Music Should Reflect the Emotion and Spirit of the Liturgy

I am pleased to welcome Jacob Israel Villalobos (pictured second from left) as this week’s guest writer. In addition to being a full-time youth minister at his home parish, Jacob is widely known for being a member of the Jacob and Matthew Band. He continues to write, arrange, and perform music with the band as well as lead music at his parish liturgies.

 

 

A good soundtrack

After many years of service in a liturgical capacity, I would like to reflect on just a few things. The music in liturgy, I think, is best related to that of a good movie soundtrack. Think about the most memorable movie soundtracks in history. Can you hum Darth Vader’s march or the theme from Jurassic Park? Of course you can. When I think about these soundtracks, I think about how they add to the movie. They push it from being good to being amazing.

The opposite of that is true as well.

So how does that apply to liturgy or mass? I think our place as liturgical musicians is much like that of creating a good soundtrack. Although not completely necessary, (Jesus shows up with or without music) it can bring life to a celebration. It can engage the community and help them focus on the mysteries we are celebrating. When people leave Mass, they can take those memorable music moments with them.

Music should reflect the emotion and spirit of the liturgy…

When playing music in liturgy, think about it from a soundtrack perspective. When I travel, I get to hear different music ministries from all over the place. I am amazed at how many times people start from complete silence and go immediately to 100% ‘rocking.’ Perhaps that is called for from time to time in liturgy, but think about how a [film score] composer would approach liturgy. There are high times and low times. You have seen it before where the composer or conductor is watching the movie at the same time he or she is conducting. In the same way, our music should reflect the emotion and spirit of the liturgy.

Think about the difference between a Good Friday service and Easter Sunday. When you start to dive into the readings, usually a clear tone or direction is set. If you can’t find the tone or direction, refer to a liturgical planning guide.
Focus on the different parts of the liturgy and what the emotion behind it is. The ‘Lord Have Mercy’ is very different from the‘Gloria.’ Similarly, I think special care should be taken for music during communion time. In my mind, this should not be the time to blast through a communion song. Rather, invite the community; maybe just start with a piano and a voice. Bring the bass and drums in later, even if it is half way through the song. This is especially hard with younger musicians. The “one volume” level of playing is sometimes hard to break.
 

Music should be dynamic and changing…

Music should be dynamic and changing, following the spirit of what is in front of you. For instance, the entrance procession song should end with a perfect ‘pass’ to the presider. The action should be one fluid movement. Many times we get into the mode of playing a cadence that says, “I’m done!” How about trying the last chorus of the entrance song with just the community singing? Or maybe the music starts to fade and die down when father reaches the altar area. My point is, there are many ways to pass the baton to father; no need to throw it; just pass it.

Performance vs. Prayer

I think many people in contemporary Catholic music struggle with the balance of performance and prayer. Having worked at quite a few churches that are not Catholic, there seems to be an emphasis on the performance or concert aspect of worship. In fact, I was at a church where the sound system alone cost 1 million dollars because they wanted the worship to be like going to a concert. Though there is nothing wrong with that, our Catholic liturgy calls for a different approach.
In the best soundtracks, the audience does not even realize that the music is present. Our job should be done so well that we don’t become distractions to liturgy but serve to enhance it. We should journey away from being in “concert” mode and understand that our role is to help the community focus on Christ who is present in the liturgy.

-JI

SIDE NOTE (from Ed)...

My friend, composer Tom Booth, just played for 7000 people from around the world at Vatican City for the sacrament of Confirmation. Here are a couple of recent pics of Tom Booth in Saint Peter's where Pope John 23rd prayed for a "New Pentecost" - Vatican II. Thanks for the pics, Tom.

 

 

 

May 19, 2013 – PENTECOST

 

This week’s song suggestions for the Feast of Pentecost come directly from the composers themselves!  I asked several of my friends and colleagues if they would humbly suggest any of their own pieces they thought would be suitable for the liturgy on this day.

(Click on titles for links to their respective pages.)

