The ROLE OF

Music
In the
Liturgy

August 31, 2013

The Immaculate
Conception Parish
Calinog,Iloilo
 OUTLINE
1. Introduction
2. Topics:
a. The Different Parts of the Mass
b. Selecting Songs for Mass
3. Question and Answer
4. Activity:
– Critique the State of Liturgical Music
in our Parish
– Make a Repertoire for Sunday
5. Practical Tips/Suggestions
6. Finale
WHY WE SING
AT MASS?
 BECAUSE…
• God has bestowed upon his people the gift
of song. God dwells within each human
person, in the place where music takes its
source.
• Indeed, God, the giver of song, is present
whenever his people sing his praises.
• St. Augustine says:
“Singing is for the one who loves”
• It is the way where we participate in
praising, asking forgiveness, raising our
petitions to God, etc. as a praying
community.
 PARTICIPATION
• In the Sacred Liturgy participation
must be:
1. INTERNAL- in the sense that by it
the faithful join their mind to what
they pronounce or hear, and
cooperate with heavenly grace.”
2. EXTERNAL- participation through
actions, gestures, and bodily
attitudes, and by the acclamations,
responses, and singing.
 MINISTERS OF
LITURGICAL MUSIC:
• The Priest
• The Choir
• The Psalmist/ Cantor
• The Organist and other
Instrumentalists
• The Director/Committee on
Music Ministries
THE MUSICAL STRUCTURE
OF THE MASS
1. The Introductory Rites
2. The Liturgy of the Word
3. The Liturgy of the
Eucharist
4. The Communion Rite
5. The Concluding Rites
 THE INTRODUCTORY RITES
The Entrance
The Greeting
The Penitential Act/ Sprinkling
of Water
The Kyrie
The Gloria
The Collect
THE ENTRANCE
CHANT OR SONG
The purpose of this chant is to:
1. OPEN the celebration,
2. FOSTER the unity of those who
have been gathered,
3. INTRODUCE their thoughts to
the mystery of the liturgical
season or festivity,
4. ACCOMPANY the procession of
the priest and ministers
• Care must be taken in the
treatment of the texts of psalms,
hymns, and songs in the Liturgy.
Verses and stanzas should not be
omitted arbitrarily in ways that
risk distorting their content.
• While not all musical pieces
require that all verses or stanzas
be sung, verses should be omitted
only if the text to be sung forms a
coherent whole.
The text and music may be drawn
from a number of sources.
1. Entrance antiphons (introit) and
psalms
2. Other hymns and songs provided
they are in keeping with the
purpose of the Entrance chant or
song.
3. The texts of antiphons, psalms,
hymns, and songs for the Liturgy
must have been approved by the
local diocesan bishop.
The text and music may be drawn
from a number of sources.
1. Entrance antiphons (introit) and
psalms
2. Other hymns and songs provided
they are in keeping with the
purpose of the Entrance chant or
song.
3. The texts of antiphons, psalms,
hymns, and songs for the Liturgy
must have been approved by the
local diocesan bishop.
ENTRANCE ANTIPHON EXAMPLES:
Advent
“See, the Lord is coming and with him all his
saints. Then there will be endless day.”
Christmas
“In the beginning, before all ages, the Word
was God; that Word was born a man to save
the world.”
Lent
“Answer us, Lord, with your loving kindness,
turn to us in your great mercy.”
Easter
“Let us shout out our joy and happiness, and
give glory to God, the Lord of all, because
he is our King, alleluia.”
THE SIGN OF THE CROSS
AND GREETING
THE ACT OF PENITENCE
 There are 3 Options:
Form 1: The Confiteor ( I confess…)
+ Simple Kyrie
Form 2: (no Confiteor, simple Kyrie follows)
P: Have mercy on us, O Lord.
A: For we have sinned against you.
P: Show us, O Lord, your mercy.
A: And grant us your salvation.
Form 3: (no Confiteor, no separate Kyrie )
P: You were sent to heal the contrite
of heart: Lord, have mercy
A: Lord have mercy. .
FORM 1:
Tanan: Nagakompesar ako…
(recited or sung)

