It is my hope that Simple Choral Gradual will provide textual and musical resources for singing the entrance, offertory, and communion antiphons as prescribed by the Roman Missal, Gradu[r]
Trang 2S IMPLE C HORAL
Settings for Mixed Choir of the
Entrance, Offertory, and Communion Antiphons for Sundays and Solemnities of the Church Year
Richard Rice
CMAA Print Edition, May 2011
Trang 3Musical settings copyright © 1996, 2011 by Richard Rice
All rights reserved
Antiphon texts from The Sacramentary (1985); English translation prepared by the
International Commission on English in the Liturgy
Psalm verses copyright © 1963 by The Grail, England
1st CMAA Print Edition, May 2011
For updates and revisions, visit RiceScores.com
Trang 4Simple Choral Gradual
Table of Contents
Sundays of Advent
1st Sunday 1
2nd Sunday 4
3rd Sunday 7
4th Sunday 10
Christmas Season Vigil Mass 13
Mass at Midnight 16
Mass at Dawn 20
Mass During the Day 23
Holy Family 26
Mary, Mother of God 29
2nd Sunday after Christmas 32
Epiphany 35
Baptism of the Lord 38
Season of Lent Ash Wednesday 41
1st Sunday 46
2nd Sunday 50
3rd Sunday 54
4th Sunday 59
5th Sunday 64
Holy Week Palm Sunday 69
Holy Thursday Chrism Mass 74
Holy Thursday Mass of the Lord’s Supper 76
Good Friday 82
Easter Vigil 86
Easter and Pentecost Seasons Easter Sunday 89
2nd Sunday 93
3rd Sunday 97
4th Sunday 102
5th Sunday 105
6th Sunday 108
Ascension 111
7th Sunday 114
Pentecost Vigil 117
Pentecost Day 120
Trinity Sunday 123
Corpus Christi 126
Sacred Heart 129
Sundays of the Year 2nd Sunday 133
3rd Sunday 137
4th Sunday 141
5th Sunday 145
6th Sunday 149
7th Sunday 153
8th Sunday 157
9th Sunday 161
10th Sunday 165
11th Sunday 169
12th Sunday 173
13th Sunday 177
14th Sunday 181
15th Sunday 185
16th Sunday 189
17th Sunday 193
18th Sunday 197
19th Sunday 201
20th Sunday 205
21st Sunday 209
22nd Sunday 213
23rd Sunday 217
24th Sunday 221
25th Sunday 225
26th Sunday 229
27th Sunday 233
28th Sunday 237
29th Sunday 241
30th Sunday 245
31st Sunday 249
32nd Sunday 253
33rd Sunday 257
Christ the King 261
Feasts and Solemnities February 2, Presentation 265
March 19, Saint Joseph 269
March 25, Annunciation 272
June 24, Saint John the Baptist 275
June 29, Saints Peter and Paul 278
August 6, Transfiguration 281
August 15, Assumption 284
September 14, Triumph of the Cross 287
November 1, All Saints 290
November 2, All Souls 294
November 9, Dedication of the Lateran 297
December 8, Immaculate Conception 300
Appendix 1: Rite of Sprinkling 303
Appendix 2: Alternate Gloria Patri 306
Trang 5Foreword
In the years since the Second Vatican Council, many collections of music for Catholic worship have emerged that address the desire of the Council to promote the full, conscious, and active participation of the faithful in liturgical celebrations (CSL 14) The emphasis of these collections has been on vernacular texts for sung liturgies, especially those texts designated as the people’s parts
In response to the Council’s mandate, composers have produced dozens of settings for Eucharistic acclamations and responsorial psalmody, as well as psalms, hymns, and spiritual songs for general use in worship The latter have been widely used in the Mass as substitutes for the entrance, offertory, and communion antiphons
This Simple Choral Gradual is intended to provide settings of the approved texts from the
Roman Missal (1985) for the entrance and communion antiphons for Sundays and Solemnities of
the Church year, with accompanying psalm verses as prescribed by the Ordo Cantus Missæ It provides settings of offertory antiphons found in the Graduale Romanum, as well as accompanying psalm verses from the Offertoriale Triplex It also provides antiphons and
responses for special rites, including the distribution of ashes on Ash Wednesday, the washing of feet on Holy Thursday, the reproaches and veneration of the cross on Good Friday, and the baptismal responses for the Easter Vigil English translations of the offertory antiphons and all
accompanying psalm verses are taken from the Grail Psalter (1963)
Simple Choral Gradual is intended primarily for small parish choirs, recognizing the traditional
role of the choir to sing these texts Nevertheless, the antiphons are written to allow—in fact, to encourage—the congregation to respond with the choir, following the form of the responsorial psalm The melodies are written in step-wise motion, seldom exceeding a range of a fifth or
rising higher than middle-c The melodies generally employ one or two repeated phrases (three
for the longest texts) Harmonies are simple and rarely chromatic, enabling choirs of modest forces to master the choral texture with minimal effort
It is my hope that Simple Choral Gradual will provide textual and musical resources for singing the entrance, offertory, and communion antiphons as prescribed by the Roman Missal, Graduale
Romanum, and Ordo Cantus Missæ, and thus to restore these antiphons to their integral place in
Roman Catholic Eucharistic worship I do not expect congregations to abandon their custom of hymn singing, nor is this collection intended to displace worship aids currently in use in a given
parish Simple Choral Gradual is intended to supplement a parish’s liturgical music program by
using these neglected but spiritually rich texts In the end, it can be judged successful only when
it leads to genuine praise of God through the Church’s liturgy
Trang 6Introduction
Textual Sources
English texts used in Simple Choral Gradual for the entrance and communion antiphons are from the Roman Missal (ICEL, 1985) Psalm verses for use with the entrance and communion anti- phons are taken from The Psalter (The Grail, 1963) Verses from other scriptural canticles are taken from the New American Bible (Confraternity of Christian Doctrine, 1970) The translation
of the Magnificat (Communion for the Feast of Mary, Mother of God) is by the International
Consultation on English Texts (ICET) Verses for the entrance and communion antiphons have
