so small and tidya brochure as Father Finn's "Epitome of the Choral Art". Makeno mistake about it, chant, though unisonous, is part of the choralart, and not an easy part at that. So that one might conclude thisparagraph with a word of caution about professional voice teachers,who manage so often to coach great voices and ruin the rest. Oursis not so much a problem of "training" voices as of eliminating vocaldefects which God did not usually give us.Next in order, and not to be confused with singing the chant,is reading it. It is perhaps not musically unorthodox to remark thatgood singing of bad material is preferable to bad singing of goodmaterial. The contemporary penchant for reading music often ig'nores other important considerations. We are faced with the dis'tressing fact that competent readers are very often incompetentsingers and vice'versa. Having said this, one can, however, stateconfidently that the reading problem is by no means insurmountable.Here, again, without putting up straw men, one is not beyond en'countering college people with decent marks in "Chant I" or "Chant2" who cannot sol'fa a Proper. This is a totally unnecessary stateof affairs. Grade School and High School students certainly canand do read chant. It is the writer's experience that this very simplemanner of reading the chant in chant script is the best approach toreading of any kind. The diatonic scale, like the alphabet, is anadmirable crutch, even if you never get beyond the moveable "do".Grade school children, and not only the bright ones, certainly canmake chant reading part of their existence, and the sky can be thelimit for high school folk. If takes only the doing. You may callthis business of scales drudgery if you wish, but it is nothing like thedrudgery of rote teaching to the not'so'young, and this will be thepenalty for one who has not begun with scales and intervals in thefirst place: a devastating penury of repertoire.The writer has in his possession a collection of chant recordingsof grade school children of a very small rural parish in Wisconsin.They are among the finest he knows, and his own charges sing theproper the year around, with some of the better students singing thesolo parts of the Graduals. Traditions are hard to come by, especiallywhen, as any pastor will tell you, there is a constant tum'over ofmusic teachers. But the fact that they can be established, even ona school level, is indisputable. Why catholic high school studentscannot supply propers is a mystery-unless the song of the church,which ought to have primacy in any music program in the catholicschool-is given niggardly time. Mind you, once a tradition isestablished, once the younger folk hear, read and sing the Propriumde Tempore and de Sanctis year in and year out, the actual practicefor propers need not take more than 15 minutes a week!Now a word about methods and text'books. First of all, theteacher must be both the method and text book. It is less than fairto expect teachers and choirmasters to establish sound traditions ifthey have not been given a chance to drink deeply at the wells ofliturgical song throughout the liturgical year. This need not havebeen in the monastery, the convent, or the seminary. For the Popesdid not write their encyclicals and allocutions only for monks.(There persists too much the notion of transplanting strictly monas'tic elements in the parishes; and religious teachers in diocesan semin'aries have no right to use the monastic rather than the Roman booksin their classes or worship.) In the very first line of the MotuProprio, St. Pius X marks these matters as foremost among thepastoral cares of every individual parish. The teacher, then, musthave assimilated the meat, spirit and directives of the liturgicalbooks, to a point of feeling a necessity to impart them. The bestand only necessary text books are the Kyriale and the Graduale.One may add to these the Vesperale and the "Chants diversa mente".From the point of view of chant education, one might suggest theKyriale for grade school students, and the Graduale for High Schoolstudents. Through their formative years children may becomecompletely conversant with these, and carry them, let us hope, intotheir adulthood. One might use a book like P. Baldinus van Poppel'selementary course, (see Caecilia, Vol 84, No.1) but it is perhapsjust as well to get into the middle of things, using brief home'madeexercises to lead into any particular piece in the Kyriale. Sometimesreading exercises (and vocal exercises) might well be performed onthe material at hand. The results are just as effective, and time issaved.Then let us not forget the overwhelming importance of thetext. It is absolutely essential that the teacher be as resourceful inthis matter as the rest. The texts are not difficult to understand bycomparative study-Father Bouyer has said that the work of theBelgian Benedictines at Bruges (Saint Andrew's Missal) is one ofthe highest contributions to liturgical renewal-and our schools, de'signed primarily for the preservation of the faith and participationin its mysteries, ought not be remiss in teaching the rudiments of thelanguage of these mysteries, even if it finally devolves upon thereligion or chant teacher to do so. It is a fair conjecture thatif the time, energy, and enthusiasm spent on vernacular notionswere applied in the opposite direction we might be happily on ourway. "Sacred music as an integral part of the solemn liturgyshares its general purpose ... and since its principal function is toadorn with suitable melody the liturgical text proposed to the under'standing of the faithful, its proper purpose is to add greater efficacyto the text itself, so that by this means the faithful may be more easilymoved to devotion and better disposed to receive in themselves thefruits of grace proper to the celebration of the sacred mysteries."(Pope Pius X, Motu Proprio)
Monday, May 25, 2009
Traditional Mass, Chants and Latin, why I cherish them.
Someone recently asked me why I sing latin chants and go to Traditional Mass, even a couple of times a month. This inspired me to write down my thoughts here to share with others. Although I'm trying to learn latin, and study the latin words of the prayers I sing, my latin skill is still pretty minimum. So why, and how meaningful they are to me? I'll try to explain it with my not-so-perfect Enligsh.
On the way to the Traditional Mass this morning I asked my 11 year boy whether the Mass is too hard for him to follow. He said ' not really.' (I know he meant it. He is the one I can tell when things are too hard and needs help.). He added, "although I don't understand all the meanings of the prayers, I understand 'what's happening' and follow the Mass better. In other Masses (our local parish Masses) things are changed alot and do not follow the traditional Mass, so hard to follow." Of course he studied "Holy Sacrifice of the Mass' (in English). Actually he is better in following the Traditional Mass than I do, because only Mass I know was OF Mass(now called 'Mass in Ordinary form', Novus Ordo, the new Mass) until last year.
