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A Guide to the Practice of Church Music

Church Publishing Incorporated

CHAPTER 1

The Musical Ministry of the People

The Songs of the People

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The rubrics of THE BOOK OF COMMON PRAYER are true to tradition in reserving for the people the responses to the Opening Acclamation, the Salutation, the acclamations at the beginnings and endings of Lessons, responses in the Prayers of the People, the response to the Peace, responses in the introductory dialogue of the Eucharistic Prayer, and the response to the Dismissal. The Amen, wherever it occurs, belongs to the people. The Kyrie and the Trisagion are songs of the people. The Sanctus and Benedictus qui venit, the Memorial Acclamation, and the Lord's Prayer are songs which the people sing along with the celebrant. The word hymn is used in the rubrics to indicate a metrical song of the people. In other rites, as well as in the Eucharist, certain portions are reserved for the people as, for example, the responses to the Opening Preces and the Suffrages in the Daily Office. The Apostles' Creed and the Lord's Prayer are songs which the people and celebrant sing together. It is highly inappropriate for these portions of the rite to be preempted by a choir. These portions belong to the people; unless the congregation can sing them easily, they should say them. Music too complicated for the congregation should not be used for these portions of the rites. A church music director desiring to perform a more complicated setting of one of these texts (for example, the Sanctus) should do so either at a time within the service appropriate for an anthem or at a concert. In early Anglicanism the more elaborate settings of the Sanctus were used, not within the Eucharistic Prayer, but rather as an introit for the rite. Often the Sanctus within the Prayer was said or sung to a simple setting, so important was congregational participation in the historic songs of the people. (Compare the elaborate music for the celebrant's portion of the Eucharistic Prayer from the ancient Mozarabic rite provided in the Altar Book for use with Prayer D with the simple setting of the people's Holy, holy, holy / Holy, holy, holy Lord [Sanctus] at S 123.)

In addition to those portions of the rites reserved to the people, traditionally the congregation sings hymns or canticles as a part of the entrance rite; the response in the Gradual Psalm (or the Psalm itself); the Alleluia, Psalm or Sequence hymn prior to the announcement of the Gospel; the Nicene Creed; the Fraction Anthem; and possibly hymns or psalms during the preparation of the Table, during the Communion of the People, and before or after the postcommunion prayer. In the Daily Office it is traditional for the people to sing the Invitatory Psalm, the Psalmody of the Day, and the Canticles, or to sing antiphons when a cantor or choir sings the aforementioned portions of the rite.

The Function of the Songs of the People ____________________

The aim of the songs of the people is that "full, conscious, and active participation ... demanded by the very nature of the liturgy" (The Constitution on the Sacred Liturgy, 14).

Though music may add solemnity, effectiveness, beauty, enjoyment, and unity to a celebration, that is not always true. It is not always better to sing than to say; silence is to be preferred at times to sound. It is essential to consider the particular gathering of people, the size of the group, their traditions, their musical abilities, the available musical leadership, the architectural setting, and the relative importance of the day or occasion. Also important are the predominant age group, the degree of experience with a particular service, and the musical interest of the particular gathering. The music must not dominate the rite but instead highlight its basic structure.

The Musical Ministry of the Cantor, Song Leader, or Clerk

The Functions of the Cantor

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A fourth century practice still maintained in large portions of the Church today is to have a soloist sing the Gradual Psalm, the Alleluia Verse at the Eucharist, and the Invitatory Psalm (Venite or Jubilate Deo) at the Daily Office. In the Gradual Psalm the cantor sings first a refrain enunciating the theme of the Psalm or setting forth its application to the day or occasion. The choir and congregation then repeat the refrain and sing it at subsequent appropriate intervals throughout the Psalm. (See GPAVT.)

The cantor initiates the Gospel Acclamation by singing the Alleluia(s) which is then repeated by the choir and congregation. The cantor then sings the Verse, after which the choir and congregation repeat the Alleluia(s). (See GPAVT.)

Several of the Fraction Anthems in THE HYMNAL 1982 are designed to be sung in this manner (S 151 and S 167–S 172).

The Invitatory Psalm at the Daily Office may be treated in the same manner as the Gradual Psalm, making use of the Invitatory Antiphons as refrains. (Acc. Ed. Vol. 1, S 289–S 294.)