been chosen according to the references given in the Graduale Romanum (Abbaye Saint-Pierre
de Solesmes, 1979) and in the Ordo Cantus Missæ (Libreria Editrice Vaticana, 1987) In choosing between the antiphon texts in the Roman Missal and the more traditional texts of the
Graduale Romanum, I chose the former because they are more readily available for common use
in Sunday missals and popular worship aids
Since the Roman Missal does not contain them, texts for the offertory antiphons and verses have also been taken from the Grail Psalter, according to the references given in the Offertoriale
Triplex (Abbaye Saint-Pierre de Solesmes, 1985) The unique nature of the offertory antiphon
has necessitated some modifications in the ordering, selection, and occasionally, the sense of the
verses In doubtful cases, I have tended to defer to the verses as they appear in the Grail Psalter
In one case (Pentecost: Mass During the Day, page 121), the sense of the Offertoriale was
preserved by using the Douay translation Verses not from Scripture are taken from the sources indicated
Musical Forms
The form of the entrance and communion antiphons, with their accompanying verses, follows the form customarily used for responsorial psalmody The antiphon is sung once by the choir or the cantor and repeated by all The antiphon may be repeated between each set of verses, or only after all the verses have been sung
Verses are sung using a flexible musical formula composed of two phrases Each phrase consists
of a reciting note and a cadence The reciting note can accommodate any number of syllables, which should be sung according to the natural rhythm of the text The cadences (called the mediation and termination for each phrase, respectively) consist of four notes, with an additional note (in reduced typeface) to accommodate a fifth (unaccented) syllable (for example, 1 below) Unlike the reciting note, cadences are sung metrically, but their meter is determined both by the music of the formula and by the natural rhythm of the text These “natural meters” usually fall into one of three metrical patterns:
1 I rejoiced whén I | héard them sáy q q l q Q h
2 And now our _ féet are | stán-ding q q l q h
3 For love of my bréth-ren and | friénds q q q l h
Trang 7Simple Choral Gradual
No attempt has been made to notate or otherwise point the different “natural meters” of the cadences Choirs should spend rehearsal time uncovering and internalizing these meters to achieve an interpretation which is both uniform and natural sounding
Verses usually are made up of two couplets For longer couplets, the first line may be divided into two phrases, with a one-note cadence at the end of the first phrase (similar to the “flex” in traditional psalm formulas) This elongated couplet may stand alone as a single verse
For the entrance antiphon, the Graduale Romanum lists one, occasionally two, verses In tion, the Gloria Patri is given as the final verse, following the ancient custom The Gloria Patri
addi-should always be followed by the antiphon The entrance antiphon may be shortened by omitting
the Gloria Patri On the other hand, additional verses may be sung (Additional verses are not included in this collection, but can be taken from the Grail Psalter and set to the formula given for the day.) In any case, the Gloria Patri, if used, should be the last verse sung
For the communion antiphon, as far as possible, all the verses listed in the Graduale Romanum
are given It is not necessary to sing all the verses In situations where more psalmody is needed,
additional psalm verses may be used The Graduale Romanum (page 391) suggests Psalms (79)80, (33)34, (22)23, (77)78, (110)111, and (118)119 as suitable for use ad libitum during
communion
Simple Choral Gradual uses two basic formulas for singing the verses, one each for major and
minor keys Both formulas may end either on the dominant or the mediant to ensure a smooth transition to the antiphon This is a functional approach which may seem limiting to some choirs The regularity of the cadences makes it possible to use other formulas of the same pattern Choir directors should feel free to expand their repertoire of Psalm formulas and adapt those already used by their choirs
The form of the offertory antiphon is somewhat different In the Offertoriale Triplex, the
offer-tory antiphon has two distinct, though dependent, textual phrases Rather than repeating the entire antiphon after each verse, the offertory repeats only the second phrase (The entire anti- phon is sometimes repeated, usually after even numbered verses.) The verses are selected—occa- sionally modified—so that the second phrase of the antiphon completes or heightens the sense of the verse This interweaving of psalm verses creates a poetical and theological structure of great richness and beauty To complement this, the verses use an extremely florid and expressive melody These virtuosic settings were never intended for congregational singing
In Simple Choral Gradual, I have attempted to capture the spirit of this unique form in a simpler
way The first phrase of the antiphon, as well as the offertory verses, are sung on a musical formula The verses are composed of one, two, or three lines, each of which uses the same musi- cal formula After each verse, the second phrase of the antiphon is sung as a melodic response that completes the sense of the verse
Since the texts of the offertory antiphons are not included in seasonal worship aids, the offertory may become the exclusive responsibility of the choir Nevertheless, the response is compara- tively short, and the congregation should be able to pick it up after a verse or two It is possible for the choir or cantor to sing the first occurrence of the response, and then invite the congrega- tion to repeat it, as indicated by the repeat marks The response should not be “introduced” before the first verse, since this would obscure the unique form of the offertory and, in some cases, make bad textual sense
Trang 8Simple Choral Gradual
Interpretation