Ginoo maluoy ka sa amon

Kristo, maluoy ka sa amon
Ginoo, maluoy ka sa amon
FORM 2: (After the intro, No Confiteor)
Pari: O Ginoo, nakasala kami
batok sa Imo.
Tanan:Ginoo maluoy ka sa amon
Pari: O Ginoo, ipakita sa
amon ang Imo kaluoy.
Tanan:Kag ihatag sa amon ang
Imo kaluwasan.
(recited or sung Kyrie follows)
FORM 3: (no Confiteor, no separate Kyrie )
Pari: Ginpadala Ikaw sa pag-ayo sang
tagipusoon nga mahinulsulon:
Ginoo, maluoy ka sa amon.
Tanan: Ginoo, maluoy ka sa amon.
Pari: Nagkari Ikaw sa pagtawag sang
mga makasasala: Kristo, maluoy
ka sa amon.
Tanan: Kristo, maluoy ka sa amon.
Pari: Nagalingkod Ikaw sa tuo sang
Amay sa pagpakiluoy para sa
amon: Ginoo, maluoy ka sa amon.
Tanan: Ginoo, maluoy ka sa amon.
THE KYRIE ELEISON
• is an Ancient Greek chant by
which the faithful acclaim the
Lord and implore his mercy.”
• If the Kyrie is not included in the
Act of Penitence(Form 3), it is
sung or said immediately
afterwards.
• It is usually sung in dialogue by
the entire liturgical assembly with
the choir or cantor.
 THE BLESSING AND
SPRINKLING OF WATER
• “On Sundays, especially in the
Season of Easter, in place of the
customary Act of Penitence, from
time to time the blessing and
sprinkling of water to recall
Baptism may take place.”
• The blessing of the water may be
sung. (priest)
• The song accompanying the
sprinkling with blessed water
should have an explicitly
baptismal character.
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. . . .
• It is sung or said on:
– Sundays outside the Seasons of Advent
and Lent,
– on solemnities and feasts,
– and at special celebrations of a more
solemn character.”
• The priest, or the cantor or choir,
intones the Gloria.
• It is sung by all,
– by the people alternately with the choir
– or cantor,
– or by the choir alone.
• If not sung, it is recited either by
all together or by two parts of the
congregation in alternation.
• While through-composed
settings (Gloria–Amen no refrain) of
the Gloria give clearest
expression to the text, the
addition of refrains to the Glory
to God is permitted, provided
the refrains encourage
congregational participation.”
• The Gloria may not be moved to a
different part of the Mass than the
one assigned by the Roman
Missal.
– It may not, for example, be used in
place of the Entrance chant or song,
or
– during the sprinkling with blessed
water.
THE COLLECT
• The priest then invites all to pray
and, after a brief silence,
sings or says the Collect.
• Even when the Collect is not sung,
the conclusion to the prayer may
be sung,(We ask this…)
• along with the response by the
people. (Amen.)
THE LITURGY OF THE WORD
The Readings from Sacred
Scripture 
The Responsorial Psalm
The Gospel Acclamation
The Sequence
The Gospel
The Creed
The Prayer of the Faithful
THE READINGS FROM
SACRED SCRIPTURE
• While the readings are ordinarily
read in a clear, audible, and
intelligent way, they may also be
sung.
• This singing, however, must
serve to bring out the sense of
the words, NOT obscure them.”
• Even if the readings are not sung,
the concluding acclamation:
– “The Word of the Lord” may be sung,
even by someone other than the reader;
all respond with the acclamation:
“Thanks be to God.”
• In this way the assembled
congregation pays reverence to
the word of God it has listened to
in faith and gratitude.
•
THE RESPONSORIAL
PSALM
• Corresponding to the reading that
it follows, the Responsorial Psalm
is intended to foster meditation
on the Word of God.
• Its musical setting should aid in
this, being careful to not
overshadow the other readings.
• As a rule the Responsorial Psalm
should be sung.
• Preferably, the Psalm is sung
responsorially:
– “the psalmist, or cantor of the psalm,
sings the psalm verses and the whole
congregation joins in by singing the
response.”
– If this is not possible, the Psalm is sung
completely without an intervening
response by the community.
• The proper or seasonal Responsorial
Psalm from the Lectionary for Mass,
with the congregation singing the
response.
• Every means available in each
individual culture is to be employed
including psalms arranged in
paraphrase or in metrical form,
providing that they have been
approved by the diocesan bishop.
• Songs or hymns that do not at least
paraphrase a psalm may never be
used in place of the Responsorial
Psalm.
• If it is not possible for the Psalm to be
sung, the response alone may be
sung, while the lector reads the
intervening verses of the Psalm in a
manner conducive to meditation on
the word of God.”
 THE GOSPEL
ACCLAMATION
•The assembled faithful welcome
“the Lord who is about to speak to
them.”
• The cantor may intone the
Acclamation, which is repeated by
the whole assembly.
• After the cantor or choir sings the
verse, the entire assembly again
sings the Acclamation.
•If there is a Gospel procession, the
Acclamation may be repeated as often
as necessary to accompany the
Gospel procession.
•For Advent, Christmas, Ordinary
Time, and Easter the Alleluia with the
proper verse serves as the Gospel
Acclamation.