He also told me about getting excited about learning new words and new prayers in latin in children's schola. In children's chant class, we started with learning simple Ordinary parts of the Mass, Kyrie, Sanctus and Angus Dei. They of course know them very well in English, so singing them in Latin wasn't so hard (actually they think it's very cool.), and they do know the meaning. After we learned those (most of them memorized), I added chants that are easy to understand and sing, such as Ave Maria, Veni, Veni Emmanuel... I teach children not just the pronounciation, which is very important to sing beautifully (including pure vowels), we also learn the meanings of the prayers as a whole as well as word-by-word traslations. Of course, I don't expect them to remember them all. But the more they repeat, the more they will remember and understand. Isn't that how we learn prayers in English too? We learn the prayers and we recite them without knowing all the meanings ( not just the words, but the deeper meanings.) We discover the meanings, the more we pray and experience them in our lives. I don't think I know all the true meanings of "Our Father' yet even in English. But that doens't mean I should not say the prayer until I know all the meanings. God fills my humble prayers of imperfect knowledge and imperfect language with His Holiness and love.
We know that there are many reasons that the Church wants keep latin in Mass, universal, immutable to change, and non-vernacular, sacred. Latin is the consecrated language and consistently used for centries in our Church after the purification period in the early Church. The sacredness of the language lifts up the prayers and fills shortcomings our saying those Church's perfect prayers. Of course I should keep studying the prayers, but I won't wait saying those prayers in latin until I master the prayers. Our mind might not understand the words we utter in the prayers, but our spirit does.
I have a friend who is from an European country who hardly spoke English but fell in love and marry to an American who didn't spoke her language either. Without knowing each other's language, they fell in love. After more than 20 years, now they understand better and can speak the same language. When you love someone, the language is not as important. You understand the other, because you love that person. And then of course you get to learn about each other more, and learn to speak the same language. (I married to an American. My husband cannot speak Korean. I learned Enlgish. But once in a while I still wonder whether I'm speaking the same language. In another words, in order to understand each other more deeply, we also have to be in the same spirit)
After the Mass yesteday I heard a funny, but sad story from a mom who takes her children to Traditional Mass. Last summer they had to go to a different church nearby the farm the family just bought. They had singers and guitarists and all. After the awhile, her boy asked the mom when the Mass is going to start(?!) In someplaces the Mass has been changed so much by the 'taste' and 'creativity' of the people, you cannot tell that it's a Mass any more. The sacrament of Eucharist is from God, and when the people change so much, it's impossible to receive His grace fully. I have been reading Church's documents and trying to learn and appreciate OF Mass more. The Holiness and dignity seem to be lost in New Mass, especially in the music after Vatican II. The music in Mass should be chosen by people or by the Church? The Church guarded the sacrament to be holy and dignified, and Her sung prayers were kept in our liturgy so we can glorigy God and sanctify ourselves and receive His grace more fully. Our personal prayers can be kept in our personal devotions, and in public worship the Church has the authority to use Her own prayers, so we can glorify God and sanctify ourselves as a true community of God. When I sing Gregorian chants, I truly feel I'm connected with our Holy Church and all the saints, holy men and women, and all the angels and ultimately to our Lord on the altar. The casual style of music and pop and rock, even worse, style cannot give the sense of the dignity and holiness that are essential to our holy liturgy. Many people didn't understand the intention of the Church fathers of Vatican II. Things that are allowed in the documents became the norms, and even abused for last 40 years in our litugy in many parishes.
When you go to a Traditional Mass , there are translation booklets in the church. I believe most Catholics know Ordinaries (Gloria, Kyrie, Sanctus...) by hearts. And the other prayers and reponses you can follow by the translations first in the booklet, and then as the time goes by, you get to know them pretty well by heart. Also following the Propers get easier as you familiarize with latin more and more in Mass. So I don't understand why people say they get lost. You don't really have to be a mastered scholar in latin to follow the Mass.
Maybe it's not the language actually, maybe many people don't know the Mass well? The actions. The Tradtional Mass has so much deep meanings to each part and action, and I discover something new every time I go. It's like learning about God more and more. It seems to me that the idea of 'explicity' is imported into how we perceive the liturgy these days, and our 'Mystery of Faith" is replaced by "reasonging of the Faith." Of course we should try to learn and understand faith with our reason, but our "Mystery of Faith" cannot be understood only by our reason. There are so many things I learn in Traditional Mass, which I believe, can help to understand and apprecaite OF Mass better.
To me, language has been also a main tool for survival. When I came to US, I had to speak and listen. Grammar that I learned in school wasn't much help that time (helped when I wrote papers mostly though). Reading the textbooks took very long because I coudn't really guess many words just by the contexts. Some friends gave up and went back to their country, missed the comfort back there. But for me there were many things I wanted in this country and I decided to stay and learn. Hardships paid off, and I actually appreciate my cultrue more when I'm here.
I think it depends on how much you see the value of the Traditional Mass and willing to learn and sacrifice other comforts. This also takes lots of humility. If you want to learn Traditional Mass, you actually have to go there and experience it, and learn the Mass and the prayers in latin. latin is a main tool, but that's not everything about the Traditional Mass. It takes lots of sacrifice but this might be one of most joyerful experience we can ever have in our life.
On the way to the Traditional Mass this morning I asked my 11 year boy whether the Mass is too hard for him to follow. He said ' not really.' (I know he meant it. He is the one I can tell when things are too hard and needs help.). He added, "although I don't understand all the meanings of the prayers, I understand 'what's happening' and follow the Mass better. In other Masses (our local parish Masses) things are changed alot and do not follow the traditional Mass, so hard to follow." Of course he studied "Holy Sacrifice of the Mass' (in English). Actually he is better in following the Traditional Mass than I do, because only Mass I know was OF Mass(now called 'Mass in Ordinary form', Novus Ordo, the new Mass) until last year.
He also told me about getting excited about learning new words and new prayers in latin in children's schola. In children's chant class, we started with learning simple Ordinary parts of the Mass, Kyrie, Sanctus and Angus Dei. They of course know them very well in English, so singing them in Latin wasn't so hard (actually they think it's very cool.), and they do know the meaning. After we learned those (most of them memorized), I added chants that are easy to understand and sing, such as Ave Maria, Veni, Veni Emmanuel... I teach children not just the pronounciation, which is very important to sing beautifully (including pure vowels), we also learn the meanings of the prayers as a whole as well as word-by-word traslations. Of course, I don't expect them to remember them all. But the more they repeat, the more they will remember and understand. Isn't that how we learn prayers in English too? We learn the prayers and we recite them without knowing all the meanings ( not just the words, but the deeper meanings.) We discover the meanings, the more we pray and experience them in our lives. I don't think I know all the true meanings of "Our Father' yet even in English. But that doens't mean I should not say the prayer until I know all the meanings. God fills my humble prayers of imperfect knowledge and imperfect language with His Holiness and love.
