Music in the Eucharist

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MUSIC IN THE EUCHARIST:GUIDELINES FOR MUSIC

MINISTRIES

Compiled by Fr. Manoling

Francisco, S.J.

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ENTRANCE SONG

Theology & History:

y

³The purpose of this song is to openthe celebration, intensify the unity of the gathered people, lead theirthoughts to the mystery of the

season or feast.´ (GeneralInstruction of the Roman Missal, 25)

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Theology & History:

y

³The entrance song serves to gatherand unite the assemble and set thetone for the celebration.´ (LiturgicalMusic Today, 18)

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Application:

y A

s a Ritual Song: Opens the celebration,intensifies the unity of those gathered,sets the theme of the seasons orparticular celebration, accompanies the

procession of all ministries. (Fr. MichaelWitczak)

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DRAW US TO GOD·S HEART

WE AWAIT YOUR COMING TO THE WORLD

YOU BEGOTTEN OF GOD¶S ETERNAL LOVE

LORD JESUS, BE NOW BORN AMONG US

DRAW THE WORLD BACK TO GOD¶S HEART

YOU LEFT YOUR HEAVENLY HOME

SO TO LEAD US TO OUR TRUE HOMELORD JESUS, WE AWAIT YOU,

DRAW US TO GOD¶S HEART

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KYRIE

Theology & History:

�

³This short litany was traditionally aprayer of praise to the risen Christ.´ (Music in Catholic Worship, 65)

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Theology & History:

�

In the Tridentine Mass, this rite wasa private dialogue between the priestand server and was done at the footof the altar.

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Theology & History:

y

It is not to be a litany or confessionof our sins, not an examination of conscience, but rather anacclamation praising the Lord Jesus¶ 

person and saving actions andimploring his mercy.

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Theology & History:

y

The absolution at the end of thepenitential act is not a sacramentalformula.

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Application:

y

Ideally sung antiphonally as adialogue between priest/cantor andthe congregation

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Application:

y

Whether priest recites or chants theinvocation in English or Filipino, thechoir and congregation can sing theresponse familiar to the

congregation.

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Application:

y

Music need not necessarily be woefulor dirge-like.

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GLORIA

Theology & History:

y ³The Gloria is an ancient hymn in

which the Church, assembled in theHoly Spirit, praises and entreats theFather and the Lamb.´ (GIRM, 31)

y Known as the ³angelic hymn´ sincethe text is lifted from the song theangels sang at Jesus¶ birth.

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Theology & History:

y The hymn was originally sung at

Morning Praise in the East. It waseventually adopted in the West, firstsung at Christmas, and later atSunday celebrations.

y Was incorporated into our regularSunday Masses in the 12th-13th c.

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Application:

y It is sung by the congregation or by

the congregation alternately with thechoir, or by the choir alone.´ (GIRM,31)

y Sung or recited on Sundays and onSolemnities and feasts, but notduring Advent and Lent.

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Application:

y Forms:

o Congregation may sing the entire song

o Choir/cantor can sing the verses, whilethe congregation sings the refrain

o

Refrain can be sung, verses chanted orrecited

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GLOR Y TO GOD

Glory to God in the highest

And peace to God¶s people on earth.

Lord God, heavenly King,Almighty God and Father,

We worship you,we give you thanks

We praise you for your glory.

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Lord Jesus Christ,only Son of the Father,

Lord God, Lamb of God,You take away the sin of the world:

Have mercy on us;You are seated at the right

of the Father:Receive our prayer.

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For you alone are the Holy One,You alone are the Lord,

You alone are the Most High,Jesus Christ,With the Holy Spirit,

In the Glory of God the Father.

Amen.

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RESPONSORIAL PSALM

Theology and History:

y ³The singing of the Responsorial Psalm

follows the ancient Jewish synagoguepractice of the community responding tothe Scripture dealing with a Psalm orbiblical canticle. This text use to be called

gradual , after the place where it wasproclaimed: the graduals, the steps of thealtar.´ (David Haas)

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Theology and History:

y

The Responsorial Psalm is thecongregation¶s response to the FirstReading.

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Application:

y

The Resp. Ps. is preferably to besung; when it is not sung, it is to berecited in a meditative manner

y As the Psalm is the Word of God, it issung or read from the Ambo/Lectern.

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Theology & History:

y

³The acclamations are shouts of joywhich arise from the whole assemblyas forceful and meaningful assents toGod¶s Word and Action.´ (Music in

Catholic Worship, 53)

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ALLELUIA

Theology & History:

y As an acclamation, the

Alleluia ³isboth a reflection upon the Word of 

God proclaimed in the Liturgy and apreparation for the Gospel.´ (MCW,

55)

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Theology & History:

y Based on the GIRM 2002, ³theAlleluia is now construed as apreparation for the Gospel ratherthan a response to the previousreading. The Alleluia accompaniesthe procession of the Book of Gospels.