•During the season of Lent, alternate

acclamations with their proper verse
are used, as found in the Lectionary
for Mass.

•The Gospel Acclamation may be

omitted when it is not sung.
•Gospel Acclamations for Lent from
the Lectionary for Mass.
 
Praise to you, O Christ,
king of eternal glory!
Praise and honor to you,
Lord Jesus!
Glory and praise to you, O Christ!
Glory to you, O Christ,
you are the Word of God!
Praise to you, Lord Jesus Christ,
king of endless glory!
•The verses are as a rule taken
from the Lectionary for Mass.

•The Gospel Acclamation may be

omitted when it is not sung.
THE SEQUENCE
•It is a liturgical hymn that is sung
before the Gospel Acclamation on
certain days.
• Required Solemnities:
On Easter Sunday
(Victimae paschali laudes)
On Pentecost Day
(Veni SancteSpiritus)
• Optional on:
• On Solemnity of the Most Holy Body
and Blood of the Lord
(Lauda Sion Salvatorem)
• On Our Lady of Sorrows
(Stabat Mater)
•The Sequence may be sung:
• by all together, or
• in alternation between the
congregation and choir and cantor,
• or by the choir or cantor alone.

•The text from the Lectionary for

Mass may be used, or a metrical
paraphrase may be sung, provided
that it is found in an approved
collection of liturgical songs.
THE GOSPEL
•“Of all the rites connected with the
Liturgy of the Word, the reverence due
to the Gospel reading must receive
special attention.”

•While the Gospel is ordinarily

proclaimed in a clear, audible, and
intelligent way, it may also be sung.

•“This singing, however, must serve to

bring out the sense of the words,
NOT obscure them.”
•Even if the Gospel itself is not sung, it
is appropriate for the:
• Greeting:
• “The Lord be with you!”
•And:
• “A reading from the holy Gospel… ,”
•And at the end:
• “The Gospel of the Lord.”
•to be sung, in order that the
congregation may also sing its
acclamations. This is a way both of
bringing out the importance of the
Gospel reading and of stirring up the
faith of those who hear it.”
THE CREED
•The Creed is said by the entire
assembly.
•Because it is an expression of
faith by “the whole gathered
people,” the participation of all
present should be carefully
safeguarded, whether it is said
or sung.
•“If it is sung, it is begun by:
• the Priest or, by a cantor or
by the choir.
•It is sung, however, either by:
• all together or
• by the people alternating
with the choir.”
•The use of a congregational
refrain may be helpful in this
regard.
THE PRAYER OF
THE FAITHFUL
•It consists of intercessions by which
“the people respond in a certain way to
the word of God which they have
welcomed in faith and, exercising the
office of their baptismal priesthood,
offer prayers to God for the salvation of
all.”
•Because it has the structure of a
litany, and provided that it can be
understood when sung, it is
appropriate to sing the Prayer of the
Faithful, or just the invitation and
response, or even the response only.
THE PREPARATION
OF THE GIFTS
•After the altar has been prepared,
gifts of bread and wine are brought to
the priest or deacon by members of
the liturgical assembly.
•This procession is accompanied by
an Offertory chant or song, “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.
•Even when there is no procession
with the gifts, singing may still
accompany the rites at the Offertory.
• Instrumental music is also
appropriate.
•The priest then prays the Prayer over
the Offerings.
•Even when the prayer is not sung, the
conclusion to the prayer may be sung,
along with the response by the
people.
THE EUCHARISTIC
PRAYER
•Is the center and summit of the
entire celebration.

