presentation of the gifts hymns

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Hymns & Songs suitable for the Offertory

Here are some suggestions for hymns and songs with a thanksgiving or stewardship theme which are especially suitable for the offertory.

This list of suggestions is included in ‘ Reimagining the Offertory ‘ a whole pack of resources to help churches think through their offertory practice.

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Explanation of the Mass - The Preparation of the Gifts

The Liturgy of the Eucharist begins with the preparation of the gifts. The Liturgy of the Word and the Liturgy of the Eucharist are not two different acts of worship, but two moments of one same mystery. The change from the Liturgy of the Word to the Liturgy of the Eucharist is well marked by the movement of the minister leaving his seat he goes to the altar, which is reserved for the sacrifice.

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CHAPTER 10 The Preparation of the Gifts The people and presiding priest prepare the table and set bread and wine on it Every significant Jewish meal involved seven actions: (1) bread was taken, (2) a prayer of blessing was said over it, (3) it was broken, and (4) it was shared; then there was a common meal; then (5) a cup of wine and water was taken, (6) a prayer of thanksgiving, the "Birkat hamazon", was chanted over it, and (7) all drank from the cup. The Last Supper (whether Passover or chaburah meal) included these seven actions. It is these actions which were given a new significance. When Christians did them, they did them to remember Christ the action of God's eternal Word in creation, the incarnation, birth, life and ministry of Jesus, his death, resurrection, exaltation, giving of the Spirit, and the promise of his coming in glory. The separation of the meal from the seven actions contributed to their conflation into the four classical eucharistic actions: (A) bread and wine are taken, (B) a prayer of thanksgiving is made, (C) the bread is broken, and (D) the bread and wine are shared. Of these (A) and (C) are preparatory. The bread and wine are placed upon the holy table in order that the Great Thanksgiving may be offered. The breaking of the bread prepares for the administration of communion. This chapter concentrates on the first of these actions the Preparation of the Gifts. The altar is best kept as bare as possible until the Preparation of the Gifts, when the focus moves from the lectern to the altar. Items such as the chalice and paten, purificators, and corporal are not gifts, and so these are not brought forward from the congregation. Before the service they are placed on a credence at the side of the chancel. Traditionally, the water is placed on the credence as well, as it is not the work of human hands. There is no need to use a burse or veil. The white altar cloth and the candles could be placed on the altar at the time of the Preparation of the Gifts. This highlights the Eucharist as a meal, an aspect often obscured by our inherited architecture and ceremonial. Placing the corporal on the altar may be unnecessary if this practice is adopted as the corporal is a shrunken vestige of an altar cloth. In some churches it is possible to have large candle sticks (or candelabra) next to the altar rather than on it. There are a variety of ways of taking the collection and bringing forward the gifts. A collection plate may be placed on the oblations table, at the entrance of the nave, with the bread and wine. A food basket could be placed by this table. In this way the people can place their gifts of money and food in the plate and basket as they enter church. These are then presented at the Preparation of the Gifts. It is easy for the symbolism of objects to be lost when there are too many on the altar. The Prayer Book assumes that there will only be one chalice and one paten on the altar during the Great Thanksgiving in accordance with the symbolism of one bread and one cup. A clear glass pitcher or a flagon with wine may be placed on the altar at the Preparation of the Gifts if more wine will be needed for communion. Further empty chalices and baskets or patens can be brought up as needed at the time of the distribution of communion. The consecrated bread and wine is then placed in these. Supplementary consecration is normally unnecessary. "Care should be taken to ensure that sufficient bread and wine is placed on the holy table" (page 516). Although the Roman Catholic Church normally reserves the Sacrament, liturgists of that church deprecate the practice of administering from the reserved Sacrament in a Eucharist. Our Prayer Book also emphasizes that people have a right to receive the Sacrament which has been consecrated during that celebration. It highlights the purpose of reservation as being "for the communion of persons not present" (page 516). Only in the Eucharistic Liturgy Thanksgiving for Creation and Redemption does the Prayer Book require a prayer at the Preparation of the Gifts. The other rites all allow for this preparation to be done without a verbal prayer. This simplifies and clarifies a part of the liturgy which, through centuries of accretions, had developed much complexity. At the Preparation of the Gifts bread and wine are taken in order that thanks may be offered with them. Any prayer at the Preparation is in danger of anticipating the Great Thanksgiving. It is in the eucharistic prayer that thanks is given and the gifts are "offered" (hence the Greek word for the eucharistic prayer is the "anaphora" the "offering"). It is because of this that the Roman Missal encourages the priest to pray the prayers during the Preparation of the Gifts quietly rather than aloud. At this point our own Prayer Book seems to depart from modern liturgical consensus when it instructs that "the priest may offer praise for God's gifts in the following or other appropriate words" (page 420). The prayer which follows obviously derives from the Roman Missal. However, scholarly liturgical opinion would have the Great Thanksgiving as being the prayer in which the priest offered "praise for God's gifts." Furthermore, there is no description of what sort of words would be " in appropriate." In defence of the rubrics it is to be noted that the prayers on page 420 are all optional, and so may normally be omitted. In some communities there is more ceremony associated with the collection of money than would ever be considered appropriate for the eucharistic bread and wine! In the way that the collection and/or bread and wine is passed from person to person some places may appear to give the impression that the chancel and more especially the sanctuary are clerical spaces which only clergy (or at least those who are robed) may enter. Such practices merit serious reflection. There is a wide variety of ways of preparing the gifts. The following description is only one of a number of possibilities, and not every celebration needs to be identical. Having concluded the sign of peace, the presider may return to the presider's chair while others bring up the gifts from the congregation. Because of the long period of standing which follows, from the beginning of the Great Thanksgiving until coming forward for communion, communities may wish to experiment with being seated during the Preparation of the Gifts. A hymn might be sung (texts need not speak of the bread and wine, nor of offering, they might be joyful, reflect the liturgical season, or speak of community). There might be an anthem, instrumental music, dance, or silence. On occasion (such as Harvest Thanksgiving) the whole community might be involved in a procession, all bringing forward some gift. The bread, wine, money, and food offerings for the poor are brought forward together. If it was desired to use one of the optional prayers from the Preparation of the Gifts, the presider, still at the presider's chair, could pray one of these. Certainly those bringing the gifts present them directly to the deacon, priest, or other minister who is preparing the gifts rather than handing them to servers who in turn present them to the deacon or priest. Assigning the presentation of the gifts to a particular group such as children, servers or the ushers, can detract from the realisation that this presentation is on behalf of the whole community. The deacon, if there is one, or an assisting minister oversees the whole preparation of the table: the covering of the altar with the altar cloth, the positioning of the altar book or cards of the Great Thanksgiving flat on the altar, and the placing of the bread and wine (in chalice and flagon) on the altar. Preferably this minister filled the chalice with the wine and water at the credence. The chalice and paten (or bread basket) are best placed side by side so that they can be seen by all. Placing the chalice on the right of the paten allows it to be close to the deacon who stands to the right of the priest. The chalice is only covered with a pall if there is a danger of flies, for example. The church's tradition is that there is nothing on the altar during the Eucharist apart from what is actually needed. Since 1662, however, money has been an exception to this rule in Anglican practice. If the continuation of such a practice is desired, a suggestion is that the money be placed on the altar, but removed to the credence before the Great Thanksgiving begins. An alternative location for the money offering is at the foot of the altar where the food basket could also be placed. If incense is used, the presider puts some into the thurible and censes the gifts and altar. This may be very effective if done in silence. The deacon or thurifer then censes the ministers and assembly without making hierarchical distinctions. Those in the sanctuary and those in the congregation are censed collectively and in the same way. The thurifer may swing the thurible gently during the Great Thanksgiving and the Lord's Prayer. Ritual hand washings were customary at Jewish meals and from earliest times the presider washed the hands immediately before proclaiming the eucharistic prayer. The Bread Someone once said to me, "I have no problem believing that it's Jesus, it's believing that it's bread that I find difficult!" Another time I heard someone explaining, "it's not supposed to be bread, it's just supposed to symbolise bread." In the early church, Christians used the same baking techniques and same ovens for both their daily bread and that which was to be used in the Eucharist. For about a thousand years the bread of the Eucharist was ordinary, leavened bread. Then, in the Western church, there came a growing distinction between the "symbolic" and the "real." This resulted in changes to the theology of the Eucharist. A dichotomy grew between our daily bread and the "bread of angels," the "manna from heaven." The eucharistic presence was too holy to occur in ordinary bread. Furthermore, the growing practice of reservation of the sacrament required the bread to be unleavened. If what we receive in communion appears neither as bread nor as broken, how can we say that "We break this bread to share in the body of Christ"? If children are not encouraged to receive, and if we don't share from a common loaf, how can we say "We who are many are one body, for we all share the one bread"? If wafers are used, it is worth reflecting what clericalism is communicated by distinguishing between "priest's" and "people's" wafers. If a larger wafer is used for visibility it is preferable that it is shared with communicants other than the presiding priest. Using a ciborium or something else that looks like a cup or chalice as a receptacle for the bread confuses the symbolism of eating with drinking. So also does the visible "pouring" of wafers from such a vessel onto (into?) another container. Bread requires a plate, wine a goblet. Breaking or cutting a loaf before the liturgy (into cubes, for example) also obscures the symbolism. A very exciting ministry for many is the chance to bake the bread for the Sunday Eucharist. Some Questions In this chapter the author presents some clear reasons for proposing the ways that the preparation of the gifts may best happen. Some of the reasons for the practice may be unfamiliar. Review these carefully in the light of your own understanding of what you believe this part of the liturgy is designed to achieve. Are there ways that you would like to change your practice? Have other thoughts and ideas come to mind? Who would it be best for you to discuss these with?

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Offertory Hymn

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O God, We Give Ourselves Today

Lord, we offer you these gifts, take this bread, in the simplicity of my heart, lift up your hands and offer, bring bread, father, take the gifts we bring, almighty father, lord most high, united in one body.