We know that there are many reasons that the Church wants keep latin in Mass, universal, immutable to change, and non-vernacular, sacred. Latin is the consecrated language and consistently used for centries in our Church after the purification period in the early Church. The sacredness of the language lifts up the prayers and fills shortcomings our saying those Church's perfect prayers. Of course I should keep studying the prayers, but I won't wait saying those prayers in latin until I master the prayers. Our mind might not understand the words we utter in the prayers, but our spirit does.
I have a friend who is from an European country who hardly spoke English but fell in love and marry to an American who didn't spoke her language either. Without knowing each other's language, they fell in love. After more than 20 years, now they understand better and can speak the same language. When you love someone, the language is not as important. You understand the other, because you love that person. And then of course you get to learn about each other more, and learn to speak the same language. (I married to an American. My husband cannot speak Korean. I learned Enlgish. But once in a while I still wonder whether I'm speaking the same language. In another words, in order to understand each other more deeply, we also have to be in the same spirit)
After the Mass yesteday I heard a funny, but sad story from a mom who takes her children to Traditional Mass. Last summer they had to go to a different church nearby the farm the family just bought. They had singers and guitarists and all. After the awhile, her boy asked the mom when the Mass is going to start(?!) In someplaces the Mass has been changed so much by the 'taste' and 'creativity' of the people, you cannot tell that it's a Mass any more. The sacrament of Eucharist is from God, and when the people change so much, it's impossible to receive His grace fully. I have been reading Church's documents and trying to learn and appreciate OF Mass more. The Holiness and dignity seem to be lost in New Mass, especially in the music after Vatican II. The music in Mass should be chosen by people or by the Church? The Church guarded the sacrament to be holy and dignified, and Her sung prayers were kept in our liturgy so we can glorigy God and sanctify ourselves and receive His grace more fully. Our personal prayers can be kept in our personal devotions, and in public worship the Church has the authority to use Her own prayers, so we can glorify God and sanctify ourselves as a true community of God. When I sing Gregorian chants, I truly feel I'm connected with our Holy Church and all the saints, holy men and women, and all the angels and ultimately to our Lord on the altar. The casual style of music and pop and rock, even worse, style cannot give the sense of the dignity and holiness that are essential to our holy liturgy. Many people didn't understand the intention of the Church fathers of Vatican II. Things that are allowed in the documents became the norms, and even abused for last 40 years in our litugy in many parishes.
When you go to a Traditional Mass , there are translation booklets in the church. I believe most Catholics know Ordinaries (Gloria, Kyrie, Sanctus...) by hearts. And the other prayers and reponses you can follow by the translations first in the booklet, and then as the time goes by, you get to know them pretty well by heart. Also following the Propers get easier as you familiarize with latin more and more in Mass. So I don't understand why people say they get lost. You don't really have to be a mastered scholar in latin to follow the Mass.
Maybe it's not the language actually, maybe many people don't know the Mass well? The actions. The Tradtional Mass has so much deep meanings to each part and action, and I discover something new every time I go. It's like learning about God more and more. It seems to me that the idea of 'explicity' is imported into how we perceive the liturgy these days, and our 'Mystery of Faith" is replaced by "reasonging of the Faith." Of course we should try to learn and understand faith with our reason, but our "Mystery of Faith" cannot be understood only by our reason. There are so many things I learn in Traditional Mass, which I believe, can help to understand and apprecaite OF Mass better.
To me, language has been also a main tool for survival. When I came to US, I had to speak and listen. Grammar that I learned in school wasn't much help that time (helped when I wrote papers mostly though). Reading the textbooks took very long because I coudn't really guess many words just by the contexts. Some friends gave up and went back to their country, missed the comfort back there. But for me there were many things I wanted in this country and I decided to stay and learn. Hardships paid off, and I actually appreciate my cultrue more when I'm here.
I think it depends on how much you see the value of the Traditional Mass and willing to learn and sacrifice other comforts. This also takes lots of humility. If you want to learn Traditional Mass, you actually have to go there and experience it, and learn the Mass and the prayers in latin. latin is a main tool, but that's not everything about the Traditional Mass. It takes lots of sacrifice but this might be one of most joyerful experience we can ever have in our life.
Saturday, May 23, 2009
Mass Schedule for Pentecost Vigil and Month of June
Pentecost Vigil at Resurrection Church
May 30, 6:00PM (warm-up starts at 5:30)
Veni Creator Spritus (Prelude vs 1, 4, 5 ,6)
Veni Sancte Spiritus (Sequence)
Sanctus VIII
Agnus Dei IV
Qui Manducat (communio)
10th Anniversary Mass for Fr. Arnold
June 7, Sunday 11 AM at OLPH
Veni Creator Spiritus (prelude 1, 4, 5, 6)
Qui Manducat (communion)
Mass at Expo
June 12, Friday at 5 PM (4:30 warm-up) at Res. Church
Christus Vincit (Prelude)
Kyrie XVI
Veni Creator Spiritus (offertory: children's schola, vs 1, 4, 6, 7)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Qui Manducat (adult schola)
Ave Maria (children's schola)
At OLPH (practice on Mondays at 7:30)
Saturday Mass (8:15AM) (Warm - up starts at 7:40)
June 6, 20
Kyrie XI
Alelluia
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Qui Manducat
Salve Regina
At St. Martin's (Little Sisters of the Poor)
June 21, Sunday, 10:30 (warm-up at 10AM)
Ave Maria(Prelude)
All Praise and Glad Thanksgiving (723)
Gloria VIII
Salve Regina (offertory-schola)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Jesu Dulcis Memoria (368 Latin -English 3vs. each)
There's Wideness in God's Mercy (420)
At Resurrection Church (practice on Tuesdays at 7:30 PM)
Satruday Mass (9AM) (Warm-up starts at 8:30)
June 13
Kyrie XVI
Sanctus VIII
Alleuia
Mysterium Fidei and Amen
Agnus Dei IV
Qui manducat
Salve Regina
Children's schola (practice on Mondays at 1:30 at OLPH)
First Friday Mass, June 5
OLPH 8:15 AM (warm up starts at 7:45 AM)
Ave Maria (prelude)
Kyrie XVI
Veni Creator Spiritus (offertory, vs 1, 4, 6, 7)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Adoro te dovote (communion, vs. 1, 2,5, 7 )
May 30, 6:00PM (warm-up starts at 5:30)
