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AIM For Your Formation............................. 2 Formación para Fieles ...............................3 Alan Hommerding.........................................5 Not on Bread Alone Our Contributors............................................6 spring/prim aver a 2010 vol. 39 No. 1 Pastor Al Notes......................................... 10 New Birth and the Mother of all Vigils Publications of Note...............................18 New Resources for Instruments and a New Voice by Alan J. Hommerding, Christine Krzystofczyk and Ron Rendek A look at this issue's authors Mary Beth Kunde-Anderson...................6 Making some "Mary" time for parish "Marthas" WLP Staff Notes............................................7 Getting to know us music For Your Review........................................20 Music for cantor, choir, and assembly by Mary Beth Kunde-Anderson Have You Heard?.......................................23 features ♦ Perspectives on Participation: From the Bench to the Pew........ 8 by Jerry Galipeau The Lord is My Shepherd by Tom Strickland LITURGY Liturgical Planner/ Planificador de Liturgia................. 24-31 Perspectivas sobre la Participación: de la Banqueta al Banco............. 9 por Jerry Galipeau Music Planner/ Planificador de Música............................32 Liturgy of the Word: Tent Security ............................ 12 by Ronald Raab, csc Índice de Música Hispana...........................................47 Beyond the Bio: Getting to Know WLP Artists Kathleen Demny Marcy Weckler Barr............. 14 On the cover: Canticle of Miriam Easter Vigil G. E. Mullan from Canticle: Biblical Songs Illustrated WLP 017347 Ash Wednesday through Easter Sunday 2010 Music in WLP Missals. ...............................44 Editor Alan J. Hommerding Vice President of Parish Services Mary Prete Associate Publisher Jerry Galipeau Director of Publications Mary Beth Kunde-Anderson Assistant Editor Marcia T. Lucey Production Manager Deb Johnston Production Designer Chris Broquet Contributors Ed Bolduc, Mary Brewick, Jerry Galipeau, Norma Garcia, Peter Kolar, Christine Krzystofczyk, Mary Beth Kunde-Anderson, Betty Zins Reiber, Ronald Rendek, Maria Elena Rodriguez, Thomas Strickland, Joan Thomas, op Marketing Jennifer Odegard Rights/Permissions Manager Michele vonEbers Edition No. 0310 • AIM: Liturgy Resources (ISSN 1079-459x) is published quarterly by World Library Publications, the music and liturgy division of J. S. Paluch Company, Inc. Editorial comments, letters to the editor, subscription inquiries, and articles submitted for publication should be addressed to AIM, World Library Publications, 3708 River Road, Suite 400, Franklin Park, IL 60131-2158. Individual subscriptions at $15.00 a year prepaid; overseas at $25.00 (includes airmail postage). Bulk subscriptions of 5 or more, mailed to the same address, are $9.00 a year for each subscription. AIM: Liturgy Resources is available as a more affordable electronic download subscription. A single subscription is $12.00 per year. Additional subscriptions are $6.00 per year. Subscribers to the electronic version may make as many copies as paid subscriptions. If billed for one electronic copy of AIM: Liturgy Resources, the subscriber may make one copy. To make additional copies, additional subscriptions must be ordered. This is an excellent way to provide personal copies for all those in the parish actively engaged in liturgical ministry. To subscribe to either edition (paper or electronic) of AIM, contact WLP Customer Care by phone at 1-800-566-6150 or by e-mail at firstname.lastname@example.org. © Copyright 2009 by World Library Publications, the music and liturgy division of J. S. Paluch Company, Inc. All rights reserved. None of the contents of this publication may be reprinted in any way without written permission of the publisher. spring/prim aver a 2010 AIM 1 A Newsletter for Appreciating and Celebrating the Church’s Prayer The Triduum and the Sunday Mass Formation T he sacred Triduum (“three days”) is the heart of our yearly liturgical celebrations of Christ. Like the heart of our human body, the very lifeblood of our Sundayby-Sunday celebration of the Mass is circulated from the Triduum. Below are a few of the ways this life-giving blood courses through the circulatory system of our weekly Lord’s Day. As you celebrate the one great liturgy of Holy Thursday-Good Friday-Easter Vigil, perhaps you will discover other ways that these celebrations are the heart and soul of the Sunday Mass. • Holy Thursday: We remember Christ giving his Body and Blood in the bread and cup; we recall him kneeling to wash others’ feet. • Sunday Mass: We come to receive Christ in Holy Communion; we are sent to be of service to the