Mass – Preparation Of The Gifts

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150. Presentation and Preparation of the Gifts

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Songs and hymns for a Catholic funeral Mass

About music at Catholic funeral Masses

Opening hymn.

• Abide with Me
• Amazing Grace
• Be Thou my Vision
• Day is Done but Love Unfailing
• Faith of Our Fathers
• Great is Thy Faithfulness
• Holy, Holy, Holy! Lord God Almighty
• I Heard the Voice of Jesus Say
• I Know that my Redeemer Lives
• It is Well With my Soul
• Lift High the Cross
• O God, Our Help In Ages Past
• Love Divine, All Loves Excelling
• O God Beyond all Praising
• O Paradise O Paradise
• Nearer my God to Thee
• Sing with All the Saints in Glory
• The Day Thou Gavest Lord is Ended
• Be Not Afraid - Dufford
• Christ be Beside Me - Quinn
• Here I Am Lord - Schutte
• Lord of all Hopefulness - Struther

Psalm 

Psalm 23 - the lord is my shepherd.

• The Lord's my Shepherd - CRIMMOND (traditional Scottish tune) 
• The King of Love my Shepherd Is
• My Shepherd will Supply my Need
• My Shepherd is the Lord – Gelineau
• The Lord is my Shepherd - Egan
• The Lord will be my Shepherd - Sexton
• Shepherd me O God - Haugen

Psalm 24 (25 in the USA) - To You O Lord I Lift up my Soul / Remember your mercy Lord 

• To thee I lift my soul, O Lord - Scottish Psalter
• Lord I Lift my Soul to Thee -
• I Lift Up My Soul  - Manion
• To You, O Lord - Alstott 
• To You O Lord I Lift up my Soul - Haugen
• To you, O Lord, I lift up my Soul - Scott Soper

Psalm 26 (27 in the USA) - The Lord is my light and my help 

• The Lord is my Light and my Help - Inwood
• The Lord is my Light and my Salvation - DeBruyn

Psalm 62 (63 in the USA) - My soul is thirsting for you, O Lord my God / O God, you are my God, for you I long 

• My Soul Thirsts for You Lord – Hurd
•  As Morning Breaks - Joncas
• My Soul is Thirsting - Wilcox
• Your Love Is Finer Than Life - Haugen

Psalm 102 (103 in the USA) - The Lord is Compassion and Love

• Setting by Bear Music
• The Lord is Kind and Merciful (Psalm 103) - settings by Haugen, Cotter, Willcock
• CJM Music setting ( ref )

Psalm 121 (122 in the USA) - I rejoiced when I heard them say: let us go to the house of the Lord

• I Rejoiced when I |Heard them Say - Farrell
• I Rejoiced - Boyce ( ref )
•  Let Us Go Rejoicing - Wilcox

Other Psalms

• Psalm 50 (51) - To You O Lord
• Yes Lord I Will Arise - Deiss
• Restless is the Heart - Farrell ( ref )

Offertory and Communion

• All Ye who Seek a Comfort Sure
• God be in my Head 
• Going Home Moving On - Forster
• Hearken, Shepherd of the sheep  - a translation of the traditional De Profindis
• Jesus Lead the Way
• Lead Kindly Light
• Lord Jesus Think on Me    (not verse 3)
• My God Accept my Heart This Day
• O Master Let me Walk with Thee
• Out of the Depths
• Tis so Sweet to Trust in Jesus
• We Walk by Faith (the words are free-use, although the most commonly used tune is not)
• We Shall Walk Through the Valley in Peace
• Yes Heaven is the Prize
• Be Still my Soul - Borthwick (the words are public domain, the most-common tune isn't yet)
• Carry me Home - Alstott ( ref )
• Close to You (I watch the sunrise) - Glynn  -  if you have time to do all the verses
• Do Not be Afraid - Markland
• Eye Has Not Seen - Haugen
• Father I have Sinned - 
• Go in Peace - Hart / Liles ( ref )
• God of Day and God of Darkness - Haugen
• God will Wipe Away all Tears - Sexton
• Hear O Lord - Repp  Some verses appear to be based on the funeral psalms - probably not enough for it to be used instead of the psalm.
• I'll Walk with God - Webster
• I am the Bread of Life - Toolan
• In the Arms of God - Alonso ( info )
• In You my God - Leftley
• Lord Jesus You Shall be my Song as I Journey  (esp the final verse)
• Jealous of the Angels
• Make me a Channel of Your Peace - Temple
• Merciful Saviour Hear our Humble Prayer - Farrell
• My Forever Friend
• On Eagles Wings (You who dwell)  - Joncas
• Peace - I'll be with You - Watcyn-Jones
• The Cloud's Veil - Lawton
• Unless a Grain of Wheat Shall Fall - Farrell
• Walk with me o my Lord  - White
• We Shall Rise Again - Young ( ref )
• Wherever You Go - Norbet / Weston Priory
• Gift of Finest Wheat / You Satisfy the Hungry Heart - Westendorf
• Also, many general hymns about the Eucharist can be used at Communion.

Final Commendation

• Now Thank We All Our God 
• Blessing and Sprinkling - Haugen 
• Come to His [Her] Aid oh Saints of God - Smolarski ( ref )
• Evening Hymn (Greek) - Storey
• Faithful Vigil Ended - Dudley Smith ( ref )
• Farewell - Thwaites ( ref )
• Go, Silent Friend - Bell
• How Lovely Is Your Dwelling Place - Joncas
• I Know That My Redeemer Lives - Soper
• May Flights Of Angels - Quinn
• May God Bless and Keep You - Walker
• May Saints and Angels Lead You - ICEL
• My God, My Father, Make Me Strong - Mann
• O Come To Meet Him / Her Saints of God - Dufner ( ref )
• O Loving God - McCoy
• Out Of Darkness - Walker 
• Saints of God Come to His/Her Aid - O'Brien ( ref )
• Song of Farewell - Smolarski
• Receive His/Her Soul - Fitzpatrick ( ref )

Recessional hymn

• Help, Lord the Souls that Thou Hast Made
• Holy God We Praise Thy Name
• Jerusalem my Happy Home
• Celtic Song of Farewel l
• How Great Thou Art  - Hine
• May the Angels be your Guide - MacAller; Kathleen McGrath ( ref ) 
• May Saints and Angels Lead You On - ICEL
• May Songs of the Angels Welcome You - Dufford
• Song of Farewell  - Sands
• Take my Hand Precious Lord
• The Hand of God Shall Hold You - Haugen
• The Strife Is O’er
• There Is A Place - Bell
• There is a Place - Lawton
• We Who Once Were Dead  - Ingham-Smith
• Wake O Wake and Sleep No Longer  - Nicoli / Idle
• We Walk by Faith
• When Human Voices Cannot Sing - Murray
• Yes, I Shall Arise - Deiss 
• You Know Me Lord - Walsh 

How to include non-religious songs in church-funerals

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• Planning a Catholic funeral
• Catholic funeral Mass planning template

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Liturgy Lines

Preparation of the gifts.

PREPARATION OF THE GIFTS

The Liturgy of the Word at Mass is followed by what is called the ‘Preparation of the Gifts’. This term replaces what was previously known as the ‘Offertory’. To use the term ‘offertory’ suggests that this is the part of the Mass when the sacrifice is offered, whereas it is during the Eucharistic Prayer that the self-offering of Jesus is recalled and re-presented. We are joined to Christ’s sacrifice when, as members of the body of Christ, the Church, we offer the consecrated bread and wine to the Father. Unfortunately the rubrics of the present Sacramentary still uses the term ‘offertory song’ for the chant sung during the procession of the gifts. Hopefully this will be corrected in the revised Missal. The title ‘Preparation of the Gifts’ clearly describes the purpose of the rite, which is simply to prepare the altar, the gifts and the assembly for the offering of the whole Church that takes place during the Eucharistic Prayer. The altar is prepared at the beginning of the rite when the server or acolyte places the corporal, purificator, chalice and missal on the altar. The primary elements of the Preparation of the Gifts are the bringing forward of the gifts, placing them on the altar and the prayer said over them. Other elements such as an accompanying song and the prayers of preparation are secondary. The procession with the gifts by members of the assembly is a powerful expression of the assembly’s participation in the eucharistic action. The General Instruction mentions only bread, wine and money (or other gifts for the poor and the Church) in the procession. It is a procession of gifts: only what stays goes in the procession. You can’t take it back again afterwards! Other objects could be included in the entrance procession if they are of sufficient liturgical significance. In some places, lighted candles accompany the procession of gifts. I believe that is an unnecessary elaboration which adds to the confusion in the minds of some worshippers between unconsecrated and consecrated elements. One vessel with sufficient altar bread for the assembly, one large container of wine, and a basket with the collection are all that need be presented. Having one vessel for each element symbolises the unity of the one bread and one cup. Including offerings for the poor and the Church is of ancient origin and deep significance. As the preparation of the gifts is a secondary rite - a low-key moment between the Liturgy of the Word and the Liturgy of the Eucharist - it is not a time when singing by the assembly in song has high priority. A choir piece or instrumental music could effectively accompany the procession and keep this part of the Mass in proper perspective. Any music ‘continues at least until the gifts have been placed on the altar’ (GIRM # 74). Silence might be an even better option. The assembly could be invited to use this quiet time to prepare their hearts and minds as the altar and gifts are made ready. In the past, people were exhorted to place themselves on the paten along with the bread. A better way of understanding the assembly’s participation in this part of the Mass is as a time when we prepare to unite ourselves with Christ’s offering.

Elizabeth Harrington

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Marian Hymns at Offertory

A ZENIT DAILY DISPATCH

ROME, 16 JUNE 2009 (ZENIT)

Answered by Legionary of Christ Father Edward McNamara, professor of liturgy at the Regina Apostolorum university. Q: Recently, one musician has told us during the class that Marian songs should not be sung during the offertory of a Mass. Is this true? Why so? — D.Z., Beijing

A: I have often heard this particular "norm" bandied about but have yet to find an authoritative source for it.