Veni Creator Spritus (Prelude vs 1, 4, 5 ,6)
Veni Sancte Spiritus (Sequence)
Sanctus VIII
Agnus Dei IV
Qui Manducat (communio)
10th Anniversary Mass for Fr. Arnold
June 7, Sunday 11 AM at OLPH
Veni Creator Spiritus (prelude 1, 4, 5, 6)
Qui Manducat (communion)
Mass at Expo
June 12, Friday at 5 PM (4:30 warm-up) at Res. Church
Christus Vincit (Prelude)
Kyrie XVI
Veni Creator Spiritus (offertory: children's schola, vs 1, 4, 6, 7)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Qui Manducat (adult schola)
Ave Maria (children's schola)
At OLPH (practice on Mondays at 7:30)
Saturday Mass (8:15AM) (Warm - up starts at 7:40)
June 6, 20
Kyrie XI
Alelluia
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Qui Manducat
Salve Regina
At St. Martin's (Little Sisters of the Poor)
June 21, Sunday, 10:30 (warm-up at 10AM)
Ave Maria(Prelude)
All Praise and Glad Thanksgiving (723)
Gloria VIII
Salve Regina (offertory-schola)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Jesu Dulcis Memoria (368 Latin -English 3vs. each)
There's Wideness in God's Mercy (420)
At Resurrection Church (practice on Tuesdays at 7:30 PM)
Satruday Mass (9AM) (Warm-up starts at 8:30)
June 13
Kyrie XVI
Sanctus VIII
Alleuia
Mysterium Fidei and Amen
Agnus Dei IV
Qui manducat
Salve Regina
Children's schola (practice on Mondays at 1:30 at OLPH)
First Friday Mass, June 5
OLPH 8:15 AM (warm up starts at 7:45 AM)
Ave Maria (prelude)
Kyrie XVI
Veni Creator Spiritus (offertory, vs 1, 4, 6, 7)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Adoro te dovote (communion, vs. 1, 2,5, 7 )
Friday, May 22, 2009
Solemn High Mass of Ascension of Our Lord at St. Bernadette in Silver Spring with schola Chanty
We got there just in time to hear beautiful organ prelude (there was a traffic jam and we took backroads, and got lost.) Then I see a whole army (sorry if I'm not using a correct expression, but that's how I felt, the Church militant on earth, so strong and holy.) of holy priests, altar servers, young men and younger boys, deacons... entering with hands hold together, and leading us to enter the "Mystery of Faith," our pilgrimage to Jerusalem, our journey to the Holy of Holies. How beautiful, how holy, how comforting to know we have those people to guard our faith. I couldn't stop my tears coming down.
All the singing of the chants and polyphony were so beautiful in that church with a fantastic accoustics. Everything was sung a cappella (just voices), didn't need any instrumental accompaniment, the natual sound of the singing was accompanied only by the beautiful accousticis of the church itself. The readings were chanted beautifully in Latin first and then later read in English.
Then the beautiful Sanctus and the consecration. To me this is the time when the door of the Heaven opens and Jesus comes down to the Altar. After the elevation, the last part of the Sanctus, where it starts Benedictus (blessed is He who comes in the name of the Lord) started quietely and humbly, the music was just so perfect., And the song of Hosanna, the last part of the Benedictus, is heard. I still hear the singing of the Sung Mass from yesterday, but it might be hard for you to really imagine it no matter how I say (especially with my poor English.)
I wonder it is too much to wish that we can have Mass like this every Sunday? Probably not in my life time. But I felt if we have Mass like this more often, average Catolics, like me, can strengthen our Catholic faith and our beliefs on the True Presence of our Lord on the altar and will have more priests. Please pray for more holy priests, we really need them.
My faith is very weak, especailly last week was very tough, and my faith was very feeble(?) But it was such a special gift to me from God that I was able to go to that Mass. I really felt the power and the beauty of God in that Mass and was able to renew my faith. The Mass is so beautiful and powerful and holy that there's no denying that it is from God, not made by people. I try to go to Traditional Latin Mass once a month at least with my family. We are all still learning, little by little, and it's pretty hard for my kids (although they try to behave.) But every time we go, we learn something new and deepen our apprecaiton of the Mass, which has deeper meaning in everyparts. I think we should teach our children the Tradtion of our faith, and this will also help them to appreciate and understand the deeper meaning the Mass of Ordinary form too.
One side story: We left home at 6:45 to get there by 7:30. Traffic was bad, got lost, my husband was making a couple of sharp turns with the family van. I was anxious and frstrated. I really didn''t want our family walk in after the priests walk in. But after a prayer, I felt we are going to be okay. We got there just in time. The lesson for me was (again) Do your best whatever you do, pray and have peace because God always helps you and takes care of you as long as you do your part.
All the singing of the chants and polyphony were so beautiful in that church with a fantastic accoustics. Everything was sung a cappella (just voices), didn't need any instrumental accompaniment, the natual sound of the singing was accompanied only by the beautiful accousticis of the church itself. The readings were chanted beautifully in Latin first and then later read in English.
Then the beautiful Sanctus and the consecration. To me this is the time when the door of the Heaven opens and Jesus comes down to the Altar. After the elevation, the last part of the Sanctus, where it starts Benedictus (blessed is He who comes in the name of the Lord) started quietely and humbly, the music was just so perfect., And the song of Hosanna, the last part of the Benedictus, is heard. I still hear the singing of the Sung Mass from yesterday, but it might be hard for you to really imagine it no matter how I say (especially with my poor English.)
I wonder it is too much to wish that we can have Mass like this every Sunday? Probably not in my life time. But I felt if we have Mass like this more often, average Catolics, like me, can strengthen our Catholic faith and our beliefs on the True Presence of our Lord on the altar and will have more priests. Please pray for more holy priests, we really need them.
My faith is very weak, especailly last week was very tough, and my faith was very feeble(?) But it was such a special gift to me from God that I was able to go to that Mass. I really felt the power and the beauty of God in that Mass and was able to renew my faith. The Mass is so beautiful and powerful and holy that there's no denying that it is from God, not made by people. I try to go to Traditional Latin Mass once a month at least with my family. We are all still learning, little by little, and it's pretty hard for my kids (although they try to behave.) But every time we go, we learn something new and deepen our apprecaiton of the Mass, which has deeper meaning in everyparts. I think we should teach our children the Tradtion of our faith, and this will also help them to appreciate and understand the deeper meaning the Mass of Ordinary form too.