•The Eucharistic Prayer demands that

all listen to it with reverence and in
silence,” giving voice to their interior
participation by joining in the
Eucharistic acclamations.
•The Eucharistic Prayer is a single
liturgical act, consisting of several
parts:
• The Introductory Dialogue,
• The Preface
• The Sanctus
• The Epiclesis
• The Institution Narrative,
• The Memorial Acclamation,
• The Anamnesis,
• The Intercessions, and
• The Doxology with its Amen.
•It is recommended that there be a
stylistic unity to the musical
elements of the prayer, especially
the Sanctus, the Memorial
Acclamation, and the Great Amen.
•As much as possible, elements such
as the preface dialogue and preface
should be chanted at a pitch that
best relates them to the key and
modality of the other sung elements
of the Eucharistic Prayer.
•The Eucharistic Prayer begins
with a dialogue between the
priest and the people.
•Because the preface dialogue is
among the most important
dialogues of the Mass, it is very
appropriate that it be sung,
especially on Sundays and other
solemn occasions.
•The people take part in the
Eucharistic Prayer by listening
attentively to the words sung or
spoken by the priest and joining their
hearts and minds to the actions of
the prayer.
•Their voices should be joined
together in the acclamations of the
Eucharistic Prayer.
•These acclamations should be sung,
especially on Sundays and
solemnities.
 
•While the Priest proclaims the
Eucharistic Prayer ‘there should be
no other prayers or singing, and the
organ or other musical instruments
should be silent,’ except for the
people’s acclamations.”
 
THE PREFACE AND
DIALOGUE
•The Priest, in the name of the
whole of the holy people,
glorifies God the Father and
gives thanks to him for the
whole work of salvation or for
some particular aspect of it,
according to the varying day,
festivity, or time of year.
THE SANCTUS
•The acclamation, by which the
whole congregation, joining with the
heavenly powers, sings the Sanctus
(Holy, Holy, Holy).
•This acclamation, which
constitutes part of the Eucharistic
Prayer itself, is pronounced by all
the people with the Priest.
THE ANAMNESIS
•The Anamnesis, by which the
Church, fulfilling the command
that she received from Christ
the Lord through the Apostles,
celebrates the memorial of
Christ, recalling especially his
blessed Passion, glorious
Resurrection, and Ascension
into heaven.
•The invitation: “The mystery of
faith” maybe sung.
OPTIONS IN HILIGAYNON:

1
Ginabantala namon, O Ginoo,
Ang Imo kamatayon
Kag amon ginapahayag
ang Imo pagkabanhaw,
tubtob sa Imo pagbalik.
 2
Sa tagsa namon
ka pagkaon sining tinapay,
kag pag-inom sa sining kalis,
O Ginoo, ginabantala namon
ang imo kamatayon
tubtob sa Imo pagbalik.
 3
Tungod sang Imo krus
kag pagkabanhaw,
luwason Mo kami,
O Manluluwas sang kalibutan!

4
Si Kristo napatay!
Si Kristo nabanhaw!
Si Kristo magakari liwat!
THE GREAT AMEN
•The concluding doxology,
“through Him…) by which the
glorification of God is
expressed and which is
affirmed and concluded by
the people’s acclamation
“Amen.”
•The high point of the
Communion Rite is the
reception of Holy Communion.