The 2007 guidelines on liturgical music, "Sing to the Lord," published by the U.S. bishops' conference, give only general criteria regarding hymns. To wit:

"A hymn is sung at each Office of the Liturgy of the Hours, which is the original place for strophic hymnody in the Liturgy. At Mass, in addition to the Gloria and a small number of strophic hymns in the Roman Missal and Graduale Romanum, congregational hymns of a particular nation or group that have been judged appropriate by the competent authorities mentioned in the GIRM, nos. 48, 74, and 87, may be admitted to the Sacred Liturgy. Church legislation today permits as an option the use of vernacular hymns at the Entrance, Preparation of the Gifts, Communion, and Recessional. Because these popular hymns are fulfilling a properly liturgical role, it is especially important that they be appropriate to the liturgical action. In accord with an uninterrupted history of nearly five centuries, nothing prevents the use of some congregational hymns coming from other Christian traditions, provided that their texts are in conformity with Catholic teaching and they are appropriate to the Catholic Liturgy (no. 115)."

It is sometimes difficult to find specific "appropriate" hymns for the preparation of gifts as this moment of the rite has received less attention from modern composers than the entrance and communion.

Since this is a new requirement in the liturgy, there are few older vernacular hymns for the offertory. This is probably also due to the fact that a hymn is only one of several options at this moment. Apart from a hymn it is possible to use the traditional Latin chant for the day; a polyphonic piece by the choir; purely instrumental music (outside of Lent); and even no music at all.

The question here is: whether Marian hymns should be judged as "inappropriate" for the presentation of gifts.

I believe we can be guided here by the extraordinary form of the Roman rite. In this rite the offertory chant is not an optional text but is proper and specific to each particular day or season. A glance at the liturgical calendar shows that the prescribed text for the offertory on Marian feasts usually refers to Mary. In many cases the offertory chant is taken from the first part of the Hail Mary, or a psalm verse applicable to Mary and occasionally is an original composition such as on the feasts of the Queenship of Mary and the Assumption.

Thus I think it is clear that Church tradition validates the use of Marian texts at least on her feast days. There are also some oblique references to Mary in the offertory chants on other occasions, such as the feasts of saints noted for Marian devotion. For example, on the memorial of St. Gabriel of the Sorrowful Mother (Feb. 27), the chant is taken from Psalm 115:16-17: "O Lord, I am your servant, the son of thy handmaid. You have loosed my bonds and I will offer you a sacrifice of praise."

With this in mind it would appear that there is no reason to ban Marian songs for the gifts, if there is a good reason for having one. They are certainly justified on Marian feasts and probably also during the Marian months of May and October.

They could also be used on other occasions, but I believe that the criterion of their being "appropriate" is important. They should not just be used as fillers because nothing else is available. The lyrics should also in some way relate to the feast or to the mystery being celebrated, especially those texts which bring out Mary's relationship with Christ.

Insofar as possible, just as all hymns used in the liturgy intended for community use, the text should preferably express an ecclesial profession of faith and not just a personal and individual devotion.

Follow-up: Marian Hymns at Offertory [6-30-2009]

After our June 16 commentaries regarding Marian hymns at the offertory, a Canadian reader asked: “I saw recently how a couple of priests ‘Marian’ their homilies, which may be due to their particular affection for the Virgin Mary which comes from their order and/or formation. That is fine to do and can even help the homily.

“The question is two-part. First, when they put the Hail Mary prayer immediately following the Prayer of the Faithful. Is this allowable?

“Second, the Hail Mary has been inserted after the homily or at the end of Mass where it is sometimes turned into several other additional prayers. Is this allowable?”

Regarding adding the Hail Mary to the prayers of the faithful, we mentioned this topic on Aug. 17, 2004, in a follow-up to a column on the general intercessions.

The gist of the reply was that, where customary, the Hail Mary could be used as a final intercession but should not replace the priest’s closing prayer.

Second, I am more doubtful regarding the incorporation of the Hail Mary into the homily, especially if the faithful are expected to recite it as a community. This could be interpreted as adding an unofficial prayer to the Mass.

It could be argued that in this case the Hail Mary is a concluding acclamation akin to the “Praised be Jesus Christ — now and forever” with which Pope John Paul II frequently began and ended his sermons. It is not impossible to interpret it that way, but it is stretching the point.

A different case would be a priest who weaves the Hail Mary into the conclusion of his homily as a rhetorical devise, glossing the text so as to include other petitions for Mary’s intercession. There would be no objections to this, although it would lessen the homily’s effectiveness if overused.

I did not quite grasp the inclusion of the Hail Mary at the end of Mass. It would not be appropriate if these prayers were added to the official prayers. If, on the other hand, they form part of optional devotional exercises immediately after the dismissal, prolonging thanksgiving after Mass, then there would be no significant objections.  

This article has been selected from the ZENIT Daily Dispatch © Innovative Media, Inc.

ZENIT International News Agency Via della Stazione di Ottavia, 95 00165 Rome, Italy www.zenit.org

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The Liturgy of the Eucharist: The Preparation of the Gifts

The Liturgy of the Eucharist At the Last Supper the Lord instituted the Paschal sacrifice and banquet and told his disciples to do it in memory of him. Through this the sacrifice of the Cross is continuously made present in the Church. The priest represents Christ the Lord and, like him, takes the bread and wine into his hands to say the same words as Our Lord so that the bread and wine become the Body and Blood of Christ. The priest does this in memory of Christ, just as the first disciples did following the Last Supper.

In ancient liturgies this part of Mass was called the “Mass of the Faithful”: the first part of Mass, the “Mass of the Catechumens” was as far as those preparing for baptism could go in their initiation. They heard God’s Word, joined their prayers to the Prayer of the Faithful, but weren’t ready to participate in the deepest portion of the Eucharistic mystery. Even today the passage from the Liturgy of the Word to the Liturgy of the Eucharist represents a change of gears: we’ve prepared, heard the Lord speak to us, and responded with faith, but now the Lord once again sacrifices himself for us. In this part of the liturgy the sacrifice he made on the Cross is made present for us, today, here and now.

If the emphasis in the first part of the liturgy was Word, faith, and response, the second part could be characterized as offering, sacrifice, and thanksgiving. Now the chair of the priest or bishop is no longer the focus, nor the ambo for the readings. The priest moves to the altar and remains there until after Communion: all attention is drawn to the sacrifice about to be made present on the altar, a sacrifice in which all are participating.

The Preparation of the Gifts Our Lord took bread and wine, blessed them, and then distributed them to his disciples and told them to do the same in memory of him. Bringing the bread and wine and placing them on the altar is at the core of the Preparation of Gifts, and now it becomes a moment for the faithful to offer something of themselves to Our Lord, which is why it’s also been known as the Offertory and, even today, the hymn sung at this point of Mass is known as the Offertory hymn or chant.

The Presentation of the Gifts In many celebrations of the Eucharist the faithful bring up the bread and wine to be used in Mass along with other gifts to serve the needs of the Church and of the poor. This hearkens back to when the faithful actually brought their own bread and wine for use in the Mass and brought it to the altar. This practice probably fell into disuse because it would make things somewhat chaotic today, and because it’s important, with so many varieties of bread and wine now available, to make sure the bread and wine used are suitable for worship.

Even though today the faithful aren’t those who directly prepare or buy the bread and wine that will become the Body and Blood of Christ, it is thanks to them that those offerings are possible. Typically on Sundays a collection is taken at this point that makes that bread and wine possible, and also gives the faithful an opportunity to contribute something to the Church and to those in need.

This moment of offering embraces both realities (providing for the Eucharist and providing for the needy), but the focus is coming forward with bread and wine for the transubstantiation into the Body and Blood of Christ during the Eucharistic Prayer. This is why the other offerings are received, but not treated the same way, since they’re for after the celebration of the Eucharist.

St. Augustine saw this procession as paralleling the procession up the aisles to receive Holy Communion. For him it was a “marvelous exchange” represented by the Incarnation: Christ takes our humanity to bestow on us his divinity ( Enarr . In ps. 129,7). We make offerings that will become him, become divine, and will transform us as well if we receive him worthily. Those few faithful bringing up the gifts are not the only ones offering something: we all offer something, if not materially, spiritually, so that our offering may be transformed into something pleasing to Our Lord, beneficial to us, and beneficial to others. It’s a small token of appreciation for what the Lord is about to offer us once again on the altar and in Communion.

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Work of the People

Liturgy isn't the work of just a few people. Everyone who celebrates the liturgy has a role to play. And the work we do together can change the world. This is the FORMER liturgical newsletter for the Diocese of San Jose. Find some help here to do your work.

Monday, September 13, 2004

The presentation of gifts.

The purpose of the rite is to prepare bread and wine for the sacrifice. The secondary character of the rite determines the manner of the celebration. It consists very simply of bringing the gifts to the altar, possibly accompanied by song, prayers to be said by the celebrant as he prepares the gifts and the prayer over the gifts. Of these elements the bringing of the gifts, the placing of the gifts on the altar, and the prayer over the gifts are primary. All else is secondary.

• Music must serve the ritual action and never dominate. Although a solo or choral piece can be appropriate here, it cannot stall the flow of the liturgy by being too long in length for the ritual action. Unlike the gathering song, a song during the preparation of the gifts should end once the ritual action is completed.
• Consider using an instrumental piece or even silence during this procession.
• If a song is sung by the entire assembly at this time, consider inviting the assembly to stand for the last refrain or stanza of the song. This prepares the assembly for the posture of the prayer over the gifts and it subtly changes the energy of the liturgy from the more passive action of preparing the gifts to a more active stance of prayer over those gifts.
• Instruct those who carry the gifts forward to hold them high and to walk slowly with purpose to the altar.
• Consider having the gifts carried all the way to the altar and there, handed to the presider. The common practice of having the presider and acolytes wait at the foot of the altar to receive the gifts is possibly an unconscious remnant from the times when altar rails separated the faithful from the sanctuary. Of course, be conscious of those who may not be able to walk up steps if you have them around the altar.
• Some parishes have revived the ancient practice of inviting the assembly to come forward to place their monetary gifts in baskets near the altar. (The Cathedral Basilica of St. Joseph and Most Holy Trinity are two parishes that have done this very well.) This helps the assembly be less passive during this rite, it gives children the opportunity to actively participate in caring for the poor and supporting the ministry of the church, it makes our active participation in the work of the church more visible, and it gets people moving who may have been sitting in their pews for some time. Of course, the layout of your church and makeup of your assembly will determine if and how this could be a feasible action for your liturgies.
• If you use baskets on poles to collect money from the assembly, consider using instead baskets without the poles. The ushers hand the basket to a person at the end of a pew, and this basket is passed from person to person. This enables the assembly to engage with one another rather than passively sitting and avoiding contact with their neighbor.