One side story: We left home at 6:45 to get there by 7:30. Traffic was bad, got lost, my husband was making a couple of sharp turns with the family van. I was anxious and frstrated. I really didn''t want our family walk in after the priests walk in. But after a prayer, I felt we are going to be okay. We got there just in time. The lesson for me was (again) Do your best whatever you do, pray and have peace because God always helps you and takes care of you as long as you do your part.
Thursday, May 21, 2009
Can Hymns replace Propers in Mass?
Abandoning the traditional music and texts of the Mass was clearly not the intention of the Council, whose Constitution on the Sacred Liturgy, Sacrosanctum Concilium (1963), decreed that "the treasury of sacred music is to be preserved and fostered with great care" (SC 114). This principle was further clarified in 1969 by the Consilium (the group of bishops and experts set up by Pope Paul VI to implement the Constitution on the Liturgy), who responded to an inquiry on whether the permission for singing vernacular hymns at a low Mass — given in the instruction De musica sacra et sacra liturgia of September 3, 1958 — was still in effect. (Before the Council the hymns sung at low Mass did not replace the prescribed Mass texts, but were an addition to them, and were considered only an "indirect" form of participation.)
The Consilium's response was very clear:
That rule [permitting vernacular hymns] has been superseded. What must be sung is the Mass, its Ordinary and Proper, not "something", no matter how consistent, that is imposed on the Mass. Because the liturgical service is one, it has only one countenance, one motif, one voice, the voice of the Church. To continue to replace the texts of the Mass being celebrated with motets that are reverent and devout, yet out of keeping with the Mass of the day amounts to continuing an unacceptable ambiguity: it is to cheat the people. Liturgical song involves not mere melody, but words, text, thought and the sentiments that the poetry and music contain. Thus texts must be those of the Mass, not others, and singing means singing the Mass not just singing during Mass.
(Original emphasis. The response was published in Italian in the Consilium's official journal Notitiae 5 [1969] p. 406. An English translation appeared in the Bishops' Committee on the Liturgy's BCL Newsletter, August-September 1993.)
Intriguing! Quoted as recently as the BCL newsletter in 1993? wow. This seems to suggest that the postconcilar legislation on propers is actually STRONGER than preconciliar rules.
Jefferey Tucker
The Consilium's response was very clear:
That rule [permitting vernacular hymns] has been superseded. What must be sung is the Mass, its Ordinary and Proper, not "something", no matter how consistent, that is imposed on the Mass. Because the liturgical service is one, it has only one countenance, one motif, one voice, the voice of the Church. To continue to replace the texts of the Mass being celebrated with motets that are reverent and devout, yet out of keeping with the Mass of the day amounts to continuing an unacceptable ambiguity: it is to cheat the people. Liturgical song involves not mere melody, but words, text, thought and the sentiments that the poetry and music contain. Thus texts must be those of the Mass, not others, and singing means singing the Mass not just singing during Mass.
(Original emphasis. The response was published in Italian in the Consilium's official journal Notitiae 5 [1969] p. 406. An English translation appeared in the Bishops' Committee on the Liturgy's BCL Newsletter, August-September 1993.)
Intriguing! Quoted as recently as the BCL newsletter in 1993? wow. This seems to suggest that the postconcilar legislation on propers is actually STRONGER than preconciliar rules.
Jefferey Tucker
Tuesday, April 14, 2009
What are the Propers?
What are the propers? Before there was a “gathering song,” there was the Introit.
Before ever a cantor intoned a responsorial psalm, there was the Gradual.
Before hymns were sung at Offertory and Communion, there were the Offertory and Communion chants.
In short, centuries before the Mass was put into what’s been called the “four-hymn straitjacket,” the church sang the propers. Before music directors and pastors asked us to sing at Mass, Catholic musicians sang the Mass—by singing settings of the specific liturgical texts known as the propers. These texts are taken directly from sacred Scripture, from both testaments.
You’ve never heard of them? It’s no surprise. The vast majority of church musicians have never been taught about the propers.
Note well: The concept of singing the propers was not banished by the Second Vatican Council. The post–Vatican II church’s official songbooks for choirs are the Graduale Romanum (Roman Gradual) and Gregorian Missal, both of which contain Gregorian chant settings of the propers for all Sundays and feast days that take precedence over Sundays.
If the propers had no longer been part of the Mass, the church wouldn’t have bothered commissioning these authoritative books.
So how did vernacular hymns gain such a stranglehold? One problem was the time it took the church to prepare a new edition of the Roman Gradual after the Second Vatican Council. The new edition was essential because the church went from a one-year cycle of Scripture readings to a three-year cycle. Thus, some of the proper chants had to be assigned to different Sundays, and in a few cases new chants had to be composed.
Vatican II ended in 1965, but the new Gradual wasn’t published until 1974. In the interim, those who wished to radically alter the music of the Mass had ample opportunity to do so. Admittedly, it’s much easier for a music director and choir to learn a handful of hymns that can be recycled over and over, with an occasional nod to the liturgical season, than to learn propers that may be sung only once a year. And even in the pre–Vatican II church, most congregations sang hymns at low Masses, reserving the propers for the high Mass.
Why sing the propers? You may be wondering why anyone bothers singing the propers. Why not stick with the same old four hymns and an occasional special piece for the choir? Here’s how the General Instruction of the Roman Missal expresses the church’s intentions for the entrance chant (Introit) and Communion, for example, in order of preference:
48. 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.
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.
*Note that the antiphons from the Roman Missal (you’ll also find them in pulp missalettes) are intended for use during spoken Masses. If the Introit or Communion chant is to be sung, the text is taken from the Roman Gradual or the Simple Gradual. The two sets of antiphons—Missal and Gradual—do not always correspond. (Here’s an excellent explanation of this somewhat confusing point, from the winter 2006 issue of the journal Sacred Music.)
The church’s ideal for sung Masses is expressed in the first option: the Introit or Communion proper, for example, from the Gradual. If this is too challenging, turn to the Graduale Simplex (Simple Gradual) or any of the less-complex settings of the proper texts (examples are given below).
If this is not possible, another psalm may be substituted.
In last place is the ubiquitous “suitable liturgical song” (that is, hymn) that’s sung in 99 percent of U.S. parishes.