Burning in My Soul by Brett Younker, Matt Maher, Jesse Reeves, & Daniel Carson (worshiptogether) - (from the new CD All the People Said Amen)
Suggested use: Offertory, Dismissal

Come, Holy Spirit by Aaron Thompson (WLP) - (from the CD 10,000 Angels)
Suggested use: Entrance, Offertory, Communion)

Come, Holy Spirit by John Angotti (WLP) - (from the CD Testify)
Suggested use: Entrance, Offertory, Communion

Come, Holy Spirit by Tom Booth and Robert Feduccia (spiritandsong) - (from the CD Captured)
Suggested use: Entrance, Offertory, Communion)

Come, Lord Jesus by Steve Angrisano and Tom Tomaszek (spiritandsong) - (from the CD Make a Difference)
Suggested use: Entrance, Offertory

Every Day by Jacob and Matthew Band (WLP) - (from the CD Every Day and the collection More Voices As One vol. 1)
Suggested use: Dismissal

Falling Into You by Steve Angrisano (spiritandsong) - (from the CD Inescapable Love)
Suggested use: Communion

Flowing River by Rita Baloche (Integrity) - (from the collection Voices As One vol. 2)
Suggested use: Offertory, Second Communion

Go Out, Go Out (Psalm 117) by Curtis Stephan (spiritandsong) - (from the CD Amid Passing Things)

Suggested use: Dismissal

Holy Spirit, Come Now by Jesse Manibusan (spiritandsong) - (from the CD The Commons: by Request)
Suggested use: Entrance, Offertory, Communion

I Will Follow by Jacob and Matthew Band (WLP) - (from the CD Every Day)
Suggested use: Offertory, Second Communion

Let the Weight of Your Glory Fall by Steve Merkel (Integrity) - (from the collection Voices As One vol. 2)
Suggested use: Entrance, Offertory, Second Communion

Let Us Stand by Jacob and Matthew Band (WLP) - (from the CD Every Day and the collection More Voices As One vol. 1)
Suggested use: Entrance

Lord, Send Your Spirit by Aaron Thompson (WLP) - (from the collection Voices As One vol. 2)
Suggested use: Psalm

Send Your Glory Down by Trevor Thomson and Tom Booth (spiritandsong) - (from the CD Christ in Me Arise)
Suggested use: Dismissal

There's A Presence by John Angotti (WLP) - (from the CD I Believe and the collection More Voices As One vol. 1)
Suggested use: Call to Worship, Offertory, Second Communion

Veni, Creator Spiritus by John Angotti (WLP) - (from the CD Testify)
Suggested use: Entrance, Offertory, Second Communion

Veni, Sancte Spiritus by Craig Colson (WLP) - (from the CD I Am the Way)
Suggested use: Entrance, Dismissal

Check out the CD on the right sidebar: Come, Holy Spirit. On it you will find many great titles for Pentecost from the Voices As One vol. 2 collection.

SOME OTHER MUSIC SUGGESTIONS FOR THIS TIME OF YEAR:

FIRST COMMUNION:
Jesus, in the Blessed Sacrament by Brian Flynn (WLP) - (from the CD Born Again)

WEDDINGS:
One by Matthew Baute (WLP) - (from the CD River of Grace)

The Greatest Gift by Brian Flynn (WLP) - from the CD Born Again)

LOVE ONE ANOTHER Collection (WLP) - music by various composers in various styles; guitar, keyboard, and C Instrument parts available for this collection of wedding music. (CD)

But, what if I need it NOW!!!???

I do a lot of online purchasing…for music, that is. If it’s not iTunes, then it’s musicnotes.com. I can get what I need instantly.  I love it.

The same goes for a lot of the music we use in our liturgies at Saint Ann’s.  Along with hardcopy hymnals on our shelves, voicesasone.com, spiritandsong.com, giamusic.com, praisecharts.com, and ccli.com are among the main sources of music for us.  I also use musicnotes.com and sheetmusicdirect.com.  On any of these websites I can easily find and purchase a title, then download it instantly. That’s very helpful if I suddenly change my mind about a song at the last minute (or have forgotten to get the music!!!)   At checkout, I indicate the quantity and am billed accordingly. I will purchase however many copies of a guitar/vocal arrangement we need. Online purchasing is a tremendous resource for a lot of liturgical and mainstream worship songs that may not be in the current hymnal on our shelves. Publishers are continually updating these sites as more of their music becomes available.

Different publishers handle these in slightly different ways, but for the most part you have the option to purchase a keyboard arrangement, a guitar/vocal arrangement, a C, B-flat, or E-flat instrument part, or a complete package or bundle of everything.  It's very cool.

I think it’s important to mention that publishers don’t want you to…nor can they afford you to…purchase 1 copy and make 35 for your choir.  If you need to make 35 copies of a song, don’t forget to put ‘35’ in the quantity box on checkout.