As simple as this action is, it can convey a deeper meaning of sacrifice, offering, participation, and discipleship. The “work of our hands” that we present is really us, ourselves. In that bread and wine and in the gifts we give, we place our very lives upon that altar, and we commit to give ourselves to each other, especially the poor. Our participation in presenting the gifts is a sign of our commitment to become what we will soon share—the Body and Blood of Christ.

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Liturgy and Music alive in the Church today

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Offertory hymns

Moderators: Dom Perignon , Casimir

Post by MarkM » Tue Apr 18, 2017 7:32 pm

Re: Offertory hymns

Post by High Peak » Tue Apr 18, 2017 8:09 pm

Post by gwyn » Tue Apr 18, 2017 8:14 pm

Post by justMary » Wed Apr 19, 2017 10:30 pm

Post by VML » Thu Apr 20, 2017 10:42 am

Post by gwyn » Thu Apr 20, 2017 4:28 pm

Post by alan29 » Fri Apr 21, 2017 6:21 pm

Post by JW » Sat Apr 22, 2017 11:35 am

Post by alan29 » Sat Apr 22, 2017 6:21 pm

Post by blackthorn fairy » Mon Apr 24, 2017 10:48 am

Post by VML » Mon Apr 24, 2017 12:54 pm

Post by High Peak » Mon Apr 24, 2017 1:42 pm

Post by Peter » Mon Apr 24, 2017 4:41 pm

alan29 wrote: ↑ Fri Apr 21, 2017 6:21 pm We tend to use thematic or seasonal hymns. "Offertory" hymns are a last resort.

Post by gwyn » Mon Apr 24, 2017 5:12 pm

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The Mass Part 4: Presentation of the gifts

Before moving forward let’s review.

One week ago, we saw that the church considers the Liturgy of the Word power-packed. What the liturgy’s actions say, the word of God enacts, or as the “Catechism of the Catholic Church says: “The liturgical word and action are inseparable both insofar as they are signs and instruction and insofar as they accomplish what they signify.”

Two weeks ago, we observed how the entrance rites developed in the church’s history. At the time of St. Justin Martyr in A.D. 155, they were very rudimentary (see CCC, 1345), but other parts of Mass, including the procession of gifts, were already being done.

Three weeks ago, we examined some liturgical concepts that are helpful in understanding the Mass, especially how the liturgy makes use of signs and symbols to communicate God’s grace to us.

All three of these — symbols, gifts, and word plus action — are important for the part of the Mass we look at today: preparation of the gifts.

Sometimes this is also called this the “offertory,” but since the bread and wine will be supremely “offered” in the eucharistic prayer, we’ll use the term preferred by the General Instruction of the Roman Missal.

— Presentation of the gifts assumed great importance in the early church.

St. Cyprian, martyred in Africa in 258, chided those who came to Mass and received the Eucharist but made no offering of their own: “You are wealthy and rich, and do you think that you celebrate the Lord’s Supper, not at all considering the offering? Who comes to the Lord’s Supper without a sacrifice, and yet take part of the sacrifice which the poor man has offered? Consider in the Gospel the widow . . .”

St. Augustine was impressed by a fifth-century procession of gifts in Rome in which the faithful brought from their own homes things from their kitchen tables. (After handling all the gifts, no wonder the priest had to wash his hands!)

Augustine called this an “admirable exchange” — for their gifts God gave back Jesus. Our present prayer over the gifts from the sixth day in the octave of Christmas uses Augustine’s language: “Lord, receive our gifts in this wonderful exchange: from all you have given us we bring you these gifts, and in return, you give us yourself.”

— Valid matter. The church uses unleavened bread made only of pure wheat flour and water, and wine only from grapes. Why?

Because that’s what Jesus used. He told us to “do this” in his memory, and if “this” changes too much, we’re no longer following his command.

Even in places of the world where wheat or grapes are scarce, the church still insists that these foodstuffs be imported instead of substituted with local products such as corn flour or rice wine. For persons with celiac disease or alcohol intolerance, the church permits virtually gluten-free hosts and mustum, wine whose fermentation has been arrested.

— Collection of money. Yep, it’s in the Bible. “From the very beginning, Christians have brought, along with the bread and wine for the Eucharist, gifts to share with those in need” (CCC, 1351). Tithing and almsgiving are acts of worship (2 Corinthians 9:10-15) and express not only our desire to help those in need but also our generosity to God.

A $20 bill and a $1 bill are next to each other in a man’s wallet. The $20 bill says, “Isn’t life great! I get to go to the best places: to movies and nice restaurants and the mall.” The $1 bill replies, “Well, I go to church.” (Right about now lots of people are upset with me, while pastors are secretly sighing, “Thank you Father Tom!”)

— Made by hand. The ordinary form of Mass uses adapted Jewish “berakah” (blessing) prayers whose words are packed with meaning, even if they’re done silently during the music.

Bread and wine symbolize a wonderful cooperation between God and humans. We lay upon the altar not only creation’s goods but ours, too. The gifts are not mere wheat and grapes, but “the work of human hands.”

Symbolically, that’s us on the altar, offering ourselves to God. In the eucharistic prayer, we will ask God to send the Spirit to change the gifts and change us as well — but, again, I’m getting ahead of myself.

The gift of ourselves is never easy, and the church, knowing that, treats our offerings with great care. The priest places them in a dignified place on the altar, incenses them reverently, and asks God to receive them to himself.

“Pray, sisters and brothers, that our sacrifice” — not only bread and wine, but what they symbolize: our work, struggles, joys, money, our very lives — “may be acceptable to God, the almighty Father.”

In the next part of Mass, the great eucharistic prayer, it happens: the Holy Spirit comes down, and as the words of Christ are repeated over the bread and wine . . . Stay tuned!

Father Tom Margevicius is instructor of liturgical theology at St. Paul Seminary School of Divinity in St. Paul.

The Catholic Review is the official publication of the Archdiocese of Baltimore.

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Catholic Wedding Songs For A Mass Ceremony & Reception

For those who embrace Christianity, there is no more solemn and sacred commitment than marriage. Faith and love are intertwined in the Catholic faith.

As you approach your wedding day, you will want to reflect on songs that celebrate your devotion to both God and your partner. Discover Catholic wedding songs that will set the reverent tone desired for your special day.

The actual wedding ceremony itself is the most sacred part of your wedding. For the ceremony, you will likely want to stick with traditional Catholic liturgical music which evokes a sense of worship and religious devotion.

The church stresses the solemnity and reverence of a wedding ceremony, so popular music is generally not allowed. Your choices will need to be limited to songs from the Catholic canon, and you’ll need certain ones for certain portions of the ceremony. Here are some suggestions for each stage of the Catholic marriage rite.

Catholic Wedding Music Guide

The processional.

“In Christ Alone” is a beautiful choice for your wedding processional. It has a very modern feel that will appeal to a beautiful modern bride. No one ever said your music choices had to be older hymns that are hard for young people to relate to.

Choosing “In Christ Alone” is especially wonderful if you have chosen to use live instruments in your wedding. This song was written especially for the violin, and it fills the hall with a glorious melody that will uplift the hearts of your guests.

In Christ Alone – Passion feat. Kristian Stanfill

Released in 2013 on the album Passion: Let The Future Begin

The Gathering Song

The Gathering Song is a moment when all of the guests at your wedding can raise their voices in celebration of God’s blessing upon your wedding vows. This song is generally a beautiful hymn, and “Love Divine, All Loves Excelling” is a glorious composition that honors the holy nature of the day.

Love Divine, All Loves Excelling – Rowland H. Pritchard & Charles Wesley

Released in 2012 on the album Journeysongs Third Edition: Volume 23

“Love Divine, All Loves Excelling” was written by Charles Wesley in 1747. The use of minor chords in the song gives it a sacred feel. The song speaks of perfecting one’s self through the love of Christ, and it reflects the desire you and your partner have to make one another better people.

The Psalm is the only song that will be used in your Catholic wedding ceremony that you will not choose. It is chosen for you by the church, and it is a reflection of the wisdom that your priest wishes to offer you on this special day of your wedding.

The song is a response, meaning that the guests at your wedding will sing it. Some of the Psalms that are commonly used during the ceremony are:

Psalm 112 – Blessed is the Man Who Greatly Delights in the Lord’s Commands Psalm 145 – How Good is the Lord to All Psalm 34 – I Will Bless the Lord at All Times

The Presentation of the Gifts

“Make Me a Channel of Your Peace” is a beautiful selection for this part of the ceremony. The lyrics of this song are actually a prayer by St. Francis of Assisi. They speak of humility and service to God and your partner. The message of this song is to live in a spirit of service to those around you, and to your partner most of all.

Make Me a Channel of Your Peace – Susan Boyle

Released in 2010 on the album The Gift

You can certainly use a modern recording of “Make Me a Channel of Your Peace” in your Catholic wedding. The song has been performed by Susan Boyle and other artists. It can be found performed by children’s choirs as well as individuals. Choose the version that warms your heart.

Communion is one of the most important parts of a Catholic wedding ceremony. This is the first time that you and your partner will receive the Holy Communion as man and wife. There are a few choices here that will make the moment special.

“On Eagle’s Wings” has been used at wedding Communion ceremonies for many years. It is even likely that a member of your own family may have used the song at their wedding. The traditional nature of the song appeals to many brides and grooms who want to preserve the sanctity of the marriage ceremony. Based on classic passages from the Bible, this song has been recorded by Josh Groban and others.

