Here in this place...(place)...(place)...(place)...

Earlier this month I had the privilege of spending a week at the “One Bread, One Cup” conference at Saint Meinrad Archabbey in Indiana as a catechist teaching instrumental music. Over the course of the week we celebrated several liturgies in the St. Thomas Aquinas Chapel: Morning Prayer, daily mass, Evening Prayer, etc. If you’ve never been there, the chapel is a beautiful space with an amazing amount of reverberation/echo!

I had the honor of working with Curtis Stephen (an extremely talented and gifted musician and songwriter) and together we planned the music for the various liturgies. We spent our time paging through the many resources they had available there: Voices As One, Spirit and Song, Gather, and instrumental books by GIA, WLP, and OCP. There were so many great songs from which to choose. We quickly learned that the space where we would be celebrating Mass, the chapel, would greatly influence our song choices and our instrumental arrangements.

Back at my home church of St. Ann’s in Marietta, GA and Curtis’ home church of St. Ann’s (yep…same name!) in Coppell, TX, we are used to a less reverberant room with a sound system that has been tweaked for drums, bass, guitars, horns, etc. Alas, we are used to using all different kinds of songs and arrangements, big and small. In the St. Thomas Aquinas Chapel, however, we found it best to keep it simple.

In that space, percussive sounds (drums, shakers, rhythmic acoustic guitar…even piano) get lost and muddy when played at faster tempos. We had to simplify our arrangements, adding an occasional single low drum here and there, maybe some chimes, simple strumming, etc. to make it work well. Sometimes the orchestration consisted of myself on piano while Curtis played a trumpet descant (or melody).  Sometimes he’d strum guitar while I supported with a simple piano part. But in the end, it always came back to the main driving force of the song: the melody.

We tended to pick songs with simpler rhythms and soaring melodies. As always, if the song has a simple, well-crafted melody, people can sing it.

It’s easy to see how chant became the music of the church while most churches were still being built with such incredible acoustics. The St. Thomas Aquinas Chapel is a fine example of this. With nothing but the human voice you can create a sound as rich as any orchestra in a premiere concert hall. When you combine all the different timbres and octaves of the assembly’s voices together the sound is incredible! Time and time again I was moved by the prayerful tone of the teens, college students, and adults singing together—chant style—as if we’d been doing it forever.

While it would have also been nice to work with the teens in a band-type setting (drums, bass, etc.) and play music with that instrumentation, the fact that we played and sang with full, active, and conscious participation was most important. I do believe that we all left there with the understanding that our voice is our main instrument.

My week at Saint Meinrad was not only a wonderful experience in its own right, it was a reminder of how we need to always be open and adapt our music and our musical choices to our current space, assembly, and moment.

Allow me to introduce...sound! (part 2)

Continuing the theme from the last Setting the Tone let’s look further at how we “introduce sound” to the different moments in the liturgy. Recall that we need to look at where we are coming from—sound or silence? Do we start loudly or softly? With one instrument or two, or the full band? Then we need to look ahead to where we are going. Ending appropriately with the proper dynamic is just as important. Last issue we discussed the Entrance Song and the Responsorial Psalm. Here will look at the song at the Preparation of the Altar and of the Gifts and the Communion song.

Make music­—not distractions.

More often than not, the way we perform a piece of music greatly impacts its overall effect. It might be a great song, but if the performance was distracting—not inviting—we missed the boat.

Before you begin the Song of Preparation, as we move into the Liturgy of the Eucharist, there is a noticeable ‘change of gears.’  Think of what is happening: the assembly sits down, the weekly offering is being collected, baskets are being passed, ushers are standing and walking around, gift bearers are moving to the back of the church, the reader of the Prayers of the Faithful is leaving the ambo, etc. If there was ever a good time to use the introduction portion of a song, this is it. Use instrumental music to set the tone. Most often this is the first piece of music since the Gospel Acclamation. Since then we have heard the Gospel proclaimed, listened to a homily, recited the Profession of Faith, and shared the Prayers of the Faithful. Depending on the length of the homily, this could be up to 25 minutes. (Even longer if there is a baptism.) So, take this time to musically set the tone for the Liturgy of the Eucharist. If there is no introduction in the music, make one up! Play a verse or refrain while a solo instrument carries the melody, or start with percussion, adding instruments as you go. By the time the introduction is finished, the assembly will be ready for you to lead them in the song of Preparation.