No tempo or dynamic markings are given in Simple Choral Gradual Musical interpretation of
the antiphons should follow the general rules governing liturgical declamation Any additional clues to interpretation should be governed by a sensitive reading of the text Musical interpre- tation will also depend on nonmusical considerations, such as the size and ability of the choir, its distance from the congregation, and the reverberation of the church Antiphons use compound meters frequently, suggesting a flowing half-note tempo
Accompaniment
Simple Choral Gradual is intended for unaccompanied choirs Nevertheless, organ may be used
to introduce the tune of the antiphon, and to support the choir and congregation in singing it This
is especially useful in the absence or deficiency of one or more of the choral parts If necessary, antiphons and verses may be sung by a cantor alone, with or without organ accompaniment Organ registration should remain light so as not to overpower the singing When accompanying the verses, the organist should hold the chord of the reciting note for the duration of the recitation, rather than attempt to play each syllable For longer recitations, the organist may restrike the chord for each new phrase, in effect breathing with the singers
Trang 10llll
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Trang 12llll
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Trang 142 O Lord, you once
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Trang 15llll
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Trang 17-ˆˆ««««
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Trang 18llll
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Trang 19llll
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Trang 202 How can this be, since I
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Trang 21llll
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Trang 22llll
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Trang 23lift -
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Trang 24llll
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Trang 25llll
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Trang 26llll
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1 Why this tumult
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Trang 27Offertory Antiphon
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day bless all to and
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Trang 28llll
The Lord has sworn an
He shall drink from the stream
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2 A prince from the day of your birth on the
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head wrath.
you foes.
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Trang 302 The Lord is king, with
1 The world you made firm,
he has gird
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Truly your decrees are
Holiness is fitting to your house, O Lord, un
-your throne has stood
Offertory Antiphon
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1 I will bless the
This poor man called;
in the Lord my
I sought the Lord
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3 Look towards him
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Trang 333 Love and truth walk
2 Great and dreadful to
1 The heavens are
By your favor it is that our might
it is you who still the
It is you who rule the
It is you who founded the
all earth
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Trang 34llll
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3 Let the sea and all with
-4 at the presence of the
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world Lord:
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3 the world and
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fair rule out peo Is na
va - won
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Trang 35llll
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Trang 36Let me not be put to shame
that you show to those who trust you
that you keep for
in
You for
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in are me I the who the
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call good fear in
sight
you, my
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men.
you, Lord, you.
love.
Lord, God.
Trang 37llll
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The Lord is the
I am sure I shall see
He hides me in the
4 Of you my heart has
3 For there he keeps me
shel safe sweet Lord, light
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tent, tent Lord, long, life;
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the that he of his of shall shall
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seek safe.
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life, shrink? fear?
Trang 38llll
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ear sire -
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- ther’s
January 1, Octave of Christmas
Mary, Mother of God
Entrance Antiphon Sedulius
29 Mary, Mother of God
Trang 392 Blessed and praisworthy are you,
1 Blessed are you, holy
and most whose womb was worthy
Offertory Antiphon
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wor to
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Trang 40llll
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the promise he made
He has filled the hun
-He has shown the
for he has looked with favor on his
4 He has come to the help of his
3 He has cast down the
1 My soul proclaims the
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strength great
gry ser low
to
might those
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fear his from good Is fa
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the
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things,
Lord, vant.
thers, thrones,
to Abraham and his chil
-and the rich he has sent
he has scattered the
From this day all generations will
4 for he has remembered his prom
-3 and has lifted
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