world. • Good Friday: We call to mind the sacrifice of Christ on the cross; we come to venerate the wood of the cross. • Sunday Mass: We call to mind Christ’s sacrifice in our Eucharistic Prayer; we sign ourselves with the cross at the beginning and end. • Easter Vigil: New Christians are baptized into the Body of Christ; we renew our own baptismal promises. • Sunday Mass: We gather as the baptized Body of Christ to celebrate; we proclaim our baptismal faith in the Creed. Just as our blood re-circulates back to the heart, we must return to the Triduum every year to keep the blood flowing with life! CSI: Catholic Scene Investigation During the third, fourth, and fifth weeks of Lent, the elect (unbaptized people who will receive the sacraments at the Easter Vigil) experience three scrutinies. Since Lent is the Church’s springtime, it is appropriate that the first two focus on essential elements (water, light) that make possible the flowering of life (third scrutiny). Those of us already baptized are also called during Lent to scrutinize our lives to discover how this water, light, and life could be more present. Here are the Gospel stories that accompany the scrutinies: Water: The woman at the well (John 4:4–52) Light: The man born blind (John 9:1–41) Life: The raising of Lazarus (John 11:1–45) Quick Quiz This year during Lent we hear the parable of the return of the prodigal. Luke tells us there was music and dancing at the feast when the son returned. The Gospels only describe music or singing being present at one other event. Do you know what it is? a. The wedding at Cana b. The birth of Christ c. After the Last Supper d. Jesus’ ascension Answer: c. Matthew and Mark tell of Jesus and his friends singing hymns together after the Last Supper, as Jesus went forth to suffer, die, and rise again. FOR YOUR Permission is granted to make copies of this newsletter for parish circulation and other educational or formational purposes. Copyright © 2009, World Library Publications, the music and liturgy division of the J.S. Paluch Co., Inc. All rights reserved. Boletín Informativo para Apreciar y Celebrar la Oración de la Iglesia El Triduo y la Misa de Domingo CSI: Investigación de la Escena Católica Durante la tercera, cuarta y quinta semana de Cuaresma, los elegidos (personas no bautizadas que recibirán los sacramentos en la Vigilia Pascual) tendrán los tres escrutinios. Dado que la Cuaresma es tiempo primaveral de la Iglesia, es apropiado que los primeros dos se enfoquen en los elementos esenciales (agua, luz) que hacen posible el florecimiento de la vida (tercer escrutinio). Los que ya hemos sido bautizados también somos llamados durante la Cuaresma a examinar nuestras vidas para descubrir cómo esta luz, agua y vida pueden estar más presentes. Estos son los relatos del Evangelio que acompañan a los escrutinios: Agua: La mujer junto al pozo (Juan 4:4–52) Luz: El ciego de nacimiento (Juan 9:1–41) Vida: La resurrección de Lázaro (Juan 11:1–45) Pruebita Pronta Durante la Cuaresma este año escuchamos la parábola del retorno del hijo pródigo. Lucas nos dice que hubo música y baile cuando el hijo retornó. Los Evangelios sólo describen música y baile presentes en otro evento. ¿Sabes cuál es? a. Las bodas de Caná b. El nacimiento de Cristo c. Después de la Última Cena d. La ascensión de Jesús Respuesta: c. Mateo y Marcos cuentan que Jesús y sus amigos cantaron himnos juntos después de la Última Cena, cuando Jesús se encaminó a su Pasión, Muerte y Resurrección. Está permitida la copia de este boletín para su circulación en parroquias y con otros fines educativos y de formación. Copyright © 2009, World Library Publications, división musical y litúrgica de J.S. Paluch Co., Inc. Todos los derechos reservados. Formación E l santo Triduo (“tres días”) es el corazón de nuestras celebraciones de Cristo dentro del año litúrgico. Igual que el corazón en el cuerpo humano, la misma sangre vital de nuestra celebración de la misa domingo a domingo fluye del Triduo. Ofrecemos maneras en que esta sangre de vida corre por el sistema circulatorio del Día del Señor semanal. Al celebrar la única gran liturgia del Jueves Santo–Viernes Santo–Vigilia Pascual, tal vez descubras otras maneras en que estas celebraciones son alma y corazón de la Misa del domingo. • Jueves Santo: recordamos que Cristo entrega su Cuerpo y Sangre en el pan y el vino; lo recordamos arrodillándonos para lavarle los pies a otros. • Misa dominical: venimos a recibir a Cristo en la Santa Comunión; somos enviados para servir al mundo. • Viernes Santo: recordamos el sacrificio de Cristo en la cruz; venimos a venerar el madero de la cruz. • Misa dominical: recordamos el sacrificio de Cristo en la Plegaria Eucarística; nos santiguamos con la Señal de la Cruz al principio y al final. • Vigilia Pascual: los