Once you begin, don’t forget to think about where you are going. While we are singing, the priest and/or deacon are preparing the gifts of bread and wine at the altar. Quite often they are “waiting,” hands folded, for the song to be finished. We are getting ready to enter into a very sacred, reverent moment. This is not the time for a “Ta da!”– type ending of the song of Preparation!  It would be best to ramp down the intensity of the music as the song concludes. No big drum fills, no loud brass parts, no screaming-high tenors or sopranos. Lead into the priest’s next words: “Pray, brethren…”  Now, I know at my parish we use a wide variety of songs for the Preparation of the Gifts: loud, soft, fast, slow, etc. Entering into this moment with a slow, quiet song is easy, but you can do it with a fast, loud song as well. Here’s one way that really works:

You’re playing the song of Preparation—everyone is in: drums, bass, guitars, keys, vocals, horns, etc…the works. The band is at full volume, the assembly is singing with full voice…but it’s time to end. To bring everyone to a full stop would be too abrupt. We need to ramp down the intensity. The quickest way is for the drums to stop their ‘groove.’  Let’s take “Blessed Be the Name” by Matt Redman as an example.

 

Example 1:

Everyone is playing/singing the refrain: “Blessed be the name of the Lord, blessed be your name. Blessed be the name of the Lord...” After that downbeat, the drums would stop, letting the cymbals ring out. The rest of the band­—guitars, bass, keys, vocals— would continue to the end of that refrain, letting the last chord ring out, even after the vocals have cut off.

Having the drums drop out here creates a sudden decrease in volume and intensity by the band, but not so much that it sounds odd. The vocals and bass are continuing, which is important. There is still a fullness in the sound (maintained especially by the bass). It still sounds planned and orchestrated. The result is a smoother transition to the next liturgical moment.

Example 2:

Again, everyone is playing/singing the refrain: “Blessed be the name of the Lord, blessed be your name. Blessed be the name of the Lord, blessed be your glorious name.” Now go ahead and repeat the refrain, but have all the instruments hold out the downbeat (on the word “name.”) The only instruments that might continue would be piano and/or guitar, just on the successive downbeats (even the bass could hold out). You could easily ramp down the intensity with just vocals and piano/guitar.

Take some rehearsal time to practice these techniques with your group. Practice transitioning from a loud, full band to a quiet moment. Ramp it down. What needs to keep playing? What can stop?

Communion Songs

You’ve just finished the “Lamb of God,” Father says, “This is the Lamb of God…” and we respond, “Lord, I am not worthy to receive you, but only say the word and I shall be healed.”  This is a very, quiet, reverent moment. Any appropriate communion song would need to start softly, breaking the silence gently. Counting off a measure and bringing in the band loudly would be very intrusive to the liturgical moment.

Once again, here is where you need to be creative. Ramp it up. If you’re playing a song that usually has a loud/strong intro you will need to change it for this moment. For example, the recording of “I Am the Bread of Life” (Kaczmarek) from the Voices As One CD collection begins with a nice tasteful drum fill that sets up an instrumental refrain. While great for the recording from a listening standpoint, this is not practical at Communion time. It would be better to start with one of the following:

1.     Flute playing melody while piano or guitar accompanies

2.     Piano playing intro with melody in right hand

3.     Light percussion (congas, shakers, etc.) setting up the feel of the song

4.     Synth pad with guitar or piano

Any of these ways would ease into the moment, breaking the silence with a gentle introduction. Just because the recording does it one way doesn’t mean you have to play it that way every time, or any time, for that matter.

Remember that quite often you will need to do things in a liturgical setting that you would normally never do in a performance-for-an-audience type setting. Playing music for liturgy requires a keen sense of what is happening at the moment, and where you are headed. It’s all part of setting the tone to allow the assembly to enter into full, active, and conscious participation.