•This is preceded by rites that

prepare the faithful to receive
the Lord’s Body and Blood as
spiritual food.
THE LORD’S PRAYER
AND DOXOLOGY
•The rites of preparation for the
reception of Holy Communion
begin with the Lord’s Prayer.
When the Lord’s Prayer is sung,
the Doxology should also be sung
by all.
•If possible, the invitation and
embolism should also be sung by
the priest.
THE SIGN OF PEACE
•The brief period of time, needed
for the exchange of the Sign of
Peace must not be protracted by
the singing of a song.
THE FRACTION RITE
AND THE AGNUS DEI
•The Agnus Dei accompanies the
Fraction Rite. It is, as a rule,
• sung by the choir or
• cantor with the congregation
responding; or it is, at least,
• recited aloud.
•It 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).”
THE COMMUNION
CHANT OR SONG 
•While the priest is receiving the
Sacrament, the Communion chant [or
song] 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 begins immediately and
continues “for as long as the
Sacrament is being administered to
the faithful.”
•The Communion chant or song may
be: sung by the people with choir or
cantor, or by the choir alone.
•Because the Communion chant
expresses the unity of those
processing and receiving the Holy
Sacrament, communal singing is
commendable. The singing of the
people should be preeminent.
•In selecting a Communion song one
should look for texts that have
themes of joy, wonder, unity,
gratitude, and praise.
•Following ancient Roman liturgical
tradition, the Communion song might
reflect themes of the Gospel reading
of the day.
•It is also appropriate to select a
Communion processional song that
reflects the liturgical action, i.e.,
eating and drinking the Body and
Blood of Christ.
In order to foster participation of the
faithful with “unity of voices,” it is
recommended that:
• psalms sung in the responsorial
style,
• or songs with easily memorized
refrains, be used.
• The refrains will generally need to
be limited in number and repeated
often, especially at the outset, so
that they become familiar to the
faithful.
•When the Communion procession is
lengthy, more than one piece of
music might be desirable. In this
case, there may be a combination of
pieces for congregation and pieces
for choir alone.

•Instrumental music may also be

used to foster a spirit of unity and
joy.
•If there is a hymn or song after
Communion, the Communion music
should be ended “in a timely
manner.”

•A period of silent reflection for the

entire congregation after the
reception of Communion is also
appropriate.
•Care should be taken to ensure that
the musicians (singers and
instrumentalists), too, “can receive
Communion with ease.”
•Since the Communion song begins
while the priest is receiving the
Sacrament, the singers and other
musicians may receive Communion
at or near the end of the procession.
•However, if there is no singing, the
antiphon given in the Missal may be
recited either by the faithful, or by
some of them, or by a reader;
•otherwise, it is recited by the Priest
himself after he has received
Communion and before he
distributes Communion to the
faithful.
SONG AFTER
COMMUNION
•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.”
•The song after Communion
should focus the assembly on the
mystery of the Holy Communion
in which it participates, and it
should never draw undue
attention to the choir or other
musicians.
•The congregation may stand for
the song after Communion if the
nature of the music seems to call
for it.
THE CLOSING PRAYER
•The priest may sing the Prayer
after Communion, or even just
the concluding formula. At the
conclusion of the prayer, the
entire assembly sings the
“Amen” as a sign of assent.
THE FINAL BLESSING
•Especially on Sundays and
other solemn occasions, the
blessing may be sung by the
priest with the assembly singing
the “Amen”, and the dismissal
may be sung by the deacon or
priest with the assembly singing
“Thanks be to God.”
THE RECESSIONAL HYMN
•Although it is not necessary to sing
a recessional hymn, when it is a
custom, all may join in a hymn or
song after the dismissal.