nuevos cristianos son bautizados en el Cuerpo de Cristo; renovamos nuestras promesas bautismales. • Misa dominical: Nos reunimos como el Cuerpo bautizado de Cristo para celebrar; proclamamos nuestra fe bautismal en el Credo. Así como nuestra sangre circula de vuelta al corazón, debemos retornar al Triduo cada año para mantener ¡esa sangre que fluye llena de vida! PARA FIELES In Memoriam Maragaret A. Paluch June 4, 1922–October 8, 2009 World Library Publications and the J.S. Paluch corporate family are deeply saddened by the loss of Margaret A. “Mickey” Paluch. Margaret A. Paluch’s two great personal commitments—to her family and to her Church—shaped her life and guided her business. Mother of nine and grandmother of seventeen, Margaret, better known as “Mickey,” was Chair of the Board of the J. S. Paluch Company, publisher of parish liturgical, communications, and vocation resources. She worked with her husband, Chester, head of the company originally established by his father, John S. Paluch. Following Chester’s death in 1980, Mickey assumed leadership of the company. Mickey served the Catholic Church throughout her life at the parish, archdiocesan, and national level, and was a parish choir, cantor, and catechist. She was honored to be Co-chair of the 1994 Chicago Archdiocesan Sesquicentennial Liturgy Committee. The Paluch Family Foundation, established by Mickey in 1995, funds liturgy, stewardship, and vocations projects. Award recipients are chosen for their witness to the gospel and service to the Church and their community. In 1991 St. Mary of the Lake Seminary, Mundelein, Illinois, established The Chester and Margaret Paluch Chair of Theology, endowed by a grant from Mickey. She served on the Development Board for St. Mary of the Lake Seminary, was a Steward of the Seminary, and was a recipient of the Rerum Novarum Award from St. Joseph’s College Seminary in Chicago. Mickey was a member of FATICA, an organization that supports vocation ministry. She often contributed her time and resources to fund-raising for the archdiocese and for religious orders. The area of Church vocations held a special place in Mickey’s heart and was a primary focus of her personal commitment. She established the J. S. Paluch National Vocations Awareness Division in April 1985, thus committing substantial resources of the company to support vocation ministry, locally and nationally. The Paluch Company supports vocation ministry through its worship resources, bulletins, calendars, financial contributions and personnel 4 AIM commitment to vocation projects and programs, and the annual J. S. Paluch Vocations Seminar. On April 27, 1998, the Catholic Theological Union (CTU) in Chicago, the largest Roman Catholic graduate school of theology and ministry in the U.S., dedicated Margaret Paluch Hall in honor of Mickey’s lifelong devotion to the Church. Mickey also supported the annual CTU Trustees Dinner and the Augustus Tolton Scholarship Fund. The U.S.A. and Canada Councils of Serra International named Mickey the first recipient of their Outstanding Catholic Lay Person of the Year Award in 2000. Mickey treasured the personal friendship she enjoyed with the late Joseph Cardinal Bernardin. She worked on numerous projects with Cardinal Bernardin and was a major contributor in the production of the film Bernardin, which won the Gold Camera award at the 32nd Annual U.S. International Film and Video Festival. Mickey also served as a board member of the Bernardin Pastoral Center at CTU, and was also a member of the Advisory Board of the Dominican Office for Development and the Knights and Ladies of the Holy Sepulchre. She also received two Golden Heart Awards from the Passionist Fathers, a 1986 Woman of Achievement Award from Women in Management, Inc., and was honored as one of the Women of the Year by Vicariate II of the Archdiocesan Council of the Apostolate of Women in 2005. In 2007 Mickey received the Pope John Paul II Seminary Leadership Award from the National Education Catholic Education Association (NCEA) Seminary Department in recognition of her distinguished service to the Roman Catholic seminaries in the United States and Canada. Mickey’s dedication and vision inspire the many ways the J.S. Paluch Company serves the Church. Her leadership and example have earned the respect, admiration, and love of Paluch employees, as well as bishops, priests, deacons, religious, lay ministers, and parishioners across the country. spring/prim aver a 2010 ♦ Not on Bread Alone: Words Matter Remember in prayer the many who are sick of our church and community. MUSINGS ♦ church bulletin W orking for a company that publishes church bulletins, I often get lists of bulletin bloopers sent to me. There are people who assume that I have not, in nearly two decades here, seen