1

DIOCESE OF TAGBILARAN
Commission on Sacred Music
Tagbilaran City

SOME NOTES ON LITURGICAL MUSIC

A. INTRODUCTION

1. Music, Faith and Theology

Ordinary language is inadequate to convey our deepest human experiences. Our profound
religious experiences cannot be communicated by simple words, and therefore we resort necessarily
so to symbolic language – one of which is music.1 As a symbolic language, it conveys not only
ideas, but yearnings, hopes, desires, passions, struggles, dreams and visions. That is why people
encounter God through music, and therefore music is a symbolic expression of our faith.2
As “language of the soul”, it is a means of the soul to lovingly respond to God revealing
himself to mankind. Likewise, liturgical music is the faithful’s concrete, dynamic and grateful
response to Christ who offers himself in the Eucharist for our redemption. Therefore, the role of
music in the liturgy is not only to assist the faithful to pray and contemplate. If music is our soul’s
loving response to God, then it does not only accompany our worship, but we worship through
music.3 The songs we sing and the music we play are themselves our own way of worshipping. It
therefore makes sense if we do not only sing at Mass, but we sing the Mass.4

2. Liturgical Music
Liturgical or Sacred Music exercises a ministerial function in the service of the
Lord.5Therefore, the more closely it is joined to the liturgical rite, the more holy it is.
The effectivity and power of the liturgical celebration frequently depends upon its unity – a
unity from the liturgical feast or season or from the readings, and artistic unity flowing form the skillful
selection of music and related arts.
A Liturgical service takes on a noble aspect when the rites are celebrated with singing, the
sacred ministers take their part in them, and the faithful actively participate. 6 But active participation
does not mean that the congregation should always take part in the singing. It may mean: a) active
participation through singing, and b) active participation through prayer (while listening to proper
liturgical music).7 Therefore, the congregation may not to sing all the songs and responses in the
Mass. There are songs or parts where the choir may sing alone (Entrance, Gloria, Offertory,
Communion, Recessional, etc), but there are other parts that properly belong to the people, and
therefore should not be taken over by the choir (Lord, Have Mercy; Sanctus; Our Father; the
Acclamations: etc). Here, the choir may harmonize, sing a descant to the people’s part, or enhance
the music, or even sing alternately with the congregation when appropriate. But the people should
never be left out in the songs that belong to them.8

3. Literary Genre (type/style)

The principal songs sung in the Mass may be classified into literary genres, which, therefore,
have its corresponding literary musical forms:
1
Manuel Francisco, SJ, “Music Faith and Theology,” Academic Convocation at Saint John Vianney Theological
Seminary, Academic Year 2003-2004.
2
Farncisco, “Music.”
3
Francisco, “Music.”
4
Francisco, “Music.”
5
Benildus Ma. Maramba, OSB, “Liturgical Music 3,” Paul VI Institute of Liturgy: 1.
6
Sacrosantum Concilium 113.
7
Florencio Salvador, STD, “Music and Liturgy,” A Talk on Liturgical Music, Saint John Vianney Theological
Seminary, Academic Year 2001-2002.
8
Musicam Sacram 16c.
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a) Acclamations
= Alleluia, Sanctus, Memorial Acclamation, Great Amen, Doxology and The Lord’s
Prayer.
- They are shouts of joy; forceful and meaningful affirmations of God’s words and
actions. It is (therefore) of their nature that they are rhythmically strong, melodically
appealing, and affirmative.9

b) Processional Songs
= Entrance, Communion, etc.
- They create and sustain community awareness. Thus, they emphasize communion,
and not adoration.

c) Responsories
= Responsorial Psalm, etc.
- This has the character of a psalmody. Thus, it is best if chanted; however, we may
still adapt contemporary melodies, especially on special and festive occasions.

d) Litanies
= Kyrie, Lamb of God, Prayers of the Faithful, etc.
- They offer a venue for litanical singing, so they may be sung antiphonically. If they
are sung, they might be more effective if they take the form of a simple musical declamation
rather than an extensive and ornate musical structure.

e) Prayer
= Collects, The Lord’s Prayer, etc.
- They should evoke a prayerful atmosphere. Therefore, no loud and fast tempos are
allowed here.
- Presidential prayers, which are chanted by the priest, require no accompaniment, to
enhance solemnity.

f) Hymn
= Gloria
- A hymn is a song of praise. Hence, it may be sung grandiosely and majestically, but
may also be presented antiphonically.