A church musician’s responsibilityThe question for us, then, is not “why should we sing the propers?” but “what steps can we take to conform our music program more closely to the ideal specifically requested by the Catholic Church?”
All of us involved in church music should begin laying the groundwork so that we can begin learning to sing at least one of the propers, however simple, at each Mass and to strengthen our musical skills so we can aspire to sing from the Roman Gradual.
If we believe the Catholic Church teaches with authority—as Christ taught that she would—and we desire to be both good musicians and faithful Catholics, how can we ignore her directives?
If we have been given musical talents and the opportunities to use them in service to the church, shouldn’t her magisterial documents on liturgy (e.g., Sacrosanctum Concilium, Musicam Sacram, Tra le Sollecitudini) be our guide?
Clearly it is our duty to attempt restoration of the propers. I’ve said nothing about the spiritual, intellectual, and musical benefits of this music—but if you open your heart and mind to the church’s musical treasury, you will experience them.
But why bother singing chant? Didn’t Vatican II throw all that out, as an uninformed chorister once asked me? Absolutely not. The very first Vatican II constitution to be published, Sacrosanctum Concilium (“Constitution on the Sacred Liturgy,” 1963), stated the church’s intentions in the strongest possible language:
112. 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 pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.
116. The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services.
But other kinds of sacred music, especially polyphony*, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action, as laid down in Art. 30. [excerpted below]
[30. To promote active participation, the people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs, as well as by actions, gestures, and bodily attitudes. And at the proper times all should observe a reverent silence.]
117. The typical edition of the books of Gregorian chant [that is, the Graduale Romanum, published in 1974] is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by St. Pius X.
*Many polyphonic settings of the propers also exist. A number can be found as free downloads on Choral Public Domain Library.
And what is “active participation,” a term some scholars have argued should have been translated “actual participation”?
Musicam Sacram (“Instruction on Music in the Liturgy,” 1967), promulgated by the Sacred Congregation of Rites, defines it thus:
15. The faithful fulfill their liturgical role by making that full, conscious, and active participation which is demanded by the nature of the Liturgy itself and which is, by reason of baptism, the right and duty of the Christian people. This participation
(a) Should be above all internal, in the sense that by it the faithful join their mind to what they pronounce or hear, and cooperate with heavenly grace,
(b) Must be, on the other hand, external also, that is, such as to show the internal participation by gestures and bodily attitudes, by the acclamations, responses and singing.
The faithful should also be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.
In other words, the post–Vatican II church imposes no obligation for the faithful to sing four hymns during Mass—or for the choir to sing nothing but congregational hymns accessible to everyone. The church asks the clergy, choir or schola, and members of the congregation each to sing the parts of the Mass appropriate to them.
The ordinary and the propersLet me explain a few terms. The ordinary of the Mass consists of the “Mass parts” said or sung at Mass: the Kyrie, the Gloria, the Sanctus (Holy, Holy, Holy), and the Agnus Dei (Lamb of God). The texts never change unless the church issues new translations. These belong to all the people—the clergy, the choir, and the congregation. This does not mean settings for choir alone are forbidden, but in the normal course of things, the congregation sings the ordinary or at least part of the ordinary.
From Musicam Sacram:
34. The songs which are called the “Ordinary of the Mass,” if they are sung by musical settings written for several voices may be performed by the choir according to the customary norms, either a capella, or with instrumental accompaniment, as long as the people are not completely excluded from taking part in the singing.
The propers (Introit, Offertory, Communion, and so on) are to be sung by the choir or schola, and the Gregorian chant settings found in the Graduale Romanum or the Gregorian Missal require greater musical skills than do most settings of the ordinary.
These propers are now available online at no cost:
The Gregorian Missal in its entirety may now be downloaded. Christusrex.org offers gif images of the proper chants and in many cases mp3 audio files of them being sung at Mass. The new site isaacjogues.org, a project of Corpus Christi Watershed, also makes scores and mp3s available, but the chant scores are easier-to-read pdfs. If your choir wishes to begin with the Communion proper—the simplest of the Gregorian propers—begin with Communio. It may be purchased in book form, but each Communion proper (with verses) may be downloaded at no cost from the Church Music Association of America’s website. How do you know which proper to sing for a given Sunday or feast day? CMAA publishes this handy guide.
More propers your choir can singWhat if your choir isn’t capable—yet—of singing the propers from the GR or the GM?
The church in her wisdom provides alternatives, beginning with the easier chants of the Simple Gradual. In addition, many other simpler settings of the propers are now available in English, in both conventional modern notation (round notes) and in “square notes,” used for many centuries to notate chant. The Simple Gradual may be purchased online.
Here are settings of the propers in English, available as free downloads. Note that in some cases the entire church year is not yet available.
propers by Father Samuel Weber, director of the Institute of Sacred Music, Archdiocese of St. Louis; modern notation; with accompaniment The Anglican Use Gradual by C. David Burt; developed for the use of formerly Anglican parishes that converted to Catholicism but licit for all Catholics; simple antiphons set to Gregorian psalm tones; square notation; no accompaniment The Sacred Music Project of Father Columba Kelly; appealing, relatively simple melodies; square notation; no accompaniment The American Gradual by Bruce Ford; the most difficult of the English propers because Ford set English words to the often complex chant melodies of the Graduale Romanum; modern notation; no accompaniment Simple Choral Gradual by Richard Rice; four-part harmonization of simple chants, with verses; modern notation; no accompaniment The Complete English Propers by Father Paul Arbogast; whole church year is available; modern notation; no accompaniment An excellent example of a simplified gradual in English is Paul Ford’s By Flowing Waters (Liturgical Press, 1999), with antiphons and verses in modern notation. Ford’s chant melodies are taken from the eight Gregorian chant modes and are singable by any choir and indeed any congregation.
So—the difficulty of the original proper chants and an inability to read square notes (used in the Graduale Romanum, the Gregorian Missal, and the Simple Gradual) are now no excuse not to sing some form of the propers.
ResourcesThe Church Music Association of AmericaThis site offers the most extensive collection of resources available for Catholic musicians. Members receive its excellent quarterly journal, Sacred Music. Anyone may join its lively discussion forum. I highly recommend joining the organization and participating in the forum—as well as attending CMAA-sponsored and affiliated events.