them. But these (mostly the same ones) have been around for quite a while. Many of them get their humor from the right words being used in wrong ways. What made the above blooper notable when it showed up on my “stupid sayings” calendar was the coincidence that these right words, used the wrong way, appeared on a day at WLP devoted to meetings surrounding the upcoming change in translations used for the Mass. I am not saying that the current or new translations are examples of the right words being used the wrong ways. There are, however, examples of the same or similar words being used in different ways in the new translation. Take, for example, the current invitation to the penitential rite, option C, which is, in my experience, the one most often used: My brothers and sisters, to prepare ourselves to celebrate the sacred mysteries, let us call to mind our sins. Alan Hommerding Here are similar words used in the forthcoming translation: Brethren (brothers and sisters), let us acknowledge our sins, that we may prepare ourselves to celebrate the sacred mysteries. Big deal, you might say. I would both agree and disagree, aware that liturgists often are rightly accused of suffering from forest/tree syndrome. But there is a difference, nuanced as it may be. One seems to posit the act of calling to mind our sins as being the way we prepare to celebrate. The other seems to make it more of a prefatory act to enable preparation. There will be examples of a more substantial scale. Et cum spiritu tuo will change from “And also with you” to “And with your spirit.” Lengthier articles than this have been written and will continue to be written defending or decrying the changes. It’s not my purpose to contribute to the kerfuffle at either fringe, but to observe that we are at a true “words matter” moment in our ongoing renewal of the liturgy. I purposely used an example in which following the word order of the Latin gives only a slight change in meaning or focus. The prayer of the liturgy is meant to work like a stream of flowing water. If it changes course even a bit, the way that the rocks in the stream will be worn eventually changes, too. I believe that even these small changes, if we truly pray them in the Spirit (rather than focus on our irritation with them or gloat over their superiority), will eventually effect changes in us. Both a dictionary and a poem are the right words in the right order. We would not mistake them for each other, or try to use them for the same purpose. It is difficult to navigate a via media between a dictionary and a poem, but the words of our liturgy, somehow, need to serve both purposes. It may be that those who hold authority for the translations are currently in “dictionary” mode. So those of us who prepare the music for liturgical celebrations can, to complement this, call forth the best poetic gifts of our musical art. The people of our church who are sick know—as they await and receive our prayers—that our words do matter. Jesus himself observed that we do not live on bread alone, but from the word that comes from the mouth of God. Though they can—and will, and should—change, the words of the liturgy are part of the Spirit’s gift of our inherited tradition. They truly are inspired by, and come to us from, God. Along with the Bread of Life, they are our life. And so they matter. lo oking inside lo oking AHEAD ♦ Rev. Ron Raab, csc, shows us how God’s word is truly living and active in our prayer and daily work. Jerry Galipeau tracks the journey from parish music director to parish pew dweller in “From the Bench to the Pew.” And get to know Kathleen Demny and Marcy Weckler Barr—two of WLP’s women of song! ♦ The altar of sacrifice, the table of our eucharistic meal, is our own model to give ourselves to others as nourishment and refreshment, says Rev. Ron Raab, csc. We talk to an artist (Br. Mickey McGrath) and a scholar (Steve Janco) beyond their bios into the paths of creative discipleship. The many aspects of liturgy that affect overall participation are explored by Bruce Croteau. spring/prim aver a 2010 AIM 5 ♦ this quarter’s contributors Jerry Galipeau . . . is Associate Publisher of World Library Publications. Before coming to WLP, he served for fifteen years as Director of Liturgy and Music at parishes in Florida and Illinois. He holds a Doctor of Ministry degree with a concentration in liturgical studies from Catholic Theological Union in Chicago, and is a published author, composer, and recording artist as well as a presenter of seminars and workshops in the U.S. and abroad. His blog is gottasinggottapray. blogspot.com. Ronald Raab, csc . . . serves as associate pastor at the Downtown Chapel Catholic Parish in Portland, Oregon. He holds a master’s degree in Liturgical Studies from the University of