Many of the newer songs purchased online are not yet available in a pew hymnal. This means you must purchase and exercise reprint licenses from the publishers of the music you choose. We pay a yearly fee to do so and report our usage according to each publisher’s guidelines.  (Though, I’ll admit, I usually have to go back and catch-up on my reporting!!!) Then, we can either print a disposable songsheet, program, or project the lyrics on a screen.

So, if you haven’t already, checkout these websites where you can not only purchase the music, but also listen to and purchase the recordings as well.

voicesasone.com

spiritandsong.com

giamusic.com

praisecharts.com

ccli.com (need a Song Select subscription to get music)

musicnotes.com

wlpmusic.com

ocp.org

 

May 12, 2013 – 7th Sunday of Easter

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

Come, Lord Jesus by Steve Angrisano and Tom Tomaszek (spiritandsong) - (from the CD Make a Difference)

Suggested use: Gathering, Offertory

 

Give Glory by Jacob and Matthew Band (WLP) - (from the CD Every Day, and the collection More Voices As One, v.1)

Suggested use: Dismissal

 

God Is... by Danielle Rose (WLP) - (fromt the CD Defining Beauty)

Suggested use: Offertory, Second Communion

 

He Lives in Us by Amelia Acosta (WLP) - (from the collection More Voices As One, v.1)

Suggested use: Communion

 

In the Light of the Lord by Michael John Poirier (WLP) - (from the CD In the Light)

Suggested use: Gathering, Offertory, Communion

 

Live in Me by Ed Bolduc (WLP) - (from the CD The Face of God)

Suggested use: Offertory, Communion

 

Many and One by Steve Angrisano  and Sarah Hart (spiritandsong) - (from the CD Inescapable Love)

Suggested use: Gathering, Offertory, Communion

 

We Gather in Love by John Angotti (WLP) - (from the CD We Gather in Love)

 

In honor of Mother's Day:

My Soul Rejoices by Jackie Francois (spiritandsong) - (from the CD Your Kingdom Is Glorious)

Suggesgted use: Second Communion

 

Ave Maria by Ed Bolduc (WLP) - (from the CD Word for Word)

 

Ave Maria by Franz Schubert

 

Hail Mary, Gentle Woman by Carey Landry

 

 

 

Some live clips...

Some folks have requested more video/audio clips of us playing at Mass, so I thought I’d share some various clips from this past Sunday.  I’ve included several different ‘moments’ from the Mass: The Glory to God, the Responsorial Psalm, the Song of Preparation, the Holy, and the Mystery of Faith.  We had our typical ‘band’ setup: drums, bass, electric guitar, piano, and 3 vocals. There wasn’t anything particularly different that night.  This is what we typically sound like when playing the music for Mass. We’re not trying to outplay anyone, just leading the assembly in sung prayer, and doing it the best we can.

First, the Glory to God.  This setting is from Mass of Saint Ann. (WLP)  Notice, as you watch the video, we didn’t do everything exactly like the recording at this Mass, but still kept the character and essence of the arrangement.  There was no flute; there was no trumpet…just the basics.



 

Next, the Responsorial Psalm.  This is an arrangement that I wrote a year or so ago.  Notice in the lead sheet below that there is no real indication of any accompaniment figure. When we got together to rehearse it before Mass, I said something like, “I’m just gonna start with this eighth-note open-fifth thing in the right hand. Let’s just see what happens.” It helped give the other players something to go “off of.”  You can hear it in the intro.  Simple setting…simple refrain. Easy for the assembly to sing.

 

 

Next, the Holy from Mass of Saint Ann.  Again, no flute…no prob.  I just play that opening intro-lick on the piano and everyone knows when to sing everytime. (It's the same intro as the Gloria)  Notice that the drummer does a different fill than the recording when he comes in. I think it works a little better.  Also, you gotta leave those holes for just the voices on the “Hosanna!”  For me, that is my favorite part!



 

Next, Save Us Savior of the World. This is, by far, my favorite piece to play from Mass of Saint Ann. The rest of the band barely plays anything, if at all. It’s mostly voices with a little accompaniment to dress it up and keep everyone together.  I love hearing the assembly on this.

 

 

As with all of these examples, this is not to say that these are the only ways to play and sing them.  I think they are just good examples of a basic four-piece band playing in such a way that the assembly feels inclined to join in singing. That is so important in what we do.

 

May 5, 2013 – 6th Sunday of Easter

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

Breathe on Me, O Breath of God by Ed Bolduc (WLP) – this is a setting of the familiar hymn text with new music. The assembly can sing the whole song while the choir adds harmonies and descants on the refrain. (From the CD Hymns) Lead sheets are in process as we speak...(or type.)

