Singing the Gloria
Paul H. Colloton
As the congregation sings the Gloria, God is being praised
through the text of an ancient hymn. When the entire assembly
owns the words of this hymn and sings from their heart, their
joy in glorifying God reverberates throughout the church.
Sometimes, though, for varied reasons, the assembly does not
participate in this hymn wholeheartedly. As the priest celebrant,
I have sometimes been pleasantly surprised with how well the
assembly sang a setting and occasionally perplexed.
When the organ intoned the Gloria, from James
Chepponis’ Jubilation Mass, at the Easter Vigil, the assembly
sang the refrain with a gusto that increased each time the refrain
was repeated. However, I was surprised that more of the assembly did not join the cantor and choir in singing the verses. The
setting had been introduced the previous November, and during
the next four weeks, more and more people began to sing the
verses. That setting of the Gloria, though, was set aside during
Lent, and when it was sung again at the Easter Vigil, it became
evident that time would be needed for the verses to return to the
throats and bodies of the assembly.
On solemnities and feast days that fall during the week,
our parish has sung the Congregational Mass, by John Lee. At
first, I turned the first line into a refrain, since we did not have
copies of the setting in our pews. However, as we’ve sung this
setting, more people have joined in the singing of the verses. We
will be able to sing this setting as through-composed, which is
how it was written.
Considering settings of the Gloria, and the response of the
assembly to them, I have reflected on what helps a congregation
sing the Gloria: Is it the musical style of the setting? The size of the
assembly? Is it the use of a refrain or through-composed setting?
singing with accompaniment or a cappella? I offer observations
based on personal experience as a musician and liturgist and on
non-scientific polling of other pastoral musicians.
REFRAIN OR THROUGH-COMPOSED
Prior to the promulgation of the third typical edition of
The Roman Missal, it seemed that more parishes chose to sing
refrain settings of the Gloria than those that were through-composed. However, with the third edition of the Missal, an increasing number of parishes sing a setting of the Gloria that is
through-composed, as encouraged by the Bishops’ Committee
on Divine Worship.1
A number of directors of music ministry (DMM) that I
polled noted that, as the congregation become more familiar
with refrain-style settings, they will start to sing the verses with
the cantors or choirs and take ownership of the text. One director noted that, when a refrain setting of the Gloria is sung, the
assembly feels relegated to listening rather than singing the text.
There is a place in the liturgy for interior active participation, such
as the active listening to texts that choirs sing as they invite the
congregation to enter into the prayer of the liturgy.2 However, singing assemblies intuitively affirm the truth of these words: “the
church puts words into our mouths until they become our words of
praise for all that has been given us.”3 My informal survey affirms
this, whether the gathered assembly is small or large.
MUSICAL STYLE AND SINGABILITY
Almost to a person, my impromptu survey of DMMs affirms
that settings of the Gloria with a “singable” melody contribute to
the assembly’s willingness to lend their voices to this hymn.
What does singable mean? Elements of singability include a
range that is not too large, that is, the range is usually within an
octave and not higher than the “D” in the octave above middle C
and not lower than the B-flat immediately below middle C.
Second, melodies in singable texts do not contain large jumps
between notes. Musicologists describe singability in various
ways. Most would say that an interval should not be larger than
a perfect fourth (think of the beginning of “Immaculate Mary”)
or a perfect fifth (think of the beginning of “God Rest Ye Merry
Gentlemen” or “Now the Green Blade Rises”). The melody of
singable music contains stepwise movement between notes, as is
evident in “Joy to the World,” which steps down the scale.
Chordal outlines, such as are heard in the beginning of “Jesus
Christ Is Risen Today,” enhance singability.
Some examples of settings that exemplify singability include
the following:
Gloria
Mass of Renewal: ThereCantor
are stepwise movements and the
intervals
are
within
the
range
of
a fifth. William Gokelman & David Kauffman
q. = ca. 70
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high - est,
and on earth peace to peo - ple of good will.
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praise you, we
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God,
hea - ven - ly King, O God, al - migh - ty
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peace to
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Lord, Je - sus Christ, On - ly Be - got - ten Son,
Fa - ther.
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Lord God, Lamb of God,
Son of the
Mass of Redemption: The melodic intervals include fifths,
fourths, thirds, and stepwise movement.
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Text: ICEL, © 2010
Music: Jubilation Mass, James Chepponis, ©1999, 2010, GIA Publications, Inc.
All rights reserved. Used by permission.
right hand of
the Fa - ther, have mer - cy
on
us.
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Text: ICEL, ©2010
Music: Mass of Creation, Marty Haugen, © 1984, 1985, 2010, GIA Publications, Inc.
All rights reserved. Used by permission.
a
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Text © 2010, ICEL
men.
Steven R. Janco
Music © 2010, WLP
Another feature of singability is rhythm. Leonard
Bernstein suggested that US English is sung best in 3/4 or 6/8
rhythms. The previous examples reflect these rhythms. However,
settings in 2/4 and 4/4 also provide a sense of confidence and
sing well. Some examples include “Glory to God,” from the Mass
of Wisdom, by Stephen R. Janco. The steady 4/4 setting invites
the assembly into a consistent rhythm that offers a firm foundation. The popular setting by Dan Schutte from the Mass of
Christ the Savior is also set in 2/4 and has proven to be popular
because it is easily sung and includes some rhythmic challenge.