Notre Dame and is the former director of RCIA for the Office for Divine Worship in Chicago. He broadcasts On the Margins, a Sunday scripture commentary, on KBVM.FM. He writes regular columns in several magazines. His blog is ronaldraab.blogspot.com. 6 AIM A Making some “Mary” time for parish “Marthas” sh Wednesday, scrutinies, reconciliation services, mission, Evening Prayer, Stations of the Cross, Triduum, initiation . . . if you are involved in preparing these services, reading this list probably causes a twinge of anxiety. The Lenten calendar is bulging, relentless, and rigid. Does Lent ever become a fortyday retreat experience for those in parish leadership? It seems that the harder we work to invite others into a time of intentional, prayerful conversion, the less likely it becomes that we will be able to join them. How can we “Marthas,” busy about the good and necessary work of the parish household, claim a little of the “Mary” experience, sitting in peace and awe at our Master’s feet? I must admit that this column is a little self-indulgent. I need more of this experience in my Lent this year, so here are four suggestions that I hope will help you and me to participate in the 2010 Lenten retreat, not just prepare and lead it. • Think about it now. If we wait until Ash Wednesday to plan how to fit in a little prayer experience, we’ll just be too busy to make it happen. If we think about it now, we can have a plan, perhaps even find a resource or two we want to use and have them available when Lent arrives. • Let someone minister to you. However you plan to fit prayer and reflection into your Lenten days, turn to a trusted resource rather than constructing something yourself. You can foster your liturgical spirituality by considering some portion of the scripture and prayers for Mass each day in the Daily Roman Missal (wlp 017103). Liturgy Training Publications’ Daily Prayer 2010 provides a prayer format based on one of the readings for each day. Take a little time to review meeting place ♦ Mary Beth Kunde-Anderson the various catalogs you receive from Catholic publishers, or search online for a Lenten resource that suits you. • Plan for a brief, consistent prayer time. Unless you are already accustomed to the discipline of personal reflection time, planning an extended time each day may be too daunting to be successful. Perhaps some brief printed prayers on your bedside table would allow you to take a few minutes to start and close the day with prayer. The Lenten seasonal bulletin from J.S. Paluch contains a worthy prayer for each of these times; they will bear fruit with daily repetition. Or find some Lenten music that you can listen to during your daily commute, or during your alreadyestablished exercise routine. • Make the most of the opportunities you already have. If you meet as a parish staff, suggest that your Lenten meetings include seasonal prayer. There are five good choices for Lent in Gathered to Serve: Prayers for Parish Leaders (wlp 017350), part of WLP’s Pray Today series. Find a Lenten song or psalm refrain that is easy to sing without accompaniment. If you rehearse with choirs or cantors, or prepare any other ministry rehearsals or initiation sessions, find a simple way to pray with these groups. To keep it simple for yourself, use songs or prayers from liturgies you have already prepared, or ask a trusted member of the group to lead prayer. I can’t wait to get this issue of AIM; I fully intend to take my own advice. Let’s keep each other in prayer this Lent. spring/prim aver a 2010 ♦ I Marketeers in evolving careers am the Public Relations and Marketing Associate at WLP. I came on board in 2004 after a twentyyear career as a professional dancer and musician. Ballet, jazz, modern, and sacred dance filled my days in the studio and performance venues, along with playing flute in various ensembles and churches in the Chicago area. Five years prior to arriving at WLP, I worked (along with my husband) in the gift and travel retail trade, manufacturing and distributing products through airports, resorts, and gift shops throughout the U.S. Over the years I continued in my study and formation in ministry and earned a certificate in pastoral ministry through my home parish, Holy Family in Inverness, Illinois. There I was actively involved in liturgy and music ministry and served as a catechist. G rowing up as a faithful Catholic Christian, I regularly attended Mass and used the Seasonal Missalette® for the prayers, readings, and hymns of the liturgy. In my living, growing Catholic faith I’ve come to understand that those books are not fans, notepads, or just a flat surface on which to write out an offertory check, but rather they truly are resources for worship, filled with penetrating messages both in prayer and