On Eagle’s Wings – Kitty Cleveland

Released in 2007 on the album Be Not Afraid

“Amazing Grace” is another traditional hymn that is often used for Communion. It may seem a bit dated to some, but the lyrics are still powerful enough to create a sense of prayerful reverence and express one’s religious devotion.

Amazing Grace – Elvis Presley

Released in 2071 on the album He Touched Me

If you are fortunate enough to have a choir for your wedding, “O God Beyond All Praising” can make a wonderful Communion hymn. It is best when performed by an ensemble of voices that will resonate throughout the sanctuary.

O God Beyond All Praising – Focus feat. Sarah Kroger

Released in 2016 on the album Origin (A Beauty Initiative Within Focus)

The Reflection Song

This is a time of the ceremony to pause and let the feelings of the day sink in. As such, “Be Thou My Vision” is a wonderful choice. It has been recorded by everyone from Van Morrison to Audrey Assad. You can even find the song in different tempos to suit your own preference.

Be Thou My Vision – Audrey Assad

Released in 2016 on the album Inheritance

“Be Thou My Vision” is an Irish hymn that is based on an old Middle Irish piece of poetry. It speaks of commitment, and your commitment to God is a symbol of the devotion you should share with your partner. All of your guests will recall their own sacred wedding vows as they join in singing this song.

The Recessional

A good song to exit the church following your wedding is “Ode to Joy” by Beethoven. It has the proper sense of conclusion and a vibrant tempo that indicates celebration. It is not too fast, but it is uplifting. This is the time to exchange the tears of joy for a winning smile as you and your partner make your way back up the aisle past your supportive friends and family.

“Ode to Joy” from Beethoven Symphony 9 – Barrymore Chamber Orchestra

Released in 2008 on the album “Ode to Joy” Beethoven, Bach, Mozart, Pachelbel

“Ode to Joy” can be found in modern arrangements, but you will likely want to stick with the performance of a grand orchestra here. The music should swell and fill the sanctuary, just as your heart is filled with love for your spouse.

Other Religious Wedding Songs To Consider

It is important to remember that a Catholic wedding ceremony is different from the ceremonies many people are used to. The use of the traditional wedding march is not permitted because it was composed of secular use in the theater. Portions of the ceremony are very structured, offering less flexibility than a secular wedding.

Nevertheless, there are plenty of opportunities for you to use music that touches your heart. Select songs and hymns that are valued by you and your spouse, ones that reflect your own beliefs about the role of family and faith in your marriage.

After your beautiful Catholic wedding ceremony is complete there are still plenty of opportunities for song selection. Your reception is a great time to choose Christian wedding songs that are perhaps more timely than the hymns you chose for the processional, Communion, and other portions of your ceremony. Here is a list of songs that combine expressions of love and Christian faith.

You Raise Me Up – Josh Groban

Released in 2003 on the album Closer

This is such a perfect song for a Catholic wedding reception. It is great for the first dance with your new spouse. “You Raise Me Up” was recorded by Josh Groban and released on his 2003 album Closer. It has become a modern classic and is one of the most requested songs in Groban’s catalog.

The song speaks of how the presence of another in our lives makes us better people, and it carries the same message about a personal relationship with God. Marriage in the Christian faith is very symbolic of the completeness that comes when we embrace the love that Christ has for His Church.

Angel – Casting Crowns

Released in 2011 on the album Come To The Well

Casting Crowns scored a hit with “Angel” in 2011. It speaks of that moment when your life changed upon seeing your partner for the first time. The song also makes a strong acknowledgment that God has led you to the one that is right for you.

“Angel” is suitable for a first dance, but it also fits nicely into the mix of songs that are played throughout the reception. Many couples have also used this song to walk into their reception following the ceremony.

With Arms Wide Open – Creed

Released in 2000 on the album Human Clay

Creed was known for finding unique ways to slip a Christian influence into their popular music. Defined by the powerful vocals of Scott Stapp, “With Arms Wide Open” is a celebration of true love. It reminds us of our vulnerabilities and brings the hope of trust that is a necessary part of any marriage.

The song has a modern vibe that many young Christian couples will appreciate. It is a nice contrast to the formality of other songs that will likely find a place in your wedding reception.

Because You Loved Me – Celine Dion

Released in 1996 on the album Falling into You

Celine Dion belongs on any list of wedding songs, Christian or otherwise. Her songs of love are legendary, and this is one of the best. “Because You Loved Me” was released in 1996. While many focus on the message here from one lover to another there is also a subtle spiritual context.

When you find the perfect partner your sense of worthiness blooms like flowers in May. The same can be said when one accepts that the love of God changes them for the better. No longer do we feel inadequate and unworthy of love.

Father’s Love – Bob Carlisle

Released in 1995 on the album Simply Bob Carlisle

The emotional songs of Bob Carlisle are another good choice for Catholic wedding receptions. There will be a song needed for the bride’s dance with her father, and they don’t come much better than this one.

God’s love is precisely like that of a father. Your father is there to pick you up and dust you off when you fall, to love you unconditionally, and to provide a stabilizing influence in this crazy world. Honor him with this poignant song at your wedding.

I Swear – John Michael Montgomery

Released in 1994 on the album Kickin’ It Up

“I Swear” was first recorded by country artist John Michael Montgomery in 1994. The song reached a more mainstream audience when All-4-One covered it in 2005. Weddings are about commitment, and this slow song sums up the vows you took in your wedding ceremony.

The song works well for receptions because every married couple or pair of sweethearts in attendance will be able to relate. They will be able to share the joy of your wedding and recall their own devotion to the one they love.

The Marriage Prayer – John Waller

Released in 2011 on the album As for Me and My House

Don’t forget to include some traditional Christian fare in your wedding reception music selection. It will remind your guests and your partner that the solemnity of the day is not lost on you. “The Marriage Prayer” is a heartfelt composition that invokes the blessing of God on your union.

There may not be much dancing during this song, but that is okay. It is best enjoyed in moments of quiet reflection. The song is one that will come to mind each year as you celebrate another anniversary.

I’m In Love With You – Fred Hammond

Released in 2012 on the album God, Love & Romance

Those who have a strong faith know that popular music can also be wholesome. “I’m In Love With You” is Fred Hammond’s 2012 ode to the purity of love. No one can come close to the person you have chosen to spend your life with when it comes to filling your soul with joy. This song celebrates that awareness.

The best Christian wedding songs are the ones that let you look deep into your partner’s eyes and know that there really is a meant-to-be. This one will remind you that God knows what is best and that He joins those who trust in His guidance.

I Can Only Imagine – MercyMe

Released in 1999 on the album The Worship Project

The best-selling contemporary Christian song of all time certainly deserves a place at your wedding reception. This song by MercyMe has touched people all over the world. Remember, you should not neglect the spiritual side of the day. Play this one to let everyone pause for a moment of adoration and worship.

Isn’t it wonderful to know that someday you will rejoin your spouse in the presence of Jesus? That bedrock of the Christian faith should help you move through each day with sublime joy and happiness.

Bless The Broken Road – Rascal Flatts

Released in 2004 on the album Feels Like Today

There are a lot of twists and turns on the road to true love. Play this song by Rascal Flatts and think about all of the steps that had to fall just right to put you in this magical moment. How could anyone think that God doesn’t play a role in the affairs of those who serve Him?

Everything that you have been through only serves to bring someone special into your life. “Bless The Broken Road” will remind you that all the struggle was worth it.

Non-Traditional Catholic Hits

Above we discussed Catholic wedding songs for both your Christian ceremony and your reception. It is also the desire of many couples to include some wholesome popular music on their wedding day. Popular music can be a very welcome addition, and many modern love songs reflect the spiritual values that you find to be meaningful and important. Here are some Christian wedding songs to complete the celebration of starting a new life with your partner.

All of Me – John Legend

Released in 2013 on the album Love in the Future

True love is the complete giving of oneself to another. “All of Me” by John Legend sums up this awareness in a poignant and moving way. Legend released it as the breakthrough single from his 2013 album Love in the Future. When one listens carefully to the lyrics it isn’t hard to see a spiritual connection.

“All of Me” is about loving someone unconditionally despite their flaws, just like Jesus loves all His children. The person you choose to spend the rest of your life with is one that will help you realize that the perfectly imperfect you are a miracle of creation.

I Will Be Here – Steven Curtis Chapman

Released in 1999 on the album More to This Life

Steven Curtis Chapman is one of the most successful Christian artists the world has ever known. His song “I Will Be Here” resonates with a promise of lasting love. It is a melody of devotion through the good times and the bad.

The song reflects the importance of your wedding vows. For better or worse, in sickness and in health. Let the lyrics to this song inspire you on your wedding day to be a spouse who will stand beside a partner through thick and thin.

Thank God I Got Her – Jonny Diaz

Released in 2014 on the album Let It Fly

As you prepare to marry your soulmate this song will help you express thankfulness that God brought the two of you together. It was recorded in 2014 by Jonny Diaz for Let It Fly. A strong marriage should be based on the firm knowledge that there are no accidents in God’s plan. Everything is carried out with purpose.

Grooms need special songs for their wedding reception, too. This is one that uplifts the heart and soul. The song powerfully reminds everyone in attendance that the bride is worthy of fairytale love.

For You – Michael W. Smith

Released in 1990 on the album Go West Young Man

This beautiful song from Michael W. Smith is a timeless classic. It was recorded in 1993 but remains one of the most popular Christian love ballads. There is a promise in this song from one man to one woman. That promise is to love and cherish her throughout the years.

Growing old together is the essence of true love. Learning how to live unselfishly for someone else is a part of that growth, and this tune is great for a nice dance with your partner as the wedding festivities come to a close.

Love of My Life – Jim Brickman

Released in 1999 on the album Destiny

People of faith have long appreciated the piano compositions of Jim Brickman. “Love of My Life” is one of his best, and the song has been recorded by everyone from Carly Simon to Pam Tillis. There truly is someone for everyone. The love of a lifetime is what everyone wants and prays for. God has answered that prayer for you.