Allow me to introduce...sound! (part 1)

Whether we are choosing music for Advent, Christmas, Lent, Holy Week, Easter, or Ordinary Time, it goes without saying that we will play and sing this music for our assemblies. More often than not, the way we perform a piece of music greatly impacts its overall effect. It might be a great song, but if the performance was distracting–not inviting, we missed the boat.

You’re sitting at the piano (or holding your guitar) and the first reader has just left the ambo. As they return to their seat all eyes and ears are upon you. It is…silent. What happens next depends on you. You are about to “introduce sound” into this beautifully reverent moment of silence as listeners contemplate a reading from the Old Testament. How will you begin? Loudly? Softly? Just piano? Solo flute? A cappella voices? Drums? There are so many options, and for each we must consider the liturgical moment. 

On any given Sunday the music ministry is directly responsible for leading up to 15 moments in the liturgy (not including Preludes, Sequences, Dismissal of Catechumens & Candidates, and Postludes.):

1. Entrance/Gathering Song

2. Penitential Rite

3. Glory to God

4. Responsorial Psalm

5. Gospel Acclamation

6. General Intercessions (if sung response)

7. Song during Presentation of the Gifts

8. Holy

9. Memorial Acclamation

10. Great Amen

11. The Lord’s Prayer (if sung)

12. Lamb of God

13. Communion Procession

14. Meditation/Song of Praise

15. Closing Song

That’s a lot of music, and a lot of responsibility. But we should embrace these opportunities with excitement, reverence, and musical sensibility. Over the next 2 “Setting the Tone” articles, we will take a look at some of these “liturgical moments” and consider the musical possibilities for each.

Where Are You Coming From? (Sound or Silence) 

Entrance/Gathering Song

Most parishes and communities have their own style of beginning the liturgy. Some parishes and pastors request that you remain silent as you enter the church, until the gathering song. Some parishes encourage you to greet one another openly, welcoming friends and family. In other parishes the music ministry rehearses (sometimes with the assembly) before the official start-of-mass time. Depending on which Mass you attend it can also vary within the same parish. I know when I begin the 7:15 am Mass at St. Ann’s it’s a little more subdued than the 10:30 children’s mass, or the 6:00 pm contemporary teen mass!

So are you coming from sound, or silence? Are people talking openly, or praying quietly. Listen. You are about to introduce sound to this moment. Here are your options depending on what type of tone you want to set for the liturgy:

1.    When starting from silence: begin the gathering song tenderly. Piano/guitar and a solo instrument playing the intro are always easy on the ears, and rather expected. A cappella voices are also a great way to start from silence. Soft percussion works as well. Remember, this is just the start of the song. Once the song gets going you can make it as big and loud as it needs to be, but “get there” first. Forget what dynamic marking is in the music…you need to make a musical decision based on where you are in the liturgy. A contemporary band coming in with a crash on a downbeat would be…loud! Is that what you want to happen there? There are times for this, and I don’t think this is necessarily one of them. Similarly, an organ with all the stops pulled out playing a really loud intro can also disturb the silence in a “not so positive” way.

2.    When starting amidst a “gathering” assembly: When people are greeting one another, talking, shaking hands, etc. the sound in the room has already begun for you. You can begin almost any way you want, within reason. A nice strong downbeat with a band can add some majesty to that moment, almost like: “Wow, something big is about to happen!” People’s attention will shift forward and they will know that it’s time to begin singing.

Another option, however, is to grab their attention by playing softly…a solo voice singing the melody, a trumpet softly playing an intro, a soft downbeat by the entire band with a slow-strummed type chord in place of a “crash.” Again, people’s attention will shift forward as they begin to hear the music. Let it build as much as you want, encouraging full and active singing by the assembly. 

The important thing is to be creative and musical. Don’t start every Sunday by counting 1-2-3-4 and everyone comes in together! Vary the way you begin from week to week. A single song can begin many different ways. Your assembly will appreciate the variations.

Where Are You Going?