In addition to the Gradual, the Alleluia, the Fraction Anthem, and the Invitatory Psalm, other psalms (See THE PLAINSONG PSALTER) or hymns with refrains may be very effective if sung by a cantor, with congregational refrains, at the entrance of the ministers, during the Offertory procession or during the Communion of the People. Sometimes a cantor can effectively initiate the Memorial Acclamation, the Fraction Anthem, or even the the Holy, holy, holy / Holy, holy, holy Lord (Sanctus) and Blessed is he (Benedictus qui venit). With shorter texts, such as Lord, have mercy upon us / Lord, have mercy (Kyrie), Kyrie eleison, Holy God (Trisagion), the Memorial Acclamation, or the Fraction Anthem, it is often effective for the cantor to sing the whole text or a section of it after which the celebrant, the choir, and the people repeat it. In fact there are explicit directions to sing one setting of the Lord, have mercy (Kyrie) in exactly this manner (S 95). (See also S 85, S 88, and S 94.)

By singing new music as a solo on several occasions, the cantor can be very helpful in teaching new music to the congregation. Also, the cantor might lead a rehearsal before the service, or, on occasion, within the rite at a time for announcements or some other appropriate time.

In some situations it is both more desirable and practicable to use a cantor for those portions of the rites normally sung by choirs than to attempt the development of a choir. In situations where the instrument and/or the skills of the instrumentalist are limited, the cantor can often provide the necessary leadership. (See Acc. Ed. Vol. 1, pages 11–12 and 16–17, on the functions of the cantor and the use of Antiphons or Refrains.)

The Qualifications of the Cantor __________________________

Because of the functions of the cantor, it is important that this person have a pleasant voice; a commanding presence; and the ability to read music accurately, to learn music with ease, and to sing with confidence. The cantor must also be able to present ideas clearly and briefly. The procurement of an able cantor would greatly enhance the musical performance in many churches. Even churches with limited budgets should think seriously about hiring a cantor if a talented volunteer is not available. This person could be either male or female.

The Musical Ministry of the Choir

The function of a choir in the rites of the Church is not that of a choral society or a glee club. In the last two groups the music brings the people together, and their principal purpose is to provide an opportunity to practice and perform music which cannot be performed individually. A choral society or glee club performs publicly for the edification and enjoyment of others and for their own gratification. Although these same functions may be served by the church choir, they must be subservient to the role of music within the liturgy of the Church. (See the "General Performance Notes," Acc. Ed. Vol. 1, pages 11–17.)

Types of Choirs _______________________________________

Each congregation should decide whether a choir is desirable for it, and, if so, what type of choir or choirs. In some situations, the formation of a choir would necessitate gathering from the congregation all those who sing with confidence, thereby robbing the congregation of leadership and support needed in their midst.

(1) The Cathedral or Collegiate Choir In some situations a cathedral or collegiate choir is both possible and appropriate. In the traditional cathedral or collegiate situation the choir is the congregation; the chancel serves as the church or chapel for the services. (The nave is the place for occasional visitors, but essentially the choir is the congregation and the congregation is the choir.) In many ways the cathedral or collegiate situation is analogous to a congregation with no choir. The difference lies in that the daily services in the cathedral or collegiate situation include music, and in the ability of the regular congregation to perform music not within the capability of a typical congregation. Historically, it was in the former situations that a divided choir was to be found. Since antiphonal psalmody was basic to the repertoire, the divided choir was functional. Today where the choir and congregation are essentially the same (as in some seminary chapels, monasteries or convents, and in occasional American cathedrals and school chapels), it is certainly appropriate to make use of highly complicated service music which, in other situations, might obscure the liturgy.

(2) The Parish Choir The parish choir and most cathedral and collegiate choirs must take seriously the presence of a congregation which neither practices nor sings together with great frequency. These choirs must recognize their primary function to be that of providing leadership, support, modeling, and teaching for those of more limited musical aptitudes and abilities. Many congregations include a sufficient number of children and adults with musical interests and abilities to comprise a choir. In some parishes the choir of volunteers is sufficiently talented to provide music beyond the talents of the congregation. In some situations even two people could be the choir. In other situations it is necessary to pay a certain number of trained singers to fill particular needs or to provide the backbone for the larger volunteer group. Just as a church must often pay for the time and talents of clergy, secretaries, sextons and others vital to the proper functioning of the congregation, so it must be willing to pay for the time and talents of persons with musical abilities to provide leadership and enhance the program of the parish choir. Money spent for musicians can make the difference in a congregation's ability to attract or to hold people. It is sometimes the most effective missionary money spent by the congregation.

In a cathedral or parish choir it is sometimes possible, or even desirable, to have a small group of people with extraordinary time and talents devote themselves to performing highly complex music beyond the time and abilities of the entire choir. This select group might take the place of a cantor or choir at appropriate points in the rites.

