When planning music for the Mass one needs to keep in mind that the music, both instrumental and vocal, is intended to, and in fact must, serve to support the liturgies. The physical presence of God in the Liturgy of the Word, the physical presence of Jesus in the Liturgy of the Eucharist absolutely requires that we, as minister of music, take great care to offer music which neither detracts from these liturgies nor which might overshadow them by being too elaborate, complex or non-liturgical."Liturgical Music" is that music which is intended solely for liturgical use, and which, in any other circumstance would easily be recognized as being intended for such. Just as one wouldn't expect to hear liturgical music in an elevator, or a nightclub, one shouldn't hear elevator music or nightclub music used within the liturgy.
     The word "liturgy" literally means "work of the people" and, as such, the purpose of liturgical music is to support the people (the congregation) through prayer, music and song. Ministers of music should avoid attempting to "entertain" the congregation or otherwise lower the liturgical standard. Our goal is to lift the congregation to the level of the liturgy, not lower or "dumb down" the liturgy in an attempt to "make it relevant".
     As liturgical musicians, it is incumbent upon us to guard against trivializing the Mass by using music which is clearly not liturgical. Music in liturgy isn't expected to compete with everyday music nor is it expected to emulate such music. In coming to Mass, the worshiper needs to be taken from the ordinary to the extraordinary, from the mundane to the sublime, from the everyday hustle and bustle of distraction, frustration and stress to a place of peace, tranquility and calming spirituality which is only achieved through the Holy Sacrifice of the Mass. Our music must foster such an atmosphere of peace, tranquility and celebration however please keep in mind that it is a liturgical celebration which should not be confused with secular celebrations.
     As important as liturgical music is to the liturgy, silence is of equal importance and, at times, must take precedence. The G.I.R.M. states quite clearly that

(45.) Sacred silence also, as part of the celebration, is to be observed at the designated times. 54 Its purpose, however, depends on the time it occurs in each part of the celebration. Thus within the Act of Penitence and again after the invitation to pray, all recollect themselves; but at the conclusion of a reading or the homily, all meditate briefly on what they have heard; then after Communion, they praise and pray to God in their hearts. Even before the celebration itself, it is commendable that silence to be observed in the church, in the sacristy, in the vesting room, and in adjacent areas, so that all may dispose themselves to carry out the sacred action in a devout and fitting manner.

     According to the General Instruction for the Roman Missal, singing is normative in liturgy. That is, whenever there is no specific instruction not to sing, it should be assumed that the intention is to sing.

     Here at Saint Thomas à Becket we currently have the Heritage Missal which is an OCP Publication and a Sunday song sheet for all Mass times. The responsorial psalm settings we use are from "Respond and Acclaim" and the music corresponds to that which is contained in the Heritage Missal.

     As music directors, we are not limited to the Heritage Missal but please keep in mind that whatever music we plan for our assigned Mass needs to be sung by the congregation and so, to that end, it is encouraged that music with notes and lyrics be made available to everyone especially the ordinary parts of the Mass; (Kyrie Eleison, Gloria, Alleluia, Sanctus, Memorial Acclamation, Amen and Agnus Dei). Hymn selections must be made with proper regard for the readings of the day and the overall Mass theme. Just because a piece of music sounds great and "we really do it well" isn't reason enough to include it in the liturgy plan. It needs to tie into the rest of the Mass.

     All music for Parish Masses must be approved through the Parish Liturgical Coordinator, Fran Rudell by email: liturgy@stthomasabecketparish.org or by telephone: 703-437-7113. Submit your Mass plans two weeks in advance in order to be included in the Sunday Song Sheet. Late submission means that you will have to use one of the Mass plans from another choir's Mass which was turned in on time and has been printed on the Song Sheet. We publish a music supplement which may be found at the back of the Missal. Submissions will be considered for inclusion. The supplement is recreated and published as needed. Original music needs to be approved by the pastor before being published.

The Order of the Mass: General Guidelines for Ministers of Music

Preludes, Instrumental and Vocal

Generally, it is best to present pieces which are meditative, restful and spiritually uplifting to prepare the congregation for the celebration about to begin. This is not a time for practicing, tuning up and otherwise presenting a distraction for the congregation. Tuning up and rehearsing is to be done prior to entering the church. We are preparing to celebrate the Mass and should, therefore, assume all appropriate demeanors. This is not a "gig" for which we are playing, it is liturgy and we are called to participate fully in this, the work of the people.

Silent Meditation

At lease five minutes of absolute silence should be observed prior to the entrance procession. This includes musicians moving about, arranging music, music stands, equipment and most especially instruments. No distraction should be given the meditating congregation at this time. The musicians too, should take this opportunity of silence to center themselves, prepare themselves and most importantly, give example to the congregation. Your leadership within the Mass is not limited to your musical talent but also includes your whole presence to the assembly. If the choir, musicians and the director observes five minutes of meditative prayer prior to Mass, the positive results will soon become apparent.

The Entrance

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…. 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.55

Penitential Rite

Kyrie Eleison (Lord, have mercy)

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 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 part of the Act of Penitence, a trope may precede each acclamation.

The Gloria

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 of 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 of said on Sundays outside the Seasons of Advent and Lent, on solemnities and feasts, and at special celebration of a more solemn character.