4. Some General Considerations on Liturgical Music

a) Only liturgical music with approved liturgical text by competent ecclesiastical
authority are admitted and ordained for divine worship.
b) In rendering a song, musicians and all other accompanists are to consider the
intention of the composer which is reflected in his composition and the purpose
of which the song was composed.
c) All music introduced into the liturgy should pass the following standards:
i. aesthetic (is it musically sound?)
ii. liturgical (does it fit or enhance the liturgy?)
iii. pastoral (does it draw closer to God?)
In short, is the music conducive to public worship?

B. SPECIFIC APPLICATIONS

1. Entrance Hymn (Congregation: Standing)

- One of the two processional songs (the other is the communion song).
- The purpose of this song is to:
a) open the celebration,
b) deepen unity of the people,
c) introduce them to the mystery of the season or feast, and
d) accompany the procession, if any.10
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- Another song may be sung if the processional takes so long.
- If there is no entrance procession, a short gathering or opening song will do.
- If there is an entrance procession, the song should be cut to its nearest cutting point when
the priest arrives at the altar, ready to begin the celebration..
- The entrance song may be sung:
a) alternately by the choir and people or by the cantor and people
b) entirely by the people
c) entirely by the choir alone.11

2. Penitential Rite (Congregation: standing)

- The priest leads the community in expressing contrition and deep sorrow by reciting " I
confess…”
- This is followed by the Kyrie Eleison (Lord, Have Mercy), which is primarily a joyful
acclamation to Christ and implores his mercy.12
o Thus, its mood is not necessarily gloomy or sorrowful.
o Normally, it should be brief and simple in order not to give undue importance to the
introductory rites.
o If Penitential Rite number I is used, the simple form of the Kyrie follows (thus, “Isugid
ko…” or “Kami nakasala…” does not apply).
o If Penitential Rite number II or III is used, the Kyrie is omitted.
- When the Gloria is sung, it is preferable not to sing the Kyrie anymore, but instead
incorporate it in the penitential rite (except in very Solemn Celebrations) to avoid making the
introductory part of the Mass too long, leaving out the more important parts (Liturgy of the
Word and of the Eucharist).
- When the Gloria is not sung, as in Sundays of Lent and on weekday celebrations, it might be
apt to sing the Kyrie.

3. Rite of Sprinkling of Water (Congregation: standing)

- This is a form of penitential rite wherein the priest, while proceeding towards the altar,
sprinkles holy water on the congregation accompanied by entrance songs, which can be
about baptism/water or about the faith.
- Examples of these are the songs "Asperges Me”, “Vidi Aquam” and “Water of Life”.
- Here, the Kyrie is omitted.

4. Gloria (Congregation: standing)

- This ancient hymn of praise may be introduced by the celebrant, cantor, or choir or
assembly.13
- This is used on Sundays outside Lent/Advent, on solemnities/feast and in solemn local
celebration.
- It may be sung antiphonically.
- It is sung:
a) by the congregation
b) by the people alternately with the choir
d) or by the choir alone14 especially on festive occasions.