Suggested use: Offertory, Communion

Christ in Me, Arise by Trevor Thomson (spiritandsong) – Please check out this incredible song by Trevor Thomson. When he sang this at our church with Tom Booth’s band in concert, the assembly drowned him out after the first couple of notes. People love to sing this song. (From the CD Christ in Me, Arise)

Suggested use: Gathering, Offertory, Communion

Come, Holy Spirit by Tom Booth and Robert Feduccia (spiritandsong) – simple, beautiful invocation of the Holy Spirit. (From the CD Captured)

Suggested use: Gathering, Second Communion/Meditation

I Love You, Lord by Matt Maher (spiritandsong) – Play along with the recording a bit during rehearsal to get the right tempo. Guitarists, note the strumming pattern on the guitar. (From the CD Welcome to Life)

Suggested use: Offertory, Second Communion

I Am the Way by Craig Colson (WLP) – NEW – this new song from Craig Colson uses the familiar text with some haunting melodies and harmonies. Listen to the recording. (From the CD I Am the Way)

Suggested use: Offertory, Second Communion

Let the Weight of Your Glory Fall by Steve Merkel (Integrity) – powerful song, especially (I think) when used as a gathering song. The assembly really grabs hold of these words and melodies and runs with it. A soloist can intone the refrain the first time, then invite the assembly to sing.  (Instrumental parts available in Voices AsOne)

Suggested use: Gathering, Offertory, Second Communion

Reason to Live by Ed Bolduc (WLP) – (From the CD We are Faithful) (Instrumental parts availablein Voices As One)

Suggested use: Offertory, Communion

Thy Word by Grant/Smith (CCLI) – beautiful, classic song. This is a wonderful refrain for the assembly to sing with an opportunity for a soloist to humbly sing the verses. (Instrumentalparts available in Voices As One)

Suggested use: Offertory, Second Communion/Meditation

 

 

 

 

Who is singing here???

Among all of the various pieces of music we use in our parish there are a lot of different ways publishers try to tell you who is supposed to be singing or leading.  For example:
 
Cantor
Soloist
Song leader
Worship leader
Worship team
Choir
Assembly
All

There could be a few other terms used. There’s not much consistency in the music, but I think we all get the general idea or intent of the composer, arranger, or publisher.

I've often struggled with this when we are working on some of my music for publication. When editors ask me, “Who is singing here?” my initial gut response is usually, “Well, I don’t know...I guess it depends!”  (That’s not a popular answer, by the way.) Here’s what I mean by that...

When I look at a piece of music and it says “Assembly” or “All” it depends on how well the  assembly knows the song as to whether or not I will follow that directive.  If it’s a new song, I might initially just ignore the All or Assembly directive on the Verses and let a soloist sing those. I’d focus on the Refrain with the assembly, inviting them to sing and bringing in the choir at the same time to give them even more support. I may add a few more refrains...or even begin with one...to get them engaged sooner.

If it says “Soloist” or “Cantor”  it depends on the song. If the assembly knows it well, I may just invite them to sing the whole thing, ignoring a ‘Soloist’ or ‘Cantor’ directive.  Or, perhaps we would use a soloist or cantor on the first verse, then invite the assembly to sing on subsequent verses.

You’ll notice I said that I “might” do these things, or I “may” do these things. That’s just the point!  Don’t feel like you have to abide by those directives every time! Sometimes the printed music is written in a way that reflects the recording exactly. Remember, that is just one version of the song.  Be creative. You are the music director...direct the music!

Keep in mind, of course, that ‘mixing it up’ or having a good combination of group and solo voices is simply good music.  Look for those opportunities to let a soloist take a verse and really make it special...even if it says “Choir” or “All.”  Change it up from verse to verse.  It’s okay to listen and enjoy sometimes, just not all the time. (not even most of the time!) 

All in all, the printed page is, in many ways, a ‘suggestion’ of how the music should or can be performed. As long as we stay true to the melodies, lyrics, and chords (for the most part!) we can take certain liberties with the performance of these songs, and be creative in our own, unique music programs.  We all have different abilities and different strengths. We should lean on those strengths and use them to engage the assembly as best we can.

April 14, 2013 – 3rd Sunday of Easter

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

Christ Is Risen by Matt Maher and Mia Fields (CCLI) from the CD Alive Again.