song encouraging me to participate in the Mass. My role as the Worship Resource Sales Specialist at World Library Publications is as challenging as it is rewarding. I’m primarily responsible for ensuring that every parish has a WLP worship resource in its pews. Although I’m the newest “marketeer” of the WLP marketing team, I’ve been a part of the larger J.S. Paluch family for six years, spring/prim aver a 2010 wlp Staff Notes ♦ Lisa Ferlita Bagladi I guess you could say all of this led me to WLP. When there was an opening in the marketing department, I was thrilled to be able combine my passion for the arts and ministry with practical business experience. At WLP I am responsible for all of our public relations with the media, including print, radio, digital, social, and Internet. I communicate news about our artists, products, and major happenings here. I also work with our major trade channels as well as our digital download outlets. One of my favorite roles is working as the liaison wlp Staff Notes ♦ Roger Vanasse Our worship resources are truly designed to promote active participation. in a fulfilling job as a parish consultant working in Denver, Colorado. As a PC, I listened to pastors, liturgy directors, music directors, faith formation to the National Federation of Catholic Youth Ministry as a collaborating member. I currently serve as chair of its Membership Management Committee. Outside of my busy days with WLP, I am a flutist at St. Anne Church in Barrington, Illinois, and am privileged to work with Rory Cooney, a wonderful artist and composer. I also have a passion for body/mind/spirit work and practice through a daily movement and fitness program. My husband, Tony, and I have four daughters. The oldest just graduated from DePaul University, our second will be a sophomore at St. Louis University, and last, our twins, are seniors in high school and currently deciding. This all keeps me on my toes . . . without the pointe shoes! I am thrilled and proud to be able to serve the Church with the WLP family. directors, and business managers throughout much of the Southwest. I frequently heard about the need for worship resources to match the unique nature of the parishes they serve; thus, my passion for sharing the good news about WLP worship resources grew. WLP has created many worship resources to fulfill the needs and unique nature of every parish, and our worship resources are truly designed to promote active participation in praying and singing the liturgy. Outside of my cubicle and the doors of WLP headquarters I enjoy riding my bike through Grant Park, walking the streets in downtown Chicago, watching a baseball game at a local pub, helping with a Knights of Columbus event, or holding the hand of a hospice patient. I continually thank our God for every good gift, including my new career at WLP. AIM 7 Perspectives on Participation: From the Bench to the Pew by Jerry Galipeau W hen I was a full-time director of music and liturgy in parishes in Florida and Illinois, one particular behavior of the assembly members always puzzled me. Why, I often wondered, did people sit in the exact same spot at Mass week after week? When I moved from being a music minister at Mass to being a person in the pew, guess what happened? That’s right, I now sit in the exact same spot every week. Why? It’s because I have become a part of a “community within a community” in my own parish. I look forward to greeting Ellen and Louie and Rochelle each Sunday. Their hospitality and friendliness make me feel so much at home. Moving from the organ bench to the pew has had its challenges. At first, I couldn’t help but be a “Mass critic” at every parish I attended. The major complaint I had was that some music 8 AIM ministers didn’t seem to notice—much of the time—that I, and other members of the assembly, were actually in the same room. I remember an Advent Mass at which Marty Haugen’s “My Soul in Stillness Waits” was sung during the preparation of the gifts. There is a fermata in the refrain, over the word “waits.” After the hymn number was announced, the music director, facing the choir, with her back to us, decided to take a different amount of time for that fermata each time we came around to the refrain. So, each time we arrived at the word “waits,” the church sounded like it was full of snakes as we all ended the word at different times. We just didn’t know if we were supposed to sing it as long as we did the last time or as short as we had the time before. Perhaps this variety was done for some kind of dramatic effect. What it did for me was make me very frustrated. I want to sing at Mass and I believed the music director should have thought of me—and the rest of the assembly—first, before thinking about employing some dramatic effect. What this type