•At times, e.g., if there has been a

song after Communion, it may be
appropriate to choose other options
like: a choral or instrumental piece
or, particularly during Lent, silence
is preferred for the recessional.
 What Parts
Do We Sing?
Selecting Songs
for the Mass
GUIDES:
The Principle of
Progressive Solemnity
The Parts to Be Sung
Sacred Silence
 PROGRESSIVE SOLEMNITY
• means that, between:
– the SOLEMN, fuller form of
liturgical celebration, (in which
everything that demands singing
is in fact sung)
– and the SIMPLEST FORM, (in
which singing is not used)
– there can be various degrees
according to the greater or lesser
place allotted to singing.
 Progressive Solemnity
CHRISTMAS/
EASTER
SOLEMNITY
ADVENT/
LENT
ORDINARY FEAST
TIME
MEMORIAL

WEEKDAY------------------------------------------ SUNDAY
 The Parts to
be Sung
• According to Musicam Sacram
(28-31), there are:
– Three (3) Degrees in the
Hierarchy of Songs for the
Mass.
 FIRST DEGREE
• It consists essentially of the
Order of the Mass:
– the chants sung in dialogue
between the priest or the
deacon and the people.
• Thus, the Priest should chant:
 The Sign of Cross/Greeting
 The Gospel Introduction and
Conclusion
 The Preface Dialogue
 The Peace Greeting
 The Blessing/Dismissal
• On special occasions, he is also
encouraged to chant the ff.:
 The Concluding Dialogues to:
The Collect,
The Prayer over the Gifts,
The Prayer for Peace
The Communion Prayer
 The Preface
 The Eucharistic Prayer
 The Gospel
 SECOND DEGREE
 It consists essentially of the
Ordinary of the Mass:
The Kyrie
The Gloria
The Credo
The Sanctus
The Agnus Dei
 THIRD DEGREE
• It consists essentially of the
Proper of the Mass:
The Chants sung at:
The Entrance
The Offertory
The Communion
Processions
The Responsorial Psalm
The Alleluia with its verse
before the Gospel.
• At Daily Mass, the above priorities
should be followed as much as
possible, in this order:
– Dialogues and Acclamations
– Gospel Acclamation,
– Sanctus
– Memorial Acclamation
– Amen
– Litanies
– Kyrie
– Agnus Dei
– Responsorial Psalm (perhaps in a simple
chanted setting;
– Hymn (or even two) on special days.
 Judging
the Qualities
of Music
for the Liturgy
 What do you think?
• Silver Bells, Feliz Navidad, We wish
you a Merry Christmas are all
Christmas Songs and thus, should be
in Masses starting from the “Ber“
Months!
• “May Bukas Pa,” since it is known
by all, should be sung as Entrance
for Funerals!
 How do we choose songs
that are appropriate
for a mass in a particular time
and a particular place?
•There are three judgments to
follow, but one evaluation.
•Songs should pass the three
judgments, not just one or two
of them.
•The 3 are: the Liturgical, the
Pastoral and Musical
judgments
Liturgical Judgment
• Is this composition capable of meeting
the structural and textual requirements
set forth by the liturgical books for this
particular rite?
• Two Sources:
1. Structure: What Part of Mass?
2. Liturgical Books: Is it connected
with the theme of the Liturgical
Season or The Readings?
 Pastoral Judgment
• takes into consideration the actual
community gathered to celebrate.
– Can the congregation sing the songs?
– By singing this, would they be aided to
actively and consciously participate at
mass?
• Thus, we consider factors like: age,
culture, education, and language.
Musical Judgment
• Is this composition technically,
aesthetically, and expressively
worthy?
• It takes into consideration the
congregation and the type of
music that they can identify with;
the type of music that would lead
them to pray and worship the Lord.
 FOR EVALUATION
• “From this Moment” as Entrance
to Wedding Masses…
• “The Prayer” as Offertory in
Sunday Mass…
• “May Bukas Pa” as Communion
song for Funeral Mass…
• “Let it Be” as Song for Mary…
 So, we evaluate songs using
these three judgments…