Suggested use: Gathering, Offertory, Dismissal

Follow Me by Danielle Rose (WLP) from the CD Pursue Me, and the new collection More Voices As One vol. 1

Suggested use: Offertory, Communion

I Love You, Lord by Matt Maher (spiritandsong.com) from the CD Welcome to Life

Suggested use: Offertory, Second Communion

Salvation Belongs to Our God by Adrian Howard and Pat Turner (CCLI) Available in Voices As One vol. 2. Instrumental parts available.

Suggested use: Entrance, Offertory, Second Communion

Worthy Is the Lamb by Ricky Manalo (spiritandsong.com) from the CD/collection Never Too Young.

Suggested use: Gathering, Offertory, Communion

Worthy is the Lamb by John Angotti (WLP) from the CD Joy Beyond Our Dreams

Suggested use: Offertory, Communion

April 21, 2013 – 4th Sunday of Easter

Come, Worship the Lord by John Michael Talbot (CCLI) Instrumental parts are available in the Voices As One vol. 1 collection.
Suggested use: Gathering, Offertory, Second Communion

Follow Me by Danielle Rose (WLP) from the CD Pursue Me, and the new collection More Voices As One vol. 1

Suggested use: Offertory, Communion

I Received the Living God by Brett Ballard (WLP) from the collection Voices As One vol. 2.  Instrumental parts available. (see verse 7)
Suggested use: Offertory, Communion Meditation

I Will Follow by Jacob and Matthew Band (WLP) from the CD Everyday. 
Suggested use: Offertory, Second Communion

Psalm 23 by Ed Bolduc (WLP) from the CD Word for Word.

Suggested use: Offertory, Second Communion

Revelation Song by Jennie Lee Riddle (CCLI)

Suggested use: Offertory, Second Communion

Salvation Belongs to Our God by Adrian Howard and Pat Turner (CCLI) Available in Voices As One vol. 2. Instrumental parts available.

Suggested use: Gathering, Offertory, Second Communion

Sweet Redeemer by Steve Angrisano and Sarah Hart (spiritandsong.com) from the CD Set Free.

Suggested use: Offertory, Second Communion, Dismissal

The Lord is My Shepherd by Josh Blakesley (spiritandsong) from the CD Immersed.

Suggested use: Offertory, Second Communion

Soundman and Singer - are you on the same page?

I would like to piggy-back off of a couple of recent posts: Time for some ‘sound’ decisions and Using microphones effectively.  

In my (several) years of playing music at masses, weddings, funerals, etc., I, like many of you, have had both great and not-so-great experiences with sound systems.  Sometimes it has to do with the equipment, other times it has to do with the people using it…musicians and techs alike.

At my parish, we do not have the time in between services to sound-check everyone.  We have a digital board with separate presets for every liturgy. Every week we start out with the same settings on the board for that particular liturgy…exactly. This lets me know that we are starting with good, basic levels all around.

I’m no expert, but for me, I want to get a good vocal sound on my mic and then beg the soundman to leave it alone. J  Here is why:  I might be singing melody, or I might be singing a harmony part. That might change in the middle of a song. I will change my mic technique depending on what I’m singing. (See mic technique blog).

                If you are not on melody, the soundman might think they are doing you a favor by turning you up every time you back off of your microphone, but instead they are interfering with…rather than helping…the mix.  As singers, it starts with us. It’s OUR responsibility to know our place in the mix first.

                Let’s say you are singing a harmony part, so you back off of your mic.  The soundman mistakenly turns you up and you start backing off your mic even more.  As a result, the soundman turns you up again, and you back up even more. Now you’re a foot away from your mic and it sounds thin and feedback is creeping in. So, the soundman goes to the EQ to try and ‘fix’ it. (Dear God, no)  All the time, you were just trying to blend into the music. Now, however, we have a serious audio problem, and you’re in the middle of mass.

Obviously, everyone involved here, soundman and singer, are trying to do the right thing.  This exact scenario seems to happen a lot. (We, ourselves, resort to a lot of 'texting' from the piano to the soundbooth to resolve it. )

Yes, sometimes singers have poor mic technique and the slider needs to be pulled back occasionally- or pushed forward.  But it's really the singer’s responsibility, and it may fall on the shoulders of the director to guide them in knowing where their vocal part fits into the mix.

But soundfolks…relax and don’t feel like you need to jump right to the sliders right away.  Give the singers a chance to adjust. That mic might be plenty loud, they just need to lean in. THAT will solve the problem, not cranking it up to feedback levels.