Many of the songs on this list are slow and will be more suitable to the latter stages of a wedding celebration. These are the moments during your wedding festivities when all you want is to look lovingly into your partner’s eyes and savor the memories of the day.

Marry Me – St. Vincent

Released in 2007 on the album Marry Me

Although it is a secular song, “Marry Me” by St. Vincent is a simple affirmation of the vows you have both agreed to take. It will remind you of that glorious moment when you said yes to your partner’s wedding proposal. Remember how you felt then? You can relive the moment when you play this at your wedding.

The lyrics of this song are very simple, but so is the best wedding music. It has been said that the easiest things are the hardest to say. Sometimes all you need is a reminder that those three little words hold enormous power. The spiritual connection in this song is the one that stresses the sacred nature of marriage.

When God Made You – Newsong

Released in 2003 on the album More Life

Newsong is a wonderful Christian contemporary band that belongs in your selection of wedding music. This is an upbeat tune that can be danced to in a mood of spiritual celebration. It appeared on the group’s album More Life in 2003, and it features a guest vocal by Natalie Grant.

Your partner is a unique soul. This song will inspire you to see them for the first time. As you listen to it, think about all the ways that your partner is a one-of-a-kind miracle of God’s creation.

More Than What I Wanted – CeCe Winans

Released in 2001 on the album CeCe Winans

As a Christian, you surely prayed for God to bring someone special into your life. You probably had a very clear picture of what you expected. Then the right person comes along and you realize that God gave you so much more than you ever thought you would find. It is moments like this that make us conscious of God’s love.

CeCe Winans is the artist on this track, and her lovely voice is a perfect soundtrack for the emotions that you will feel on your wedding day. Remember to breathe deeply and soak in all the love and positive energy that is coming your way.

It is so important to remember that music is a gift from God. Music can express the things that we have trouble saying directly. Know that God wants you to celebrate your marriage with beautiful music.

When you listen with your heart there is a powerful spiritual message that can be found in many modern love songs. God uses those with vocal gifts to impart wisdom, and you should have no problem finding a large selection of Christian wedding songs that will inspire and uplift you.

Do you have a favorite Catholic wedding song? Please share your song below in the comments.

Next, read a list of the best Christian wedding playlist .

Other Playlists To Check Out:

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Non Solum: Introducing Sung Hymns or Songs at Mass

A reader writes in:

My question is this: What is the best terminology to use when cantors announce each assembly-sung hymn or song in a mass, i.e., is the assembly being invited to join in singing “songs,” “hymns,” or “chants?” Some background on my question — when cantors announce to the assembly the songs/hymns and the corresponding “Breaking Bread” book numbers, there seems to be an extremely wide range of interpretations as to how to announce them, so I am wanting to establish consistency among my cantors in making these announcements, but consistency that is in line with the Roman Catholic Church’s musical/liturgical protocol. OCP’s “Today’s Liturgy” quarterly publication identifies the following categories for music options, and I follow each with what has been done here since my arrival: Entrance Chant – we say “Gathering Hymn” (or Song) Presentation and Preparation of the Gifts – we say “Song of Preparation” Communion Chant – we say “Communion Song” or “Song for Communion” Song of Praise or Sending Forth – we say “Recessional Song” or “Recessional Hymn” I’ve looked through the Missal and find references to: Entrance Chant Offertory Chant; “chants… at the Presentation of the Gifts” I’m always surprised that in the Catholic church that the word “collection” is used rather than “offering” — I like the use of the word “Offertory… Chant/Song/Hymn.” The word “offering” to me denotes the action of the giver [‘we offer ourselves, our time, our possessions, signs of God’s gracious love…’], whereas the word “collection” focuses on the action of the church. Yet if the music is to assist the assembly in focusing on the gifts of bread and wine brought forward (presentation and/or preparation of the gifts), then should “Song of Preparation” or “Song of Presentation” be used? Chant “after” Communion; chant “at” Communion; Communion Chant The Missal also has references to “different genres of chant,” “the different chants,” “liturgical chants,” but no reference to the post-mass song/hymn.In line with the terminology used in the Missal, I’ve unofficially begun suggesting the use of: Entrance Chant Offertory Chant Communion Chant I can’t figure out what to do about the post-mass song/hymn/chant so most use “Recessional Song or Hymn.” I have already received comments that the music that we’re singing isn’t chant. They are correct in that it is not chant as most people would interpret the word (with some exceptions – “Divinum Mysterium”, etc.). Yet if one follows the Missal terminology, one finds a few references to “songs” and “hymns” and “hymnal,” but none of those references are specifically associated with “entrance” or “presentation/preparation.” One reference that I found is to a hymn ‘after’ Communion. But there are many more references to the word “chant” in the Missal than to “song” and “hymn.” I found the word “song” used only once apart from its use in specifically-quoted texts or psalms that incorporate the word “song;” but in the Missal, “song” is never associated with any music that the assembly sings; yet we announce “Song of Preparation.” I am very interested in knowing what others do to introduce assembly-sung music as well as the rationale behind those introductions. I want to assist cantors and parishioners in understanding why we say what we say, and what the valid reasons are for doing so.

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45 responses to “ non solum: introducing sung hymns or songs at mass”.

Do they need an announced category? My usual habit is to say something like, “Please join with one another in singing (hymn) number ###, [title], number ###.”. Avoids, mostly, the category issue and subconsciously reminds the assembly what their role is (the “main” choir) and what the music ministry’s role is (leadership, inviting) and isn’t (the only music in the room).

We keep it very simple. The entrance song is number, title, number. We don’t ask them to join, we don’t tell them to join, we simply say that the song is. Since there is the translation confusion for using the word chant, I use song. Even during communion, the song is… I feel that if we ask them to join, they can respond no. So we don’t ask.

I use “song” or “hymn” depending on the style of music, number-title-number. Designations are generally “Gathering…”, “…while the gifts are prepared,” “communion…”, and “closing…” or “concluding…”

I will start using the word “chant” to refer to songs or hymns that are not in chant style when…no, I probably won’t do it then, either.

I’m with Rick. Number, title, number.

That said, it is very hard to wean a few announcers from the choirs from making the invitation, identifying the song type, and such. One student protested my number-title-number “policy,” suggesting that freshmen from rural Iowa never sang in their parishes back home and need that invitation. In turn, I suggested they watch the people rather than their book while they sing and see if this is indeed true.

As for the lingo, my long-standing practice is that chant is for chant-style music, hymns describe metrical poetry set to music, and songs are what most contemporary sacred music is.

When I have to announce, I simply say in a pleasing voice making eye contact, “we sing, # title #”. To me, using any variation of the word “invite” runs the risk of creating a sense that all those who are serving on the altar and music area are the “us” and the people in the “pews” as the “them”. I also don’t need to identify the part of the Mass. Let the actions identify the part of the Mass. The two variations is when announcing the gathering hymn is part of the welcoming at the beginning in which I might seque to ” please stand as we sing…” and at the end of Mass in which I might say, “we go forth singing….”. I also try to keep the sending forth short followed by a postlude with the hope of inspiring the folks to do what they have just heard… “go proclaim the Gospel with your life”. Not a big fan of the folks standing in the pew singing while the priest has left the building. The presider is”leading” the assembly out into the world. Blessings.

I was once very anti-announcement, feeling that announcements broke up the prayerful flow of the ritual. I still think this is true, so during holy week when we have a worship booklet including all of the music it’s refreshing not to have to announce anything during Mass.

But the more I focused on liturgical hospitality (helping unfamiliar people to navigate our rituals), I realized that many people need an occasional prompt as to what comes next.

I’ve found a good balance between overly chatty “Attention K-Mart shoppers” announcements and leaving the congregation to guess at what comes next. At the beginning of Mass, we have a rather robust announcement including what occasion we are gathered to celebrate, perhaps an image from one of the readings, and a full announcement of the processional song. On days with large numbers of visitors (C&E, baptisms, back to school events, etc.) we also explain how to navigate our two hymnals, hearing assist devices available, where to find ushers for assistance, etc. But once all of that is out of the way, the other announcements during Mass are simply, “Number 1 2 3, Amazing Grace, number 1 2 3.”

This business about how to announce a hymn seems to be a particularly Catholic phenomenon. I was raised Catholic, and I now am studying for an organ performance degree. I currently work for an Episcopal Church. We have a bulletin that lists the hymn titles and numbers, and we also have a board at the front of the church with the numbers listed. So after the prelude, I get the signal that the procession is ready, and then I just start playing the hymn. The congregation just knows to stand, and they start singing after the hymn introduction. The same process happens at the end of the service. The blessing as dismissal happens, and then we just sing the hymn. I don’t understand why Catholics still seem to have this cruise director attitude about hymns. Are the Catholic faithful not smart enough to figure out the hymns without having someone saying “we invite….”?

@ Beau Baldwin – comment #7: The complicated navigation of two or three different pew books is often the source of jokes and cartoons about Episcopal liturgy. Assuming that everyone “just knows” the order of service is a bias against the many guests and visitors who attend your liturgies. It may communicate that if you’re not already one of us, you don’t belong here.

@ Scott Pluff – comment #8: I am not against hospitality, but I think Todd, Rick and some others are right in that here less is more. We have 7 Masses each weekend and the Cantor does different things at each Mass according to their preference, and I doubt we can get some real uniformity. But if we could I would hope for number, title, play.

I don’t think that is a bias against the ‘many guests’ because 1) there aren’t many guests or visitors most of the time, and 2) even when there are, they are all mainly Catholic and know the drill. Christmas and Easter bring folks out, including visitors of families. In my parish – a college town – we get visitors on home football game weekends and graduation weekends and maybe when we occasionally host an NCAA championship, but again, the visitors are almost all Catholic, and know what is expected.

When I am in the pew I find overly lengthy introductions annoying and distracting. And unnecessary: we’re mostly not kindergartners and are fully capable of following a simple announcement even if we are visitors.

In our parish, we have two hymnals, and although the music board has a “code” to indicate which one, we still announce which book to pick up. We do this once if all are from the same book, but if the next song is from a different book, we make sure to announce which one.