of musical leadership does is cause assembly members to “exit” the liturgical experience. I occasionally sit next to a man at Mass who simply closes the worship aid and stops singing when the music is not assembly-friendly, or the cantor or music director does not take the time to teach the assembly a new piece. Music: A ministry of hospitality This occurred most poignantly a few years ago. It was the First Sunday of Advent and the music director had composed her own music for the introductory rites, as well as the responsorial psalm. She also used a new Mass setting, which had never been sung in the parish before. It just so happened that the liturgy board—of which I was continued on page 11 spring/prim aver a 2010 Perspectivas sobre la participación: de la banqueta al banco por C uando trabajaba como director de música y liturgia a tiempo completo en parroquias en la Florida e Illinois, había un comportamiento particular de la asamblea que siempre me dejaba perplejo. A menudo me preguntaba, ¿por qué se sentaban las personas en el mismo lugar para la misa semana tras semana? ¿Adivinen qué pasó cuando dejé de ser ministro de música en la misa y pasé a ser alguien que se sienta en un banco? Ya lo sabes. Ahora soy yo el que se sienta en el mismo lugar cada semana. ¿Por qué? Porque he venido a formar parte de una “comunidad dentro de la comunidad” en mi propia parroquia. Me encanta saludar a Ellen, a Louie y a Rochelle cada domingo. Son tan hospitalarias y amigables que me hacen sentir en casa. La mudanza de la banqueta del órgano al banco ha tenido sus desafíos. Al principio, no podía evitar ser el spring/prim aver a 2010 “crítico de la misa” en cada parroquia a la que asistía. Mi queja principal era que algunos ministros de música no parecían notar, la mayor parte del tiempo, que yo y que los otros miembros de la asamblea estábamos en el mismo recinto. Recuerdo una misa de Adviento en la que cantamos “My Soul in Stillness Waits” de Marty Haugen durante el ofertorio. Hay un calderón en el estribillo, sobre la palabra “espera”. Después del anuncio del número del canto, la directora de música, de cara al coro y de espalda a nosotros, decidió sostener el calderón por tiempo diferente con cada estribillo. Así que cada vez que llegábamos a la palabra “espera”, la iglesia sonaba como si estuviera llena de serpientes a medida que terminábamos la palabra en tiempos distintos. Simplemente no sabíamos si debíamos cantarla tan larga como la última vez o tan corta como la primera vez. Tal vez esta Jerry Galipeau variedad tuvo la intención de crear un efecto dramático. A mí me resultó muy frustrante. Yo quiero cantar en la misa y pensé que la directora de música debió haber pensado en mí –y en el resto de la asamblea– primero, antes de pensar en emplear algún efecto dramático. Lo que este tipo de liderazgo musical logra es hacer que los miembros de la asamblea “se salgan” de la experiencia litúrgica. En ciertas ocasiones me siento junto a un hombre en la misa quien simplemente cierra su programa y desiste de cantar cuando la música no es fácil para la asamblea, o el cantor o el director de música no se toma el tiempo para enseñar a la asamblea una nueva pieza. La música: ministerio de hospitalidad Esto ocurrió de manera más intensa pocos años atrás. Era el Primer Domingo de Adviento y la directora de música continúa en la página 11 AIM 9 ♦ New Birth and the “Mother of All Vigils” Dear Pastor Al: A friend of mine is getting baptized and joining the Catholic Church at a Mass on the Saturday night before Easter, and I have been invited to attend. People have told me the Mass is very long. I want to be prepared, so can you fill me in on why it is so much longer than usual? —Efficiency Expert PASTOR AL notes ♦ “Pastor Al” T Dear Expert: he liturgy on the Saturday night before Easter is called the Easter Vigil. Think about the word “vigil.” We are vigilant at the bedside of a person who is ill, until the fever breaks. Soldiers watch vigilantly throughout the night, protecting others. A vigil suggests that we are waiting a lengthy time for something important. In the early church, Christians celebrated the resurrection of Christ with an all-night vigil, praying and singing until dawn. They baptized new members and celebrated Eucharist at daybreak to symbolize Christ’s victory over death. By comparison, your Easter Vigil will not be very long! The Easter Vigil is a Mass with some additions. The Church calls the Easter Vigil the “mother of all vigils,” signifying its importance. And this mother gives birth: to new Christians! Like every birth, we celebrate it joyfully. The first part is the Service of Light. We begin in darkness, which is pierced by fire. From the fire we light the Easter candle, the light of Christ who conquered death and the darkness of sin. We spread this light to one another as we hold candles and sing “Christ our Light! Thanks be to God!” We also remember and rejoice in the saving acts of God in the singing of a beautiful Easter Proclamation called the Exsultet. 