(3) The Young People's or Children's Choir A children's choir can make its own contributions. It can sing alone and, on occasions, sing with an adult choir as well as provide a training school to feed into the adult choirs. The young people's choir and the children's choir both provide an excellent opportunity for education in the liturgy and music of the Church. Because they have not been negatively acculturated, young people or children are often able to learn music such as plainchant much more easily than adults and then to initiate its use in a congregation. In many places a young people's or children's choir could be the only choir; the combination of cantor and young people's or children's choir might be ideal.

(4) The Ad Hoc Choir In many congregations people who do not have time or interest sufficient for involvement in the regular choir(s) can augment the choir for certain special events or compose a choir for certain functions. Because the members of the regular choir(s) are often busy at the times of weddings and funerals, many churches have compiled lists of persons available to form a choir when desired. Since regular service music and a few well-known hymns generally make up the repertoire for weddings and burials, an ad hoc choir can often contribute effective leadership after only a brief practice just prior to the rite.

The Functions of Choirs ________________________________

Of primary importance to the church choir is its role as leader, supporter, and teacher of the congregation in the songs of the people and in unison reading, and as model and teacher for the congregation in good liturgical and worship habits. Any choir failing to understand the significance of these roles may be of more detriment than help in the worship of the church. A substantial portion of many choir practices should be devoted to the study of liturgy, unison reading, and the practice of the songs of the people so that the choir may better perform its primary functions. In addition to these, the choir may be able to provide other rite-enhancing elements, beyond the abilities of the congregation.

The choir may also enhance songs of the people and hymns which the congregation sings with confidence by supplying harmony, descants, or fauxbourdons. Caution must be exercised, however, lest such variations discourage the singing of the people. THE HYMNAL 1982 provides descants, fauxbourdons, or varied harmonizations for a number of tunes. (See Appendix I [below].) HYMNAL STUDIES SEVEN, volumes 1 and 2, lists descants, etc., for many of the tunes in THE HYMNAL 1982. Among the available collections containing descants, or fauxbourdons, the following are especially valuable:

The Christ Church Descant Book (2 vols.). Fyfe, Lois, Cumberland Press.

The Descant Hymn-Tune Book, Books I & II. Shaw, Geoffrey, Novello.

Familiar Hymns with Descants. Kettring, Donald, Westminster Press.

Festival Praise. Routley, Eric, Hinshaw Music.

55 Hymn Descants for Festive and General Use. Proulx, Richard & Young, Michael E., G. I. A. Publications.

48 Hymn Descants for Festive and General Use. Various Composers, G. I. A. Publications.

41 Descants to Familiar Hymn Tunes. Winn, Cyril, OUP

Hymns for Choirs. Willcocks, David, OUP.

Thirty-Four Hymn Descants. Williams, David McK., H.W. Gray (Belwin-Mills).

Thirty-Six Descants. Shaw, Geoffrey, OUP.

20 Hymn-Tune Descants. Lang, C.S., Novello.

THE HYMNAL 1982 includes several Rounds and Canons (710–715) and suggests that several other tunes might be sung in canon (9, 25, 43, 25C, 254, 534, and 671). See Appendix I (below) for a list of additional tunes which might be treated in this manner.

Often the choir may take the place of the cantor in singing the text of the Gradual Psalm or the Alleluia Verse at the Eucharist or in singing the text of the Invitatory Psalm at the Daily Office. On occasion it is also appropriate for the choir to sing certain portions of the rites often sung by the people; i.e., the Lord, have mercy upon us / Lord, have mercy (Kyrie), Kyrie eleison, Holy God (Trisagion), Glory be to God / Glory to God (Gloria in excelsis) or other Song of Praise at the Eucharist or a canticle at the Daily Office. The rubrics state that an anthem may be used at the place of the Gradual or of the Alleluia Verse at the Eucharist. The functions of these components of the rite must be carefully considered in the choice of anthems. Some of the early Church Fathers referred to the Gradual as the Lesson from the Psalms. The Alleluia is an acclamation at the appearance of Christ present in his Word, symbolized by the Gospel Reading. It is common for the choir to sing the Fraction Anthem (in fact, the Prayer Book uses the word anthem rather than hymn at this place in the rite) to afford opportunity to the people for concentration on the liturgical action. It is traditional in Anglicanism for an anthem to follow the Collects of the Daily Office.
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Excerpted from A Guide to the Practice of Church Music by Marion J. Hatchett. Copyright © 1989 Marion J. Hatcbett. Excerpted by permission of Church Publishing Incorporated.
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