Adoremus: Society for the Renewal of the Sacred LiturgyPapal and Vatican documents on liturgy and sacred music may be found here. Members receive Adoremus Bulletin, published 10 times a year. Highly recommended.
—Mary C. Weaver, April 14, 2009
Before ever a cantor intoned a responsorial psalm, there was the Gradual.
Before hymns were sung at Offertory and Communion, there were the Offertory and Communion chants.
In short, centuries before the Mass was put into what’s been called the “four-hymn straitjacket,” the church sang the propers. Before music directors and pastors asked us to sing at Mass, Catholic musicians sang the Mass—by singing settings of the specific liturgical texts known as the propers. These texts are taken directly from sacred Scripture, from both testaments.
You’ve never heard of them? It’s no surprise. The vast majority of church musicians have never been taught about the propers.
Note well: The concept of singing the propers was not banished by the Second Vatican Council. The post–Vatican II church’s official songbooks for choirs are the Graduale Romanum (Roman Gradual) and Gregorian Missal, both of which contain Gregorian chant settings of the propers for all Sundays and feast days that take precedence over Sundays.
If the propers had no longer been part of the Mass, the church wouldn’t have bothered commissioning these authoritative books.
So how did vernacular hymns gain such a stranglehold? One problem was the time it took the church to prepare a new edition of the Roman Gradual after the Second Vatican Council. The new edition was essential because the church went from a one-year cycle of Scripture readings to a three-year cycle. Thus, some of the proper chants had to be assigned to different Sundays, and in a few cases new chants had to be composed.
Vatican II ended in 1965, but the new Gradual wasn’t published until 1974. In the interim, those who wished to radically alter the music of the Mass had ample opportunity to do so. Admittedly, it’s much easier for a music director and choir to learn a handful of hymns that can be recycled over and over, with an occasional nod to the liturgical season, than to learn propers that may be sung only once a year. And even in the pre–Vatican II church, most congregations sang hymns at low Masses, reserving the propers for the high Mass.
Why sing the propers? You may be wondering why anyone bothers singing the propers. Why not stick with the same old four hymns and an occasional special piece for the choir? Here’s how the General Instruction of the Roman Missal expresses the church’s intentions for the entrance chant (Introit) and Communion, for example, in order of preference:
48. 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.
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.
*Note that the antiphons from the Roman Missal (you’ll also find them in pulp missalettes) are intended for use during spoken Masses. If the Introit or Communion chant is to be sung, the text is taken from the Roman Gradual or the Simple Gradual. The two sets of antiphons—Missal and Gradual—do not always correspond. (Here’s an excellent explanation of this somewhat confusing point, from the winter 2006 issue of the journal Sacred Music.)
The church’s ideal for sung Masses is expressed in the first option: the Introit or Communion proper, for example, from the Gradual. If this is too challenging, turn to the Graduale Simplex (Simple Gradual) or any of the less-complex settings of the proper texts (examples are given below).
If this is not possible, another psalm may be substituted.
In last place is the ubiquitous “suitable liturgical song” (that is, hymn) that’s sung in 99 percent of U.S. parishes.
A church musician’s responsibilityThe question for us, then, is not “why should we sing the propers?” but “what steps can we take to conform our music program more closely to the ideal specifically requested by the Catholic Church?”
All of us involved in church music should begin laying the groundwork so that we can begin learning to sing at least one of the propers, however simple, at each Mass and to strengthen our musical skills so we can aspire to sing from the Roman Gradual.
If we believe the Catholic Church teaches with authority—as Christ taught that she would—and we desire to be both good musicians and faithful Catholics, how can we ignore her directives?
If we have been given musical talents and the opportunities to use them in service to the church, shouldn’t her magisterial documents on liturgy (e.g., Sacrosanctum Concilium, Musicam Sacram, Tra le Sollecitudini) be our guide?
Clearly it is our duty to attempt restoration of the propers. I’ve said nothing about the spiritual, intellectual, and musical benefits of this music—but if you open your heart and mind to the church’s musical treasury, you will experience them.
But why bother singing chant? Didn’t Vatican II throw all that out, as an uninformed chorister once asked me? Absolutely not. The very first Vatican II constitution to be published, Sacrosanctum Concilium (“Constitution on the Sacred Liturgy,” 1963), stated the church’s intentions in the strongest possible language:
112. 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 pre-eminence is that, as sacred song united to the words, it forms a necessary or integral part of the solemn liturgy.
116. The Church acknowledges Gregorian chant as specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services.
But other kinds of sacred music, especially polyphony*, are by no means excluded from liturgical celebrations, so long as they accord with the spirit of the liturgical action, as laid down in Art. 30. [excerpted below]
[30. To promote active participation, the people should be encouraged to take part by means of acclamations, responses, psalmody, antiphons, and songs, as well as by actions, gestures, and bodily attitudes. And at the proper times all should observe a reverent silence.]
117. The typical edition of the books of Gregorian chant [that is, the Graduale Romanum, published in 1974] is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by St. Pius X.
*Many polyphonic settings of the propers also exist. A number can be found as free downloads on Choral Public Domain Library.
And what is “active participation,” a term some scholars have argued should have been translated “actual participation”?
Musicam Sacram (“Instruction on Music in the Liturgy,” 1967), promulgated by the Sacred Congregation of Rites, defines it thus:
15. The faithful fulfill their liturgical role by making that full, conscious, and active participation which is demanded by the nature of the Liturgy itself and which is, by reason of baptism, the right and duty of the Christian people. This participation
(a) Should be above all internal, in the sense that by it the faithful join their mind to what they pronounce or hear, and cooperate with heavenly grace,
(b) Must be, on the other hand, external also, that is, such as to show the internal participation by gestures and bodily attitudes, by the acclamations, responses and singing.
The faithful should also be taught to unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.
In other words, the post–Vatican II church imposes no obligation for the faithful to sing four hymns during Mass—or for the choir to sing nothing but congregational hymns accessible to everyone. The church asks the clergy, choir or schola, and members of the congregation each to sing the parts of the Mass appropriate to them.
The ordinary and the propersLet me explain a few terms. The ordinary of the Mass consists of the “Mass parts” said or sung at Mass: the Kyrie, the Gloria, the Sanctus (Holy, Holy, Holy), and the Agnus Dei (Lamb of God). The texts never change unless the church issues new translations. These belong to all the people—the clergy, the choir, and the congregation. This does not mean settings for choir alone are forbidden, but in the normal course of things, the congregation sings the ordinary or at least part of the ordinary.