Our people ask for us to make the announcements, because many older people tell us they cannot read the numbers on the hymn board from the back half of the church. Here is what we generally do: “Our gathering song is number ___, (which hymnal), title, (repeat number) “Our song during the preparation of the altar and gifts is number ____, title, number” “Our song during Communion is ____” “As we go forth, please join in singing ____”

A few of our cantors simply say “Please join in singing ____”

@ Joyce Donahue – comment #9:

Exact same as Joyce. Because we some many visitors and we have two books, it’s just friendly and welcoming.

I’m a bit shocked that Ben considers it coddling. A friendly voice and a simple instruction go a long way to make people feel welcome. In fact, our non-Catholic visitors, and our less-than-frequent Catholic visitors ask us to announce more & point out more. I value the request to point out the Gloria and the Mass parts, etc., (“what’s that ‘Lord, I’m not worthy’ response…?”), but I have to trust the person in the pew next to the visitor to help them out.

Announcing the hymns, and being visitor friendly is a good thing, and our priests do announce BCP numbers. I just sometimes get annoyed at the Catholic hymn announcements :”we invite you to join in singing our opening hymn ‘Gather Us In’ found in the Red Worship IV hymnal, number 836, number 8-3-6″.

I think I can get by with hymn announcements at the beginning and end of mass, but announcing communion hymns drives me up the wall. In this most sacred of moments, nothing kills it more than “we invite you to sing our communion hymn…”. I guess I just enjoy the Episcopal Church in that the hymns just happen.

There has been a post about this, but why do the majority of Catholic Churches not have a bulletin (service guide, order of Worship, etc.)? This would help with the elderly people who can’t see the hymn boards or who might not be able to hear the number…

@ Beau Baldwin – comment #10: A number of reasons why. Cost. Workload. Bad experiences with mimeographing songs illegally in the 70’s–the major publishers have “trained” us well to use hardcover hymnals.

I look forward to the day when tablets will be cheaper than hardcover books and I can just program the music wirelessly into the people’s hands.

At the mass with the most music they aren’t introduced at all. There are numbers on the board and people have enough wit to find the hymn and start singing. Why is any more needed?

Having announcements is a courtesy to those who, as Scott implies, have no idea how the liturgy is structured nor when it’s time to sing something — and that means the large majority of worshippers. It draws their attention to the fact that there’s a hymn board / bulletin / worship aid / whatever which will tell them the number.

And, reverting to the reader’s original question, it’s worth remembering that the Latin cantus does not necessarily mean “chant” but rather “ sung item “. Latin cognates are by no means always the best solution to translation difficulties — Liturgiam Authenticam has a lot to answer for and the latest Missal is highly inaccurate in this regard!

@ Paul Inwood – comment #13: YES!! What Paul said. We announce as a hospitality – we use neither song, hymn nor chant – just the number in the hymnal or place in the worship aid. ” let us begin……”‘ ” As we prepare the gifts, we sing….” Etc.

At my parish, we sing one hymn before the procession (which is accompanied by the introit) and one hymn during the recessional. In both cases, the organist begins and people look up at the hymn board. We only have one hymnal, so that’s not an issue.

People aren’t stupid, no need to coddle them. They can look at the two numbers on the board (very top and very bottom) and figure it out.

I’m not suggesting that the church get rid of hardback hymnals. At my church we still use the Hymnal 1982, but we have a worship aid where we list the hymns (title and number), print the ordinary (because the Gloria is so easy to find), print the readings, responses, psalm, choral anthem titles, etc. This is very helpful for the congregation. It’s interesting that we want to make these over the top hymn announcements for various reasons (inviting people to sing, people can’t see the numbers, etc.), but we won’t print a worship aid with specifics about the particular Sunday. Yes, printed worship aids do cost time and money, but they are very user friendly.

Implying that the vast majority of worshipped have no idea what’s going on is silly. I would say that 80% of the Catholics in the pews on Sunday know exactly what’s going on.

I agree with Ben. I don’t think we need to coddle people all the time, because they aren’t stupid. The cantor pleading with the congregation to pick up a book and sing can be a bit much.

@ Beau Baldwin – comment #15: Perhaps 80% of the people know what’s going on. But that leaves 20%, which on a typical weekend would be 200 people in my parish. I’ll announce the hymns for the benefit of 200 people, considering these are the very people we are trying to welcome into the fold.

Why are some churches perceived as warm and welcoming, while others seem cold and aloof? Details like this make a difference to people.

@ Beau Baldwin – comment #15:

You could be right, and perhaps 80% of the people do know in theory what is going on, but that still doesn’t equate to a signal in everyone’s head saying “Now is the time to pick up the hymn book”. Just watch the average assembly and see what proportion of folk are still picking up the book halfway through verse 1 when there’s no announcement. The purpose of the announcement is an act of courtesy, a reminder, and a way of ensuring that we all start together — if we can’t sing together, how on earth can we pray together?

The point of this thread was not to debate whether or not there should be an announcement but how to do it. I think that, in addition to phraseology, there is the whole question of tone of voice. Many announcements that I hear are bald and prosaic, even hectoring, and would certainly quality as intrusive. It is possible to use a quieter, more inviting tone of voice, especially at times like the distribution of Communion.

The only problem I have with hymn boards is that there are always some people who simply can’t see them. They are either out of their line of sight or too far away to read the numbers. Hymn boards work well in particular types of interior design but not all. When I was working at a church that was 3/4 round, I had this problem. The issue is always one of hospitality. Having spent some time investigating my options, I devised the idea of a weekly bookmark to use along with our hymnals. It had the entire liturgy listed clearly in order. No one ever complained and I cut way back on paper waste each weekend (being good stewards includes taking care of the environment). I even got clever enough to color code them with the liturgical season. Hymnals were in the pews and the greeters handed out the bookmarks. My situation now is quite different. My present parish has a tradition of announcing songs, and lately (just before my arrival) using projected images on the walls flanking the sanctuary. I am all by myself at the 11:30 mass so the projector is out of the question. I simply say, “Please turn to number____, number _____.” I have been asked to speak louder and repeat the number for those who have trouble hearing. But I keep the words to a respectful minimum.

The idea that Cantus doesn’t mean chant, but includes the word song is ridiculous, when the IGMR specifies the Graduale Romanum as the first option, relegating song or hymn to th he fourth.

It is quite clear what it means.

@ Todd Orbitz – comment #18: No, it isn’t ridiculous, but if I may say so, your logic almost is.

What the word ‘cantus’ means in Latin isn’t determined by how the IGMR (also known as the GIRM) uses the term! The term predates the IGMR. Paul Inwood is correct, in Latin it means “sung item.”

And the IGMR, in point of fact, lists Graduale Romanum as the first but not the only option, so the ‘cantus’ can be any of the four – including the fourth, another hymn or song. So the IGMR works against your argument here because it includes not only the first option but also the others.

And please, PLEASE, let’s not do the “hymns vs. propers” battle for the 100th time here. My comment is not meant to derail us onto that topic.

@ Todd Orbitz – comment #18:

Of course we aren’t the only language group to have difficulty with translation when it comes to the word cantus

The French Chant d’Entreé can occasionally mean “Entrance Chant” but 99% of the time it means “Entrance Song” or “Entrance Hymn” since the French seldom make use of Gregorian Chant propers. Some people object that the French for “song” is chanson , but that is a secular song. The technical term in French is cantique , which doesn’t mean “canticle” but rather “liturgical song”, but no one would ever refer to the Cantique d’Entreé …

no categorization of the sung item is necessary or particularly useful to the PIPs.

I think hospitality is more the attitude of the greeters at the door, the parishioners in the pews (not glaring, frowning, or otherwise being mean), the clergy in the narthex before Mass, and maybe the overall spirit after Mass. Music people shouldn’t have to do the task appointed for others.

I think I’ve posted this elsewhere on PT, but one of my choir directors instructs her group NOT to exchange the peace with one another. They are to leave the choir area and exchange with people they don’t know. She also has an experienced radio announcer and actor doing her announcements. If all were like him, I wouldn’t get trussed about them sticking to number, title, number.

On one hand, I really like being able to invite people to sing and cue people in to what is coming next.

However, I would love to go into the communion hymn without disrupting the action with an announcement. Some well-placed hymn boards and an educated assembly might be able to alleviate some of this. Maybe a combination of announcing and visual aids would help.

I follow a fairly standard British (Anglican) non-wordy custom, i.e., ‘We sing hymn number four hundred ninety, “Praise to the Lord, the Almighty,” number four nine zero.’ I find announcing ‘offertory hymn’ at the time of the offertory to be superfluous. I find phrases like ‘please join me in singing’ to be exclusionary, ‘please join in singing as you are able’ to be patronizing, and ‘please join in singing our offertory song at the preparation of the gifts’ to be verbose. The point of the announcement is to get the assembly singing, to not make the cantor or ensemble the focus, and to essentially stay out of the way. Clarity. Brevity.

Our parishioners sing very well because we offer them songs and settings that are singable. Before the procession begins, I greet the people warmly and direct them to the hymnal number as I invite them to stand. We have readable hymn boards and find no need for other invitations. Occasionally the music director chooses a preparation song which she knows and likes but is not a part of our repertoire. I will verbally point out that the song is very lovely though it’s not one we presently know, the cantor or choir will lead us until were ready to enter the song.

In our cathedral the hymns are generally printed on a sheet together with other information such as the acclamation to be used after the consecration and music where relevant for parts of the Mass as there is a licence to do this for which there is a fee, so no breach of copyright. There is no announcement at all in this case. On occasions eg during holiday period when the sheets are not printed “hymn books” are used and there is an announcement from the organ loft of the “hymn number”

As Louis notes in #26, at his Cathedral there is an order or worship with everything listed that will be sung for the service. When everything is clearly laid out, there doesn’t need to be all of these extraneous announcements and directions. My original post was basically noting the difference in Catholic Churches vs. most Episcopal Churches (the RC and Episcopal services are about 95% identical). Most Episcopal churches have bulletins that list the music and other responses in an easy to read and convenient format. We don’t have a lot of additional announcements, and I have seen individuals help visitors in the pews if they are lost.