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Application:

y The Alleluia is sung in every occasion

other than Lent (the verses aretaken from the G raduale)

y Reciting the Alleluia is like recitingthe Happy Birthday. It is thus alwaysto be sung; otherwise the Alleluia isomitted.

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Application:

y

Simpler settings, even in accapella,may be used for small gatherings.

y During Lent, the verse before the

Gospel may be sung.

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Application:

y As a Ritual Song, the

Alleluiaaccompanies the procession of the

Book of the Gospels from the Altar tothe ambo and sung repeatedly until

the priest/deacon is ready toproclaim the Gospel.

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PREPARATION OFTHE GIFTS

Theology & History:

y

Change of name from Offertory topreparation of the Gift to distinguishthis rite from the true offering thattakes place during the Eucharistic

prayer, namely, that of Jesus¶ self-offering to the Father. (GIRM, 95)

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Theology & History:

y ³It is fitting that the faithful¶s

participation be expressed by theirpresenting both the bread and winefor the celebration of the eucharistand other gifts for the needs of theChurch and of the poor.´ (GIRM,101)

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Application:

y May be accompanied by a song (non-Eucharistic); a praise hymn or instrumentalmusic

y ³When song is used, it need not speak of bread and wine or of offering. The properfunction of this song is to accompany andcelebrate the communal aspects of theprocession. The text, therefore, can be anyappropriate song of praise or of rejoicing«´ (MCW, 71)

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Application:

y GIRM says, music maybe sung orplayed even though there is no

procession (GIRM, 74); having nomusic at all is also permitted.

y ³The proper place of silence must not

be neglected, and the temptationmust be resisted to cover everymoment with music. (Liturgical MusicToday, 59; cf. GIRM, 23)

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SANCTUS

Theology & History:

y

³This is the people¶s acclamation of praise including the preface of theEucharistic prayer. We join the wholecommunion of saints in acclaiming

the Lord.´ (MCW, 56)

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Application:

y

The Sanctus is to be sung and notrecited (GIRM, 79b)

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MEMORIAL ACCLAMATION

Theology & History:

y ³We support one another¶s faith in

the paschal mystery, the centralmystery of our belief. Thisacclamation is properly a memorial of 

the Lord¶s suffering and glorification,with an expression of faith in hiscoming. Variety in text and music isdesirable.´ (MCW, 57)

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Theology & History:

y

³The memorial acclamation is arecent element of the Eucharisticprayer, having come into use withthe Second Vatican Council. (David

Haas)

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Application:

y The Memorial Acclamation is to besung by the assembly in its entirety,and should be strong and compact.´ (David Haas)

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Application:

y The Doxology is to be recited or sung

by the priest and concelebrants; thepeople respond with a resoundingAmen. (GIRM, 147)

y ³To be most effective, the Amenmaybe repeated or augmented.´ (MCW, 58)

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Application:

y As an acclamation, the Great Amen

is not to include others wordsbesides ³Amen.´ 

y ³Musically, this is the most important

acclamation of the entire Liturgy,and, of course, it is always sung.´ (David Haas)

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OUR FATHER 

Theology & History:

y In the 1570 Roman Missal the OurFather was a private prayer recitedby the priest alone; now it is acommunal prayer.

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Theology & History:

y The Lord¶s Prayer« ³is a petition for

the daily food, which for theChristians means also the Eucharisticbread, and for forgiveness of sin, so

that what is holy may be given thosewho are holy.´ (GIRM, 56a)

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Application:

y In 1995, the US Bishops allowed the

people to raise their hands in theorans position. In the Philippines, weare accustomed to holding hands as

a sign of being brothers and sistersin the Lord.

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Application:

y ³The praying of the Lord¶s Prayer in

the Eucharist is communal. It is theprayer of the assembly, never theproperty of the choir or a soloist, not

even at weddings.´ (David Haas)

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DOXOLOGY TO THE OUR FATHER 

Theology & History:

y The priest recites the embolism,

 ³Deliver us, Lord, from every evil«´ The embolism ³begs on behalf of theentire community of the faithful

deliverance from the power of evil.´ (GIRM,56a)

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Application:

y ³These words of praise« are fittingly

sung by all, especially when theLord¶s Prayer is sung. Here, too, thechoir may enhance the acclamation

with harmony.´ (MCW,59)

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LAMB OF GOD

Theology & History:

y Alludes to Emmaus Story of  recognizing Jesus at the breaking of the bread. The text ³Agnus Dei´ dates back to the 7th c.

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Theology & History:

y In the early Church, a loaf of bread was

blessed and broken. In the 9th c., theWestern Church ruled that unleavenedbread that has to come to be called  ³hosts´, which has diminished the

meaning of the one bread who is Christbeing broken and shared with all.