From Musicam Sacram:
34. The songs which are called the “Ordinary of the Mass,” if they are sung by musical settings written for several voices may be performed by the choir according to the customary norms, either a capella, or with instrumental accompaniment, as long as the people are not completely excluded from taking part in the singing.
The propers (Introit, Offertory, Communion, and so on) are to be sung by the choir or schola, and the Gregorian chant settings found in the Graduale Romanum or the Gregorian Missal require greater musical skills than do most settings of the ordinary.
These propers are now available online at no cost:
The Gregorian Missal in its entirety may now be downloaded. Christusrex.org offers gif images of the proper chants and in many cases mp3 audio files of them being sung at Mass. The new site isaacjogues.org, a project of Corpus Christi Watershed, also makes scores and mp3s available, but the chant scores are easier-to-read pdfs. If your choir wishes to begin with the Communion proper—the simplest of the Gregorian propers—begin with Communio. It may be purchased in book form, but each Communion proper (with verses) may be downloaded at no cost from the Church Music Association of America’s website. How do you know which proper to sing for a given Sunday or feast day? CMAA publishes this handy guide.
More propers your choir can singWhat if your choir isn’t capable—yet—of singing the propers from the GR or the GM?
The church in her wisdom provides alternatives, beginning with the easier chants of the Simple Gradual. In addition, many other simpler settings of the propers are now available in English, in both conventional modern notation (round notes) and in “square notes,” used for many centuries to notate chant. The Simple Gradual may be purchased online.
Here are settings of the propers in English, available as free downloads. Note that in some cases the entire church year is not yet available.
propers by Father Samuel Weber, director of the Institute of Sacred Music, Archdiocese of St. Louis; modern notation; with accompaniment The Anglican Use Gradual by C. David Burt; developed for the use of formerly Anglican parishes that converted to Catholicism but licit for all Catholics; simple antiphons set to Gregorian psalm tones; square notation; no accompaniment The Sacred Music Project of Father Columba Kelly; appealing, relatively simple melodies; square notation; no accompaniment The American Gradual by Bruce Ford; the most difficult of the English propers because Ford set English words to the often complex chant melodies of the Graduale Romanum; modern notation; no accompaniment Simple Choral Gradual by Richard Rice; four-part harmonization of simple chants, with verses; modern notation; no accompaniment The Complete English Propers by Father Paul Arbogast; whole church year is available; modern notation; no accompaniment An excellent example of a simplified gradual in English is Paul Ford’s By Flowing Waters (Liturgical Press, 1999), with antiphons and verses in modern notation. Ford’s chant melodies are taken from the eight Gregorian chant modes and are singable by any choir and indeed any congregation.
So—the difficulty of the original proper chants and an inability to read square notes (used in the Graduale Romanum, the Gregorian Missal, and the Simple Gradual) are now no excuse not to sing some form of the propers.
ResourcesThe Church Music Association of AmericaThis site offers the most extensive collection of resources available for Catholic musicians. Members receive its excellent quarterly journal, Sacred Music. Anyone may join its lively discussion forum. I highly recommend joining the organization and participating in the forum—as well as attending CMAA-sponsored and affiliated events.
Adoremus: Society for the Renewal of the Sacred LiturgyPapal and Vatican documents on liturgy and sacred music may be found here. Members receive Adoremus Bulletin, published 10 times a year. Highly recommended.
—Mary C. Weaver, April 14, 2009
Thursday, April 2, 2009
Schola Calendar for Holy Week and Easter Season
Good Friday at Resurrection Church
April 10, 7: 30 PM (warm-up starts at 7)
Vexilla Regis
Ecce Lignum
At OLPH (practice on Mondays at 7:30)
Saturday Mass (8:15AM) (Warm - up starts at 7:40)
April 18, May 2, 16, 30
Kyrie XI
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Adoro te Devote (April 18)
Pascha Nostrum (May 2, 16, 30)
Regina Caeli
At St. Martin's (Little Sisters of the Poor)
May 17,
Sunday, 10:30 (warm-up at 10AM)
Ave maria(Prelude)
The Day of Resurrection (189)
Gloria VIII
Regina Caeli (offertory-schola)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Beautiful Savior (206)
I Know that My Redeemer Lives (614, vs 1,2 and 4)
At Resurrection Church
(practice on Tuesdays at 7:30 PM)
Satruday Mass (9AM) (Warm-up starts at 8:30)
April 25, May 9, 23
Kyrie XVI
Sanctus VIII
Mysterium Fidei and Amen
Agnus Dei IV
Pascha Nostrum
Regina Caeli
Children's schola
(practice on Mondays at 1:30 at OLPH)
First Friday Mass, May1
OLPH 8:15 AM (warm up starts at 7:45 AM)
Kyrie XVI
Regina Caeli
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Adoro te dovote vs. 1, 5, 6, 7 (Communion)
April 10, 7: 30 PM (warm-up starts at 7)
Vexilla Regis
Ecce Lignum
At OLPH (practice on Mondays at 7:30)
Saturday Mass (8:15AM) (Warm - up starts at 7:40)
April 18, May 2, 16, 30
Kyrie XI
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Adoro te Devote (April 18)
Pascha Nostrum (May 2, 16, 30)
Regina Caeli
At St. Martin's (Little Sisters of the Poor)
May 17,
Sunday, 10:30 (warm-up at 10AM)
Ave maria(Prelude)
The Day of Resurrection (189)
Gloria VIII
Regina Caeli (offertory-schola)
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Beautiful Savior (206)
I Know that My Redeemer Lives (614, vs 1,2 and 4)
At Resurrection Church
(practice on Tuesdays at 7:30 PM)
Satruday Mass (9AM) (Warm-up starts at 8:30)
April 25, May 9, 23
Kyrie XVI
Sanctus VIII
Mysterium Fidei and Amen
Agnus Dei IV
Pascha Nostrum
Regina Caeli
Children's schola
(practice on Mondays at 1:30 at OLPH)
First Friday Mass, May1
OLPH 8:15 AM (warm up starts at 7:45 AM)
Kyrie XVI
Regina Caeli
Sanctus XVIII
Mysterium Fidei and Amen
Agnus Dei XVIII
Adoro te dovote vs. 1, 5, 6, 7 (Communion)
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