Body Mapping

I recently attended a workshop on Vocal Techniques sponsored by my local chapter of National Pastoral Musicians (NPM). Using the Andover Body Mapping Technique, the presenter, Heather Buchanan gave us a new look on how our posture affects us when singing, playing the organ/instruments or directing. Body mapping refers to knowing your body and how the parts of your body move and interact as you sing/play your music. For more information on Body Mapping or to attend a workshop, check out these links:

The Andover Body Mapping Website: http://bodymap.org/

Heather Buchanan’s Body Mapping Website: http://bodymapping.net/

-Antonia

Solemnity of the Assumption of the Blessed Virgin Mary

Ave, María, grátia plena,

Dóminus tecum,

benedícta tu in muliéribus,

et benedíctus fructus ventris tui, Jesus.

Sancta María,

Mater Dei,

ora pronobis peccatóribus,
nunc et in hora mortis nostrae. Amen.

Hail Mary, full of grace, the Lord is with you.
Blessed are you among women,

Holy Mary, Mother of God, pray for us sinners now
and at the hour of death. Amen.

Photo:

Marian Name: Assumption Lily

Botanical Name: Hosta plantaginea "Royal Standard"

Missa Cantata

If you have the opportunity, don't miss the re-broadcast of the Missa Cantata High Mass in the extraordinary form for Good Shepherd Sunday on EWTN. The live airing was this morning at 8:00 AM from the Shrine of the Most Blessed Sacrament in Hanceville, AL; the re-broadcast will be at 12:00 AM.

HE IS RISEN! Alleluia, Alleluia!

Jesus Christ is risen today, Alleluia!
Our triumphant holy day, Alleluia!
Who did once upon the cross, Alleluia!
Suffer to redeem our loss. Alleluia!

Hymns of praise then let us sing, Alleluia!
Unto Christ, our heavenly King, Alleluia!
Who endured the cross and grave, Alleluia!
Sinners to redeem and save. Alleluia!

But the pains which He endured, Alleluia!
Our salvation have procured; Alleluia!
Now He rules, eternal King, Alleluia!
Where angels ever sing. Alleluia!

Sing we to our God above, Alleluia!
Praise eternal, as God's love; Alleluia!
Sing in praise, you heavenly host,
Father, Son and Holy Ghost. Alleluia!

Latin carol, 14th century
Lyra Davidica, London 1708
Psalmodia Evangelica, London 1789
Stanza 4: Charles Wesley, 1707-1788

in Just- spring...

Morning has broken,
like the first morning.
Blackbird has spoken,
like the first bird.
Praise for the singing!
Praise for the morning! Praise for them springing,
fresh from the Word

Sweet the rain’s new fall, sunlit from heaven.
Like the first dew fall
on the first grass.
Praise for the sweetness
of the wet garden.
Sprung in completeness where His feet pass.

Mine is the sunlight, mine is the morning.
Born of the one light Eden saw play!
Praise with elation, Praise ev’ry morning.
God’s recreation of the new day!

Written by Eleanor Farjeon in 1931 and published in The Children's Bells anthology under the original title "A Morning Song (For the First Day of Spring)" published by Oxford University Press in 1957. It was written to fit the traditional Gaelic tune "Bunessan".

P.S. The post title is of course from ee cummings

More Liturgical Music Musings

To those of you who may have been put off by my "Liturgical Music Musings" post here is a little more fuel for the fire. In a 3-part article on the Cantica Nova website, Dr. Lucy E. Carroll shares her views on Musicians in Catholic Worship.

In another article, "Singing for the Supper or the Sacrifice?", Dr. Carroll discusses the various composers of Liturgical Music and the appropriateness of these songs for the Mass. Anita Moore, Esq., OPL also has articles to support this subject on her blog V for Victory.

One more tip that I left out of my original post is a tip for the congregation: DO NOT CLAP at the end of Mass for the musicians. This is not a performance and therefore it is not appropriate for you applaud.

Music for the Lenten Season

Music for Lent doesn't always have to be restrictive and funereal. While we are in a penitential state of mind, our music can reflect that state. The Alleluia may be omitted, but our voices raised in song can still inspire us to spiritual introspection. As we journey through these forty days, here is a an excellent website to help with your Lenten music meditations: Cantica Nova. Don't forget to click on the link at the bottom of the their page for a very comprehensive listing of links of suitable choral pieces for Lent with accompanying reviews and specifications.

Liturgical Music Musings

Why has the music in the Catholic Church gotten so out of hand? The musicians play and sing as if they were putting on a show at the local theater, with music that is written as if it belongs on Broadway, rather than leading the congregation in song in the solemn celebration that it is supposed to be. The music is so rhythmically complex and the melodies disjunctive and discordant that the people cannot and will not sing. As Liturgical Music Directors and Musicians we need to curb this trend and return to the guidelines set forth by Church Doctrine.

The Catechism of the Catholic Church describes the purpose of liturgical music to be prayerful, to include the participation of the congregation and to be mindful of the solemnity of the celebration.

The musician should be mindful of this as well. His or her role at the organ, or the cantor stand, should be to lead and guide the congregation in song. This is not a performance; facial expressions and body language are key in setting the proper tone for the solemnity of the Mass. The organist should keep in mind that HOW the organ is played should be taken into account.

In her blog post, Why I rant, Anita Moore, Esq., OPL says, “At Mass, we are literally at the foot of the Cross...So then, when it comes to deciding what is appropriate at Mass and what is not appropriate, all we really have to do is ask ourselves one question: would this be appropriate at the foot of the Cross?”

Below are my tips and suggestions for both the Liturgical Musician and Musical Director. These were put together after watching and listening to colleagues execute their duties as church musicians.

Tips for the Liturgical Musician:

• Mistakes are human; be sure to give yourself enough time to review and discuss the music with the organist/cantor before Mass.
• Knowing your music is very important. Review it, making notes and highlighting your trouble spots, thereby making practice more efficient.
• Regular attendance at rehearsals and practice on your own is crucial.
• You have to be comfortable in front of the people.
• Have a clear and consistent communication with the people.
• Articulation in your speaking and singing is vital.
• Be sure to have a straight posture that is both conducive to singing and shows command.
• The object is to lead the people, not to make it a performance.
• Facial expressions should be kept to a minimum and should be reverential.
• Gestures for inviting the people to sing should be clear and appropriate to the Mass.
• Play and sing the music like a prayer.
• Dynamics, when used correctly, help to make the music more like a prayer.
• The organist/pianist should support the cantors and the people; this is Mass, not a concert performance.

Tips for the Liturgical Musical Director:

• Know your Choral and Solo Voices:

• Children and teens tend to have very high-pitched voices that are frequently off key. While a children’s or teen choir is very nice, the cantor should be an adult with experience.

  Intonation and pitch problems will result when the voice has too much vibrato and starts to warble. Conversely, the voice without vibrato is not controlled.

  Encourage singers to use their head-voice, rather than belting with the chest-voice. Belting will result in intonation and pitch problems.

  Encourage your singers in the choir to listen to each other for blending and tuning.

• Know your instrumentalists

• No matter what the occasion, the instrumentalists should be aware that this is a Mass, not a performance.

  Make sure that the instrumentalists are playing in tune.

  The instruments (including the Organ) should not be too loud or overpower the singer(s).

• Select music that is friendly, not only to the musicians and singers, but to the people; they will close their books and mouths if the music is difficult.
• Make rules and ensure that your musicians and singers adhere to them.
• Encourage your musicians to attend rehearsals regularly. Do not play favorites; use your discretion when rewarding your musicians, based on talent and conformity to your rules