Liturgy of the Word

56. The Liturgy of the Word is to be celebrated in such a way as to promote meditation, and so any sort of haste that hinders recollection must clearly be avoided. During the Liturgy of the Word, it is also appropriate to include brief periods of silence, accommodated to the gathered assembly, in which, at the prompting of the Holy Spirit, the word of God may be grasped by the heart and a response through prayer may be prepared. It may be appropriate to observe such periods of silence, for example, before the Liturgy of the Word itself begins, after the first and second reading, and lastly at the conclusion of the homily.60

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 in 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 diocese 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. [End]

Note: The response should always be sung even if the verses must be recited. It is preferable to recite the verses if they are unable to be sung by a competent Cantor. Recitation of the verses may be accompanied by instrumental music however, it is essential that the words of the lector be clearly understood so, take great care that the accompaniment doesn't overwhelm the recitation or be too distracting to the congregation.

The Acclamation Before the Gospel

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. … 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 by the choir or by the cantor.

a. The Alleluia is sung in every season other than Lent. The verses are taken from the Lectionary or the Gradual.

b. 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 Gradual.

64. The Sequence, which is optional except on Easter Sunday and on Pentecost Day, is sung before the Alleluia.

The Liturgy of the Eucharist

The Preparation of the Gifts

74. The procession bringing the gifts is accompanied by the Offertory chant (cf. 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. no.48). Singing may always accompany the rite at the offertory, even when there is no procession with the gifts.

Note: The offertory chant or song must end in time for the priest to begin the "Pray brethren that our Sacrifice…" Please do not make the celebrant have to wait for the offertory song to end. If necessary, rather than have the celebrant wait, end the song early and fill in with instrumental music which may then be more easily concluded.

Preface Acclamation

Holy, Holy, Holy: This chant is begun when the priest joins his hands after having said, "…in their unending hymn of praise."
Only the wording as it appears in the Sacramentary is to be used for this chant,

"Holy, holy, holy Lord, God of power and might.
Heaven and earth are full of your glory.
Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.

Note: It has been noted that repeating "Hosanna" has been permitted either by oversight or by intention without having been specifically addressed by the Bishops' Committee on the Liturgy. Therefore, should there be a setting of this acclamation which happens to follow the wording exactly however may repeat that wording, it is permissable to use it within the liturgy at St. Thomas à Becket.

Anamnesis

(Memorial Acclamation) There are four acclamations available. It should be sung even when the priest recites "Let us proclaim the mystery of faith" rather than intones it.

Final Doxology and Amen

Whether or not the priest intones the doxology, "Through him, with him, in him…One God for ever and ever." The responding "Amen" should be sung. Settings for the single or triple Amen may be used, however, settings which include an Alleluia or any other wording may not be used.

The Communion Rite

The Lord's Prayer

The invitation, the Prayer itself, the embolism, and the doxology by which the people conclude these things are sung or said aloud.
(May be recited at the discretion of the celebrant but be prepared to sing if he chants the invitation.)

The Rite of Peace

As the congregation exchanges some sign of peace, instrumental accompaniment may be played however, care needs to be taken to segue into the introduction for the "Lamb of God" in time with the celebrant breaking the bread.

The Fraction (Breaking of Bread)

Agnus Dei (Lamb of God)

83. … 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).
It is preferred that this chant be sung. Musical settings for the Lamb of God or Agnus Dei: Text must conform to that which is contained in the Sacramentary.

Latin: Agnus Dei qui tollis peccata mundi, miserere nobis / dona nobis pacem.
English: Lamb of God who takes away the sins of the world, have mercy on us / grant us peace.

The recent innovation of adding "tropes" to the Agnus Dei, such as "Jesus, Lord of All" and other titles to replace the thrice-repeated "Lamb of God" are to be eliminated (Redemptionis Sacramentum Paragraph 59, 3/19/2004)

Communion

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.74 If, however, there is to be 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 diocese 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 of the diocesan Bishop, including psalms arranged in responsorial or metrical forms; (4) a suitable liturgical song chosen in accordance with no. 86. 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.

88. When the distribution of Communion is finished, as circumstances suggest, the priest and faithful spend some time praying privately. If desired, a psalm or other canticle of praise or a hymn may also be sung by the entire congregation. [End]

Note: The original Latin text instructs that the communion chant begin as the priest takes up the Sacrament, Dum sacerdos sumit Sacramentum, inchoatur cantus ad Communionem... so, check with the celebrant before the Mass to determine his preference for when to begin the communion music. Generally, there should not be prolonged periods of silence at this point in the communion rite. Silence is however, appropriate (not mandatory) after everyone has received the sacrament. The length of such silence is determined solely by the celebrant and so, as music leaders, take your cues from the celebrant. If you see that he has finished clearing the altar and is approaching the presidential chair, do not begin a meditation song. If he sits, assume that he intends there to be a period of silence. If he stand before the presidential chair, he will begin the conlcuding prayers and you should prepare to begin the closing hymn. Sometimes the extraordinary ministers of communion are still in the sanctuary after the communion procession has ended. Instrumental music should be played until they have closed the tabernacle and have all left the sanctuary.

The Concluding Rites

The Mass is concluded when the priest dismisses the people with, "The Mass is ended. Go in Peace." or similar words and the people respond, "Thanks be to God." at which point the concluding music may begin. Some celebrants like to say some words of farewell at this point so, be prepared to hold off on beginning the recessional music until it is clear that he is finished. The Mass may conclude with a congregational hymn or psalm, an instrumental presentation or in "Holy Silence". (during the penitential seasons of Advent and Lent, silence may be a most appropriate conclusion to the Mass.)

Questions? Comments? Suggestions? Let me hear from you! ddoxzen@cox.net or call me 703-869-9220 (cell)