5. Responsorial Psalm (Congregation: Sitting)

- The responsorial psalm is an integral part of the liturgy and may not be replaced with just any
song.15
- It has the character of a psalmody.
- Sometimes, a canticle is given in the liturgical text, e.g. the Magnificat on some feasts of the
Blessed Virgin Mary.
- The cantor of the Psalm chants the verses while the congregation takes part by singing the
response, unless the psalm is sung straight through without response. 16

12
GIRM 30.
13
Maramba, “Liturgical,” 5; EG 41; MCW 66.
14
GIRM 31.
15
Maramba, “Liturgical,” 4; EG 25.
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- It is recommended that at least the response be sung even if the psalm itself is recited. 17
- To facilitate reflection, there may be a brief period of silence between the first reading and
the responsorial psalm.18

6. “Alleluia” or Gospel Acclamation (Congregation: standing)

- The alleluia is an acclamation of paschal joy and prepares the congregation for the Gospel.
- The choir/people sings "Alleluia", after which the verse is recited by the commentator or sung
by a Cantor, then the "Alleluia” is sung again by the choir/people.
- If an alleluia acclamation chosen already has a verse incorporated in it, there is no need to
sing or recite the verse in the Lectionary.
- During solemnities, the singing of the alleluia shall continue until he priest/deacon arrives at
the Ambo.
- The Gospel Acclamation should follow the literary form: Alleluia, verse, Alleluia.
- "Alleluia" is sung during Advent but not during Lent, when a short additional acclamation may
be sung to introduce the verse.
- During Lent, these four models are given for the Gospel Acclamation:
a) Praise to you, Lord Jesus Christ, King of endless glory.
b) Praise and honor to you, Lord Jesus Christ.
c) Give glory and praise to you, Lord Jesus Christ.
d) Glory to you, Word of God, Lord Jesus Christ.19
- The Ordo Missae states that if not sung, it should be omitted.
- The GIRM makes use of the words “debet cantare”, meaning it ought to be sung.

7. Gospel (Congregation: standing)

- The priest proclaims the full text of the Gospel. He starts by intoning "the Lord be with you” /
“Ang Ginoo maana-a kaninyo".
- The whole Gospel may be sung by an ordained minister (deacon or priest) only.

8. Credo/Creed (Congregation: standing)

- The priest leads the people in reciting the profession faith.
- It may be sung provided the musical setting is simple so that the people can sing (thus, it
may be antiphonically sung).

9. Prayers of the Faithful (Congregation: standing)

- This is the prayer of the faithful for general intercession.
- Usually, it is recited but it may be sung.
- The intentions may be read accompanied by instrumental music, or may be chanted, and the
response may be sung.
- Because the General Intercessions offer an opportunity for litanical singing 20, it is
encouraged that the congregation sing the responses even if the intercessions are recited.
- If the response is to be sung and the tune is new, it has to be rehearsed with the people
before the start of the Mass.

10. Offertory Song / Song for the Preparation of Gifts ( Congregation: Sitting)
- A presentation song is sung to accompany the offertory procession until the gifts are placed
on the altar but may continue until the washing of the hands by the priest.
- The song need not speak of bread and wine.
- This song’s proper function is to accompany and affirm the communal aspect of procession,
if there is any.
- Thus, any appropriate song of praise or of rejoicing in keeping with the season can be sung.
- The offertory song may be sung:
a) by the choir
b) by the congregation
c) by the choir or cantor alternating with the congregation 21
d) by a soloist with instrumental accompaniment, as a practice in the Philippines.

19
Maramba, “Liturgical,” 2; EG 26.
20
Maramba, “Liturgical,” 8; MCW 74.
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- Organ or instrumental music alone may accompany the offertory procession.

11. Preface (Congregation: standing)

- This is chanted or recited by the celebrant alone, preceded by the dialogue, "The Lord be
with you” / “Ang Ginoo maana-a kaninyo".
- Accompaniment is not allowed.

12. Sanctus (Congregation: Standing)

- This is an acclamation of praise which belongs to the priest and the people. Therefore, it
should be singable by all
- On solemn feasts and occasions, harmony and descants may be added but the choir parts
must facilitate and make effective the people’s part.22
- Its text and literary form must be respected.
- The Eucharistic Prayer, which follows the Sanctus, may be appropriately chanted by the
celebrant, especially on Sundays and on festive occasions.