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Application:

y As a Ritual Song, the Lamb of God is sungupon the breaking of the bread and goeson until the bread and wine are ready forthe Communion Rite: ³the litany isprolonged to accompany this action of breaking and pouring « one should not

hesitate to add strophes to the litany sothat the prayerfulness of the rite may beenriched.´ (cf. GIRM, 56e; Liturgical MusicToday, 20)

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Application:

y The final response is always ³grant us

peace.´ 

y Unlike the Sanctus and the Lord¶s Prayer,the Lamb of God ³is not necessarily a song

of the people. Hence it may be sung bythe choir, though the people shouldgenerally make the response.´ (MCW, 68)

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COMMUNION 

Theology & History:

y Jesus gives himself sacramentally in

the Last Supper, and then gives hislife the next day on the cross for thesalvation for all. ³The reception of 

Communion in the Eucharist is thereception of Christ who gave his lifein sacrifice.´ (Fr. D. Merz)

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Theology & History:

y ³It is most desirable that the faithful

receive the Lord¶s Body from hostsconsecrated at the same Mass andthat« they may share in the chalice.Then, even through the signs,communion will stand out moreclearly as a sharing in the sacrificeactually being celebrated.´ (GIRM,56h)

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Theology & History:

y GIRM 2002 forbids

y self-communicating (handling thepaten from person to another). Thebread is to be given, not taken

(GIRM, 160). We all receive the giftof Christ.

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Theology & History:

y As a rule communion is receive in

procession, as a sign of members of theBody of Christ walking toward theheavenly home.

y ³The communion song« gives expressionto the joy of unity in the body of Christ.´ (GIRM,56i; cf. MCW, 62)

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Theology & History:

y ³Even though each individual takes

the bread into his or her hands, andtakes the cup alone, this is acommunal event. We do thistogether« the great sharing in the

great feast of Christ« our communionis our communion in andcommitment to Christ, to Christ alonein each other.´ (David Haas)

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Application:

³Because they emphasize adorationrather than communion, mostbenediction hymns are not suitable.´ (GIRM, 56i; cf. MCW, 62

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Application:

y As a Ritual Song, the Communionsong/s ought to be Christological ±Jesus¶ self-offering on the cross forour redemption; our partaking of and

incorporation into the body of Christ.

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Application:

y ³Look for good Eucharistic texts ±not sentimental personal songsabout µJesus and me,¶ but songs thatemphasize the communal nature of 

this moment.´ (David Haas)

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Application:

y ³In general, during the mostimportant seasons of the ChurchYear« it is preferable the most songsused at the communion be seasonal

in nature.´ (MCW, 62)

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Application:

y Other liturgists will allow a Marian

song/s in honor of a saint after aChristological song has been sung.

y The post-communion hymn isoptional. Since no particular text isspecified, there is ample room forcreativity.´ (MCW, 72)

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 V.1

WHEN YOU PASS THROUGH WATERS THATRAGE I AM WITH YOU

IN THE RIVERS YOU SHALL NOT DROWN

WALK THROUGH THE FIRE AND ITS FLAMESWILL NOT CONSUME YOU

FOR I AM GOD (Ref.)

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 V.2

EVEN IF YOU WANDER AWAY FROM MYLOVING

FAR AWAY FROM HOME YOU MIGHTSTRAY

STILL WILL I SEEK YOU AND GENTLYTAKE YOU WITH ME

AND BRING YOU BACK (Ref.)

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BE NOT AFRAID

BE NOT AFRAID, I HAVE MADE YOU,

I HAVE SAVED YOU, I HAVE CALLEDYOU, YOU ARE MINE,

YOU ARE PRECIOUS TO ME

AND I LOVE YOU

BE NOTAFR

AID, BE NOT

AFR

AID

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RECESSIONAL

Theology & History:

y ³The Recessional song has neverbeen an official part of the (closing)rite.´ (MCW,73)

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Application:

y GIRM 2002 gives no instruction for

the recessional music/song.

y The usual format of a hymn andprocession is not absolutely

necessary. Instrumental music ispermissible as a closing. (Fr. StanleySzczapa)

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P ANANAGUTAN

WALANG SINUMAN ANG NABUBUHAY

PARA SA SARILI LAMANG

WALANG SINUMAN ANG NAMAMATAY

PARA SA SARILI LAMANG

TAYONG LAHAT AY MAY PANANAGUTAN

SA ISA¶T ISA

TAYONG LAHAT AY TINIPON NG DIYOS

NA KAPILING NIYA

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DESCANT

IKAW AY PILIPINO

IKAW AY KAPWA KO

IKAW AY KAPATID KO

AT IKA¶Y PANANAGUTAN KO