We’re not finished, yet. The song needs to end. Just like we looked at where we were coming from (sound or silence) we need to look to where we’re going in the liturgy. The very next thing to happen is the Greeting: the Sign of the Cross. How will you set up that liturgical moment? Will you ask the priest to follow a big, strong ending where everyone, assembly included, is singing at the top of their lungs? Perhaps. Or, will you gradually bring the dynamic level down, setting up the Greeting with a brief moment of silence? It’s your choice…and it can make all the difference.

            1.  Start one way, end another: If you begin strong, end quietly. Start with the full band, as described above, then end with just the assembly singing the refrain of the song, accompanied by just piano or guitar. A nice way to end is by adding the last chord, softly by the whole band….(the priest beings: “In the name of the Father…”)

Similarly, if you begin quietly, end strong! Build up all the way to the end.  The last chord rings out big and strong until the whole band is cutoff together by you... (the priest beings: “In the name of the Father…”)

That would be powerful musical contrast: highs and lows, loud and soft.

 2.  “Book-end” style: Start quietly, end quietly. Certainly, there are some liturgies where this would seem, and feel, appropriate as opposed to big loud intros and endings. Be sensitive to those times.

In the same way you can begin strong and end strong. Christmas Day and Easter Sunday come immediately to mind. It would be feel completely appropriate to be as festive as possible for some liturgies. Keep the dynamic level up.

Some Things Never Change…

Where the Gathering Song might have an intro that depends on the starting dynamic level of the room, the Responsorial Psalm always takes place within the same liturgical moment: complete silence.

            Everyone has just listened to a reading from scripture and is (hopefully) contemplating its meaning in their lives. Listen. How will you introduce sound to this moment? Will you come crashing down with a big chord, trumpets and sax blaring away on the “really cool” intro of the song? That would be a big jolt to everyone in the pews. They’re not ready for that. You need to ease them into the next song. Start quietly and gradually build.

You can take any song, any song, and start it quietly. It doesn’t matter how it was recorded, and it doesn’t matter what’s on the page. Make music, not distractions. If you’re not sure how to start, try one of these methods: 

1.     Piano, softly in the upper octaves, playing the refrain melody

2.     Guitar, gently strumming or picking the chord progression of the intro or refrain.

3.     Light percussion (shaker, maracas, congas, bongos, etc.)

4.     Piano/guitar and solo vocal

5.     A cappella refrain, especially if it has easy, predictable 3 or 4 part harmonies

6.     Flute, playing refrain melody with no accompaniment.

Depending on the nature of the song, some of these methods will probably work better than others. Just start out quietly, gradually adding to the sound. When the assembly needs to sing, bring in the bass guitar. Now you can bring it up to full volume, encouraging everyone to sing out with full voices. Use your best judgment, but be musical. Your assembly will really appreciate the efforts you make.

Welcome

Welcome to Setting the Tone: Musical Ideas for Liturgy.


This blog is a new undertaking for me, and a new way for me to share what I hope to be helpful suggestions for making the music at liturgies and prayer gatherings more meaningful, more beautiful, and more engaging for the gathered assembly. In my years as a music director, composer, music editor, and music leader I’ve learned some things...and continue to learn things!...I’d like to share with my readers. I’ve been blessed to have had the opportunity to lead music at national music, liturgy, and religious education conferences, but the majority of my experience comes from my 16+ years as a staff member of St. Ann’s Catholic Church in Marietta, Ga. There, at my home parish, I had the privilege of leading music at the Life Teen Mass from 1992–2005. In addition, I have led (and currently lead) music for the 7:15 am Mass, the 8:45 am (Contemporary) Mass, and the 10:30 am Family/Children’s Mass.


Often, my suggestions will focus on the more “contemporary” side of music for worship, but the principles can easily be applied to liturgical music of all styles. I fervently hope that you will read, comment, and share YOUR ideas with me and other readers, too. How better to learn than from one another, as we all strive to give glory to God day after day and week after week. So, welcome to Setting the Tone. I’m glad you’re here and hope you’ll stop by often. 


Some of these earlier “articles” have already been shared at www.wlpmusic.com <http://www.wlpmusic.com>  and through the LifeTeen Liturgy Guides.