13. Memorial Acclamation (Congregation: kneeling)

- This is an acclamation, not a hymn, recalling Christ's passion, death and resurrection.
- Alleluias should not be added to the acclamation as it is not part of the liturgical text.

14. Great Amen (Congregation: kneeling)

- Here praise of God is confirmed and concluded by the acclamation "Amen" of the people.
- The "Amen” may be repeated or augmented.
- The choir may harmonize and expand upon the people’s acclamation. 23
- As much as possible, composers are to refrain from adding verses or alleluias into the
repeated Amen, so as not to confuse it with the Gospel Acclamation.

15. Our Father (Congregation: Standing)

- It is recommended that in a Mass where there is singing, the Our Father be usually sung24
with the embolism.25
- The choir may enhance it with harmony and descants 26 but should never replace the part of
the people.

16. Doxology to the Our Father (Congregation: Standing)

- When both the Lord’s Prayer and embolism are sung, it is proper to also sing the doxology.
- But even when the Lord’s Prayer is sung and the embolism is only recited, it is still
recommended that the doxology be also sung.

17. Lamb of God (Congregation: Standing)

- This is a litany song that accompanies the breaking of bread and the commingling in
preparation for the communion.27
- The invocation may be repeated as long as the preparation of the priest is not yet over.
- The last part should always be "Grant us Peace".
- It is ordinarily sung:
a) by the choir or cantor with the people responding
b) by the choir alone28
c) by the congregation as is customary in the Philippines.

18. Communion Song (Congregation: Sitting)

- The communion song, which is also important for creating and sustaining community
awareness29 is begun while the priest is receiving the sacrament. 30
- It may be sung:

23
Maramba, “Liturgical,” 3; MCW 58.
24
MS 29c.
25
Repertoire & Ritual, Pastoral Music Vol. 17 no.3 p.23.
26
Maramba, “Liturgical,” 3; MCW 59.
27
GIRM 56e.
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a) by the choir alone
b) the choir or cantor with the people31
c) commonly by the people alone as is customary in the Philippines.
- If the organ is played or the choir sings during the distribution of communion, a
congregational song may well be sung after communion, providing a fitting expression of
oneness in the Eucharistic Lord. 32
- Most Benediction Hymns are not suitable to be sung as communion songs because in many
cases they emphasize adoration rather than communion. 33
- During the most important seasons of the year (Easter, Lent, Christmas and Advent),
communion songs should be seasonal in nature.
- To provide a reflective atmosphere, it is suggested that communion songs should be simple,
do not demand great effort, and should not have a festive mood and a fast, upbeat tempo.
- The selection of songs should be in agreement with the norm articulated in SC 121, “the
texts intended to be sung must always be in conformity with Catholic doctrine. Indeed, they
should be drawn chiefly from the Sacred Scriptures and from liturgical sources.” 34

19. Period of Silence/Song of Praise (Congregation: sitting)

- After everybody has received the Eucharist, the choir and congregation may sing a hymn of
praise and thanksgiving or a psalm.
- It would also be favorable if the congregation be given a time to reflect through silent prayer
(without any singing) after the communion. In such case, instrumental music may then be
played to provide a reflective mood.

20. Recessional (Congregation: standing)

- The recessional song has never been an official part of the Eucharistic Liturgy and so has no
liturgical function.35
- However, songs may be sung to accompany the recessional of the priest.
- There is no need to force people to stay while the song is being sung.
- The recessional music can be sung:
a) by the congregation with the choir or
b) by the choir alone.
- Organ or instrumental music can be played as the priest and the congregation recesses.
- Having no liturgical norms for the recessional song, musicians are free to choose the music,
provided that it gives an appropriate closing to the liturgy and respect to the Sacrament just
received.