While having a soundman is convenient, it is not always possible, or even necessary.  Countless times I have played masses, weddings, funerals, etc, with just a piano and a singer or two. There is no need for a sound person.  As long as the levels are good to start with, music will happen naturally by the performers. (If they make good musical decisions.)  This goes for larger groups as well. I have even played with full bands with no sound person. Again, as long as the levels are good to start with, everyone can play their instruments musically, and the singers can use good mic technique. Rest assured…this can work.

I’m not suggesting that we don’t use a soundperson. I’m saying that we have to make sure we are all on the same page. Bottom line: we don’t have time to rehearse and sound-check every measure of every song!  We all need to trust that we will make the right musical decisions.

Try a rehearsal where you just set the vocal levels evenly and let everyone sing without someone moving sliders. Learn how to make music and blend by using good microphone technique.  Convey this to your soundman…get them on the same page. Everyone will be happier in the end.

Especially the assembly. Don’t forget them. 

 

Completely unrelated sidenote:

Below is a video of our entrance procession song on Palm Sunday. I wanted to choose a song people knew really well in case, weather permitting, we began outside.  I really wanted something simple and easy to sing.  "He Is Exalted" (Paris) certainly fits that description. I simply added two "Hosanna's" at the end of the song, then reprised the last line.  I hope Twila doesn't mind, but it sure worked great!

April 28, 2013 – 5th Sunday of Easter

(These songs are off of my planning notes for this particular Sunday, which means I am strongly considering using them on these days. After each title I’ve added some thoughts to consider.)

(Click on titles for links to their respective pages.)

 

10,000 Reasons (Bless the Lord) by Matt Redman (CCLI) – beautiful and popular song by Matt Redman. Take the time to choose the right key for you and your assembly.
Suggested use: Entrance, Offertory, Communion

All the Ends of the Earth by Ed Bolduc (WLP) – this familiar psalm text is the Entrance Antiphon for this Sunday. It might be an upbeat way to start the liturgy. Just make sure to sing the short refrain enough to engage the assembly.  From the CD Word for Word.  Also found in the new collection, More Voices As One, vol. 1.

Suggested use: Entrance, Dismissal

Be Glorified by Chris Tomlin, Jesse Reeves, and Louie Giglio (CCLI) – we’ve had a lot of success with this song as a dismissal. It’s got some nice 3-part harmonies that are fun and easy to sing.  As always, be careful not to go too fast.  Break it down and let the assembly hear themselves sing a refrain.  You can find this song in Voices As One, vol.2.  Instrumental parts are available as well.

Suggested use: Dismissal

Give Glory by Jacob and Matthew Band (WLP) – a driving, high-energy song...great as a dismissal. Though the recorded key is high, a lower key is published.  Also found in the new collection, More Voices As One, vol. 1.(From the CD Every Day.)

Suggested use: Dismissal

Glorify Thy Name by Donna Adkins (CCLI) – a wonderful hymn-like song. Starts low and builds high. Easy to sing and very memorable.  The text incorporates the Trinity in the verse.  It works well in many places in liturgy. Also found in Voices As One, vol.2.  Instrumental parts are available as well.

Suggested use: Gathering, Offertory, Communion

I WIll Praise Your Name Forever by W. Clifford Petty (WLP) – I think your assembly will start singing and praying this psalm setting right away.  Practice the rhythm of the chord changes with the band. Note the ones that are 'on' the beat and which ones are ‘off.’  There is plenty of room for improv in the verses, soloists, just don’t get too carried away.  (From the CD Touch Jesus.) Also found in the new collection, More Voices As One, vol. 1.

Suggested use: Responsorial Psalm, Offertory, Dismissal

Live In Me by Ed Bolduc (WLP) – fitting for today’s Communion antiphon. The verses switch from God’s perspective in verse one (“I am the vine”), to our perspective in verse 2 (“You are the vine”). The refrain still says “Live in me…”  (From the CD The Face of God) You can find this song in Voices As One, vol. 1.  Instrumental parts are available as well.

Suggested use: Offertory, Communion

Love Unfolding by Josh Blakesley (spiritandsong.com) – very catchy refrain…simple and easy to sing.  The lyrics say “send us out” in the refrain, so obviously this is a good song for dismissal…upbeat and driving. (From the CD Free)

Suggested use: Dismissal

No Greater Love by Matt Maher, Chris Tomlin, and Audrey Assad - bright, upbeat declaration: "we lift high the banner of the cross, there is no greater love than this..."
Suggested use: Dismissal