I know this doesn’t bother some, but it’s nice when the very first spoken words of the service are “in the name if the Father…” . I think a lot of announcements and extra directions are distracting from the service.

A lot of the arguments for announcing the hymns on this thread are dressed up as being hospitable. This may be the case, but I don’t think this is the main issue. Most RC churches have several different books (hymnal, missallette, etc.), and it can be confusing to find things. Catholics seem to refuse to print orders of worship! I don’t know if it’s a combination of laziness or cost, or both. I think Catholics should move to orders of worship that would make things more streamlined, more visitor friendly, and they would help eliminate a bunch of extra spoken words from the service.

Anthony Ruff, OSB : @ Todd Orbitz – comment #18: What the word ‘cantus’ means in Latin isn’t determined by how the IGMR (also known as the GIRM) uses the term! The term predates the IGMR. Paul Inwood is correct, in Latin it means “sung item.” And the IGMR, in point of fact, lists Graduale Romanum as the first but not the only option, so the ‘cantus’ can be any of the four – including the fourth, another hymn or song. So the IGMR works against your argument here because it includes not only the first option but also the others. awr awr

But cantus definitively means chant.

From the IGMR:

47. Populo congregato, dum ingreditur sacerdos cum diacono et ministris, cantus ad introitum incipitur . Finis huius cantus est celebrationem aperire, unionem congregatorum fovere, eorumque mentem in mysterium temporis liturgici vel festivitatis introducere atque processionem sacerdotis ministrorumque comitari.

48. Peragitur autem a schola et populo alternatim, vel simili modo a cantore et populo, vel totus a populo vel a schola sola. Adhiberi potest sive antiphona cum suo psalmo in Graduali Romano vel in Graduali simplici exstans, sive alius cantus, actioni sacrae, diei vel temporis indoli congruus, cuius textus a Conferentia Episcoporum sit approbatus.56

Si ad introitum non habetur cantus, antiphona in Missali proposita recitatur sive a fidelibus, sive ab aliquibus ex ipsis, sive a lectore, sin aliter ab ipso sacerdote, qui potest etiam in modum monitionis initialis (cf. n. 31) eam aptare.

Introitum is a word which has a definitive meaning, and cantus modifies it here. It means “chant”, and it IS referring to a specific proper.

Now with 48, we specifically see that the Conference can modify…

(continued from last)….

Yes, the Bishops modified the GIRM, providing four options, but maintaining the priority of the universal law in accord with liturgical norms.

If you would like a definitive ruling on this, I think I can turn one around from the CDW pretty quickly. In fact, I think I will.

It’ll be signed by H.E. Llovera and the Secretary – who I think is still Art Roche.

@ Todd Orbitz – comment #33: No, I’m sorry, but the official GIRM in Latin has said “cantus” ever since Vatican II and this has meant all four options including vernacular hymns and songs. The four options are in the Latin document from Rome, not just in the adaptations of national conferences. So the Latin has used “cantus” to mean not just “chant” but all the things which may be sung, including vernacular hymns and songs. Rome doesn’t use the term the way you claim. awr

@ Todd Orbitz – comment #33: Definitive ruling from the CDW – still waiting?

This is where I find printed worship aids to be well worth their cost of both time and money. They go a long way toward liturgical hospitality without interupting the liturgy with awkward announcements. We use a worship aid with the songs reprinted (with permission) on it, in order with the other assembly responses, so that it is easy to follow for parishioners, rechurched, or unchurched folks alike. No juggling of hymnals. We make one music-related announcement at the start of Mass: “Let us stand as we sing together our Gathering Hymn.” Truth be told, I don’t think even this announcement is necessary, but, considering we do parish announcements before Mass, this seems to serve as a way of refocusing our attention from other goings on to the liturgy for which we have gathered.

That being said, if you are in a situation such as described in the original post, I think something akin to, “For the Preparation of the Gifts, we will sing [#, title, #],” sounds like the best option. Probably best not to use words like “chant”, “song”, “hymn”, so as not to have folks get hung up on their connotations. That being said, if one of these words must be used, “hymn” is probably the most universal fit of the three in modern church parlance, and the least likely to cause any hang-ups.

I will also say that I was recently on vacation and attended Mass in a parish in another diocese. They had a hymnal, hymnboard, and announced numbers prior to each hymn. I do not remember how the announcements were worded. I do remember that the priest and deacon were wonderful, the organist and cantor were very competent, the hymns selected were familiar ones, but the people barely sang! Not sure why. Perhaps it takes a congregation to lead a congregation, if you take my meaning. Seems like the parish we were visiting also had a new-ish pastor, so perhaps he will work on this, as he seemed to be a confident singer. Anyway, I am very much looking forward to leading my parish in robust singing this weekend!

I attended mass at the cathedral in Boston and no one sang or spoke in respected to the priest.

Todd, cantus can also mean ‘birdsong’, or the crowing of a cockerel. As Anthony says, it simply refers to something sung.

The similarity with English ‘chant’ is yet another false friend.

At the risk of prolonging this discussion still further, (1) cantus means “sung item” — no dispute possible about that; (2) cantus ad introitum can mean “Introit Chant” but it can also mean “song [sung item] at the introit or entrance”.

Fun, fun. I know what the IGMR HAS said since 1970. I spent years working with this as my base text.

Perhaps you can refer to Notitiae’s Dubia from DOL to try to prove a point, but we’ll get a real answer. And yes, it may take a few months, but it will come, and in a move authoritative format than a dubium

It was also asserted that the Pian rite had been abrogated for over 40 -years, then magically, we find out it hadn’t been.

We need the definitive ruling.

@ Todd Orbitz – comment #39: Yawn. We don’t need a definitive ruling. This is a web site, not a parish or diocese. End result: you will find a community more to your liking and other commentators will guide or merely celebrate their liturgy as they wish, singing songs mostly. Hymns maybe a bit less, and chants here and there. The ruling may even be irrelevant because of the way the question was framed.

There are reasons Gregorian chant faded into near-oblivion, and there are reasons for its return in many scattered places. If the movement had a hope of success, it might have been tried seventy to a hundred years ago. But it wasn’t. Its early 20th-century proponents did not have evangelization and spreading the Gospel in mind. Any movement too much focused on musical style, performance, and even the “correct” interpretation from above is doomed, I think, to frustration and failure.

What spreads the faith and grows it? Better texts inspired by the Scripture, especially the Lectionary. Better trained music leaders who can put life into any music they present to their assemblies. Focusing too much on the particulars of sacred music is a form of idolatry. Focusing on the hearts of believers and what will sustain and inspire people, regardless of genre, is what is needed.

You must have missed Catholic grade school in the 50’s. Every morning five days a week at 8 am we sang High Mass in Gregorian chant–with an interlinear translation. From my earliest years I was actively participating so the conciliar changes were just the next step to me. To this day I read neums better than notes.

I’d prefer a worship aid over announcements- and I see those more often when in sub in at parishes with a full time music director liturgist and then the announcing can be limited or non-existent. But there’s time and cost involved and a smaller parish may not have the personnel to prepare. So most parishes need the announcements. Shorter is better – but some parishes do have a choice of hymnals so that information has to be communicated as well. Hymn boards with numbers work best in small churches otherwise unless there are multiple hymn boards – those in back or on the sides cannot see. I like to use the word “hymn” even with contemporary music as I believe the common definition of “hymn” is a little more precise (I.e., it is a sacred song) than the generic “song” and I hope reminds us that what we are singing is different from music we hear in the car or on our iPods.

We now use the third edition of the Roman Missal. In it we find the General Instruction (GIRM). – the universal church instructing us in how to celebrate Mass. In each of the three editions we can turn our attention to the Entrance, the Offertory and the Communion sections to find instruction concerning the music. What is interesting is the word “chant” was used exclusively in the English Translation of the GIRM (1st edition 1970 and 1971 and 3rd edition (2002) but in the second edition (1975) the word “song” was used extensively. Curiously the LATIN EDITION of the GIRM had NO change in the wording throughout all three editions in reference to music. The GIRM consistently offered four options – for what should be sung at Entrance, offertory and communion. (1) the Antiphon and its psalm from the Graduale Romanum as set to music there or another setting,(2) the antiphon and psalm from Graduale Simplex for the season, (3) a chant from another collection of psalms and antiphons approved by the national conference (4) another liturgical chant approved by the national conference or the local bishop. This is the gist of the current third edition English wording. HOWEVER for 25 years the 2nd edition prevailed. Item number 4 read – another liturgical SONG…Thus legitimizing the prevailing practice (the use of hymns and songs)…. Addressing this overreach – This “making the practice form the rule” interpretation, was one of the reasons for the publication of the 3rd edition. By the time the 3rd edition came out Liturgical Music Industry empires had been built. With the change of a single word – “Song” – back to the word “Chant” that empire was forced to embark on a campaign to re-imagine the word “chant” back into “song” – in the minds of its consumers – so the third edition would continue to support its business model. Look at the wording of any current Liturgy planner for confirmation of that reality. In this grand industry saving plan in 25 years or probably a lot less – the word “chant” will, by the nature of persistent common usage, be etymologically converted from its current precise meaning in catholic music culture into anything they need it to mean.

This is entirely a false issue (and one that only exists in English), given that the word for song in Latin is ‘cantus’, and the verb to sing is cantare (in French ‘chanter’). Liturgists of a bygone age in England adopted the French word in their monasteries (all monasteries in the British Isles from 11th century onwards came via the Norman dynasty, whose lexicon was borrowed heavily in the publication of the Book of Common Prayer of the Anglican communion). In fact, the error is probably that in order to set Church music apart from folk music, two words existed in English when they both mean the same thing (e.g. Gregorian Chant means Gregorian Song). If I was to ask an Italian whether there is a difference between canto or canto they’d look at me strangely, and probably would even laugh in my face to this day. To argue any difference is to encourage some conspiracy theory, rather than the valid translation of the original Latin either way.

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