C. ADDENDUM

1. On Accompaniment
- Organ, piano, guitar, violin and all other wind, string and brass instruments are acceptable
accompaniments.
- Organists shall be required to undergo a seminar on liturgical music.
- Minus-one accompaniments are not always encouraged.
o Everything that is happening during the Eucharist is a present moment. 36 So, just as
the Eucharist we receive is the bread that has been transformed at that very
moment, our music, which are our responses to that gift of Christ’s Body and Blood,
are also to be played and sung at that moment.
35
Maramba, “Liturgical,” 7; MCW 73; EG 50
9
Maramba, “Liturgical,” 2; MCW 53.
10
General Instruction to the Roman Missal, 25.
11
GIRM 26.
18
Maramba, “Liturgical,” 5; MCW 63.
22
Maramba, “Liturgical,” 3; MCW 56.
28
Maramba, “Liturgical,” 6; MCW 68.
31
GIRM 56 #1.
32
Maramba, “Liturgical,” 8; MCW 72.
33
Maramba, “Liturgical,” 4; MCW 62.
34
SC 121.
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o But if there are no musicians at all, minus-one accompaniments can be played,
especially if they evoke the congregation to sing. 37

2. On The Choir
- Only duly accredited choir or group shall be allowed to sing or lead the singing in the Mass,
including Weddings, Funerals and other special Masses.
- The accreditation authority pertains to the parish priest who is vested with the power to
revoke the same or require a periodic renewal.
- Prior to accreditation, choir or group leaders shall be required to undergo a seminar on
sacred music.

3. On Liturgical Songs Which Sound Like Love Songs Rather Than “Religious Songs”
- They are good liturgical songs, and should not be disregarded because “indeed, religious
songs are love songs”38 to God.
- Our liturgical music expresses our deepest religious sentiments, that cannot be contained in
ordinary language. Thus, the more our songs speak of our deepest yearning and longing
(and love) for God, the more religious, too, they become. 39
- (Articulating our love for God) has been part of our Christian Tradition: the Song of Songs,
the Psalms – so many of them are love poems to God. John of the Cross, (and) the Mystics
are speaking of “my Beloved”.40

4. On Liturgical Songs Which Use a Contemporary Melody

- They can be effective in the Liturgy. Songs have to speak to people today. 41
- Our faith is always inculturated to and in a culture. But culture is dynamic and ever-changing;
and therefore, if we are to convey our faith in God in ways that can communicate to people
right now, then we speak to them through their common language. If we inculturate the
Gospel message, the same is true with music.42
- However, careful attention should be made in such a way that even how contemporary their
melodies are, liturgical songs still retain their reflective and “transcendental” character, and
do not sound too secular and profane (like rap or rock music).
- Moreover, liturgical songs should not adapt melodies from popularly-known secular songs –
even how sentimental they are – so that they may not be identified as popular music, but
distinctly religious and liturgical.

5. On The Role of Cantors

- The cantor is very important:
o Musically, he adds so much texture to the song as he alternates with the choir and/or
the congregation.
o The cantor also helps in widening the repertoire – because we teach the
congregation not the entire song, but only the refrain. 43 It takes months for people to
learn a new song; so, we do not have to learn the entire song, and just allow the
cantor to sing the more difficult parts.
o Cantors (or soloists) can also provide a reflective atmosphere to the congregation as
they actively participate in silent prayer through listening.

6. On the Use of These Notes

- These notes aim at giving the faithful standard principles on proper liturgical music, so as to be in
harmony, consistency and propriety with all the liturgical actions. These, however, are still open to
some particular pastoral considerations, always taking into utmost importance the SALVATION OF
SOULS, which these notes primarily intend.

38
Francisco, “Music.”
39
Francisco, “Music.”
40
Francisco, “Music.”
41
Francisco, “Music.”
42
Francisco, “Music.”
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Prepared by:
Rev. Fr. Irvin B. Garsuta
Commision on Sacred Music.

16
GIRM 36.
17
GIRM 38.
21
GIRM 50.
29
Maramba, “Liturgical,” 3; MCW 60.
30
GIRM 119.
36
Francisco, “Music.”
37
Francisco, “Music.”
43
Francisco, “Music.”