Christopher Walker’s Mass of St. Paul the Apostle is in 4/4
rhythm and includes syncopation at the beginning and on the
text “We praise you, we bless you.” This syncopation creates
rhythmic interest and emphasizes the text in ways that wed text
and melody well.
6
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Gl
Mass of St. Paul the Apostle: The syncopation in the piece
creates rhythmic interest
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GLORY
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Mass of St. Paul the Apostle
and melody.
Glo - ry
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September | October 2015
Christopher Walker
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I
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(Cantor or choir)
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Glo-ry to God in the high-est, and on earth peace to peo-ple of good will.
II
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œ
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has
Lord God, Lamb of God, Son of the Fa - ther,
responded
to chanting the Gloria.
II
On-ly Be-got -ten Son,
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ACCOMPANIMENT
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Text: ICEL, © 2010
Music: Congregational Mass; John Lee, revised by Ronald F. Krisman, © 1970, 2011, GIA Publications, Inc.
us;
˙
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in Divine Worship re
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- ceive
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our# focus needs to be helping people sing the liturgy. One DMM
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with the Ho -the
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and prayerful
most
beneficial.
Practicing
a- setting
in the glo -are
ry of
God the
Fa - ther.
A
men.for a few
weeks
it is sung at Mass can be helpful. IfRichard
it isProulx,
a refrain
Text © 2010, before
ICEL
1937–2010
Music © 2010, WLP
setting, teaching the refrain and using the piece the same day
can work. The congregation will learn the rest of the melody as
they hear the cantor or choir sing. Once the congregation knows
the setting, they will enter into the text if invited to do so. Even a
refrain setting becomes through-composed in practice. Play
through melodies as a prelude for a few Sundays or as an instrumental at the Presentation of the Gifts. Whichever method you
use to attune the congregation to a setting, invite the assembly to
sing. Practice so that they hear the melody in advance and feel welcomed to join in singing. After all, they already know the words.
Practice and introduce new melodies in an inviting way whether
your assembly is large or small.
When accompanying an assembly, make sure that the
accompaniment supports the melody and the people. Make the
melody heard clearly. Be sure that the instruments are not so loud
that they drown out the congregation nor so soft that the assembly does not feel supported. This requires a delicate balance but
one that a DMM can help accompanists learn and practice.
CONCLUSION
Your experience may affirm some of what I’ve written and lead
you to question other parts of this article. My hope is that your
response will invite you to reflect on your musical practice in
light of what helps your assembly sing the liturgy. Choose styles
that support entering into song for your people. Choose settings
that reflect what the documents say about the place of music in
our worship and how to make good liturgical, musical, and pastoral judgments. Then help the congregation sing “together . . .
the sacramental presence of God to his people” (Sing to the Lord, 2).
Musical settings of the Glory to God: Text from the English translation of The
Roman Missal © 2010, International Commission on English in the Liturgy
Corporation. All rights reserved.
Mass of Redemption (Stephen R. Janco): music © 2010, World Library Publications;
Mass of Saint Ann (Ed Bolduc): music © 2011, World Library Publications; Gloria
Simplex by Richard Proulx, 1937–2010 (from Missa Simplex, Michael O’Connor/
Richard Proulx): music © 2010, World Library Publications, wlpmusic.com. All
rights reserved. Used with permission.
Congregational Mass, (John Lee, revised by Ronald F. Krisman): music © 1970,
2011, GIA Publications, Inc.; Jubilation Mass (James Chepponis): music © 1999,
2010, GIA Publications, Inc.; Mass of Creation (Marty Haugen): © 1984, 1985, 2010,
GIA Publications, Inc. All rights reserved. Used with permission.
Mass of St. Paul the Apostle (Christopher Walker): music © 2007, 2010, published
by OCP. All rights reserved. Used with permission.
Mass of Renewal (William Gokelman and David Kauffman): music © 2010 GFTS
Music Publishing Company, www.massofrenewal.com. Administered by Music
Services, Inc. www.musciservices.org. All rights reserved. Used with permission.
Notes
1. See Bishops’ Committee on Liturgy, Policy for the Approval of
Sung Settings of Liturgical Texts, referenced in Sing to the Lord: Music
in Divine Worship, 149, footnote 116.
2. See United States Conference of Catholic Bishops, Sing to the
Lord: Music in Divine Worship, 12, and Sacred Congregation of Rites,
Musicam Sacram (Instruction on Music in the Liturgy), 15.
3. Catherine Vincie, “The Mystagogical Implications” in
A Commentary on the Order of Mass of “The Roman Missal,” ed. Edward
Foley (Collegeville, MN: Pueblo Books, 2011), 149. Rev. Paul H. Colloton, osfs, dmin, is the associate pastor serving
Immaculate Conception/St. Jude Parish, Elkton, Maryland. For more
than thirteen years, Paul served as the director of continuing
education for the National Association of Pastoral Musicians. Paul
is a liturgist, musician, spiritual director, presider, preacher,
clinician and writer.
PastoralLiturgy.org
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