• Silver Bells will not be acceptable liturgically, but

favorable musically and pastorally.
• We, Three Kings, however, will be acceptable in
all three judgments when sung on the Epiphany of
the Lord — never on the Season of Advent!
• Handel’s Messiah and Malotte’s The Lord’s Prayer
are all liturgically and musically excellent. But
ordinary churchgoers will not be able to sing them
well. Unless, of course, it is a mass of the
Philippine Madrigal Singers or the
UP Concert Chorus.
 THE ROLE OF MUSIC
The primary role of music in
the Liturgy is to help the
members of the gathered
assembly to join themselves
with the action of Christ and
to give voice to the gift of
faith.
QUESTION AND
ANSWER
 ACTIVITY
Give a critique of the
state of Liturgical
Music in our Parish
Offer possible
solutions and action
steps
PRACTICAL TIPS
AND
SUGGESTIONS
 Music Ministry in General
 Prepare a “Repertoire of the Month/
Season/Ritual Masses” applying the
principles learned to be sung by all choirs
and to be submitted to the Liturgy
Committee and Prepare Powerpoint slides
for the songs.
 Call for a General Choir Practice once a
Month, as preparation for Special Days
and Updating of Repertoire.
 Generate funds for the maintenance and
acquisition of Musical Instruments and a
common Library for Songs.
 Music Ministry in General
 Propose Seasonal Recollection for Choir
Members and Instrumentalists.
 Propose possible topics for Workshops and
Seminars.
 Choir Leaders
 Coordinate with Worship Committee
and joins the Monthly Meeting.
 Secure attendance for Monthly
Practice and Seminars of Choir
Members and their decorum at mass.
 In charge of folders/copies/ and other
resources entrusted to them by the
Worship Committee.
 Appoints Cantors for Psalms
 Choir Members
 Commit yourselves in times of Practices
and Sunday Masses you are called to sing
at.
 Remind each one of Proper Decorum at
Mass
 Don’t sing Harmony the first time, and
Melody should always be dominant.
 Listen to your voice-
Does it blend with the pitch, texture, vowel
sounds, dynamics and volume of my other
companions in the section?
 Instrumentalists
• Practice outside of Mass
• Minimize the use of Accompaniment
Mode, (drums) and begin to use
“Church Organ” Voice only.
• Secure connections to avoid
distractions and noises during mass.
• Always keep volume lower than that
of the Singers.
• Allow time for Silence.
• Ask for tips on accompanying the
choir.
 On Songs
• 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.
 On Instruments
• 120. In the Latin Church the pipe organ is
to be held in high esteem, for it is the
traditional musical instrument which adds
a wonderful splendor to the Church's
ceremonies and powerfully lifts up man's
mind to God and to higher things.
• But other instruments also may be
admitted for use in divine worship, with the
knowledge and consent of the competent
territorial authority.
 On Instruments
• This may be done, however, only on
condition that the instruments are
suitable, or can be made suitable for
sacred use, accord with the dignity of
the temple, and truly contribute to the
edification of the faithful.
 Audio Samples
• Gregorian Chant:
– Salve Regina
– Tantum Ergo
– O Salutaris
• Responsorial Psalm
 Sources for Selecting Songs
• Theme:
“ Sino Bala ang Aton Mga Dinapit?”
• Season:
– 22nd Sunday in Ordinary Time
• Readings: On Humility vs. Pride
– Gospel: “When you are invited by someone to a
wedding banquet, do not recline at table in the place of
honor. For everyone who exalts himself will be
humbled, but the one who humbles himself will be
exalted.”
Songs for the Month of: SEPTEMBER
Liturgical Season: Ordinary Time

MASS PARTS Recited Sung N.A. Mass settings/ Composer

Entrance Yes MAGKINASADYA

Kyrie Yes MAGKINASADYA

Sprinkling of Water ----------

Gloria Yes HONTIVEROS

Responsorial Psalm Yes TRADITIONAL

Gospel Acclamation Yes ISIDORIANA

Credo Yes

Offertory Yes ANG MGA DULOT

Sanctus Yes KATILINGBAN

Anamnesis Yes KATILINGBAN

Amen Yes KATILINGBAN

Pater Noster Yes KATILINGBAN

Doxology Yes KATILINGBAN

Agnus Dei Yes KATILINGBAN

Communion Yes SA TALIKALA

Post Communion ----------

Hymn

Recessional Yes SALAMAT GID