10 AIM Permission is granted to make copies of this article in its entirety. Copyright ©2009, World Library Publications, the music and liturgy division of J.S. Paluch Co., Inc. All rights reserved. Next, we have a Liturgy of the Word, but one worthy of this splendid night. Seven Old Testament readings with responsorial psalms plus a letter of Saint Paul and a Gospel are proclaimed. These readings give us a sense of “vigiling” through God’s plan for us, giving a picture of God’s love and care throughout history: the creation of the world, Abraham, Moses, the prophets, psalms and ultimately the risen Christ. We then move to a Liturgy of Baptism. People who have been preparing to become Christians, such as your friend, receive the sacraments tonight. We call upon the saints to pray for us, water is blessed, and new members are baptized and/or confirmed. Then all of us renew our baptismal promises to remain faithful to God’s call, and we are sprinkled with cleansing, refreshing water. A vigil suggests that we are waiting a lengthy time for something important. Finally, we come to the Liturgy of the Eucharist, and as at every Mass, we join at the Lord’s table. The “rich fare” promised by Isaiah is shared by this community of believers. Together, all become part of “The Body of Christ,” and “The Blood of Christ.” This is the first time that the new Christians will join our community at the Eucharist— how marvelous! The Easter Vigil may take a little longer, but the liturgy is filled with our best. On this night we overcome darkness with light, we tell our story, we initiate new members and renew our own baptisms, we partake of the great feast. Then we are sent forth—to be light for those in darkness, to be a story for those without hope, to be rebirth and resurrection for those in death and decay, and to be the Body and Blood of Christ in the world. Go with an open heart and celebrate with your friend. (You can sleep in on Sunday morning; this fulfills your obligation.) Don’t wear a watch! You’ll be on God’s time. God bless you and God love you. —Pastor Al spring/prim aver a 2010 Perspectives continued from page 8 a member—was meeting the very next evening to prepare liturgies for the Lenten season. She asked how we all thought the First Sunday of Advent went. It was sad that I had to say what I had to say. “I’ve been in the Catholic music world for thirty years, and I found it sad that, in my own parish on the First Sunday of Advent, the only piece of music that I had ever heard before was the music for the Communion procession. No one took the time to teach me any of the new music. I thought this was a very inhospitable act in what is otherwise a very hospitable parish.” Silence descended on the room and then we moved very quickly to our work at hand. Music ministry, I have learned from the pew, is, at its core, a ministry of hospitality. To be hospitable means to treat guests with warmth and generosity. Music ministers are well served when they take this meaning to heart. When I am in someone’s home for the first time, it’s always helpful when I am given the “lay of the land”: “The bathroom is up the stairs, first door on the left.” “Come on into the den; it’s cozy and there’s a seat by the fire.” Music ministers: let me tell you, as a person sitting in one of the pews, I need you to give me the “lay of the musical land.” If you are going to introduce a piece of new music, please don’t take this approach: “Oh, we’ll be singing this for a number of weeks; they’ll get it eventually.” No; please do your best to teach me what I need to know before Mass begins. I want to sing at Mass. Please do everything you can to help me fulfill my baptismal right and duty to participate fully, consciously, and actively at Mass in your parish. The best of instruments Most music ministers do a great service to their communities when they realize that their most important musical instrument, the instrument that needs to sound the fullest and the brightest, is the instrument of the combined singing voices of the assembly. I love to listen to moving choir pieces. I love to listen to organ solos. I love to listen to choral descants. I love to listen to a piano and a flute or violin playing an instrumental piece. But there is just nothing like the sound of a group of people at Mass lifting their voices together in song, led by capable and dedicated music ministers. Let me also tell you, from the pew: When I receive this great gift, I am always grateful. He aprendido, desde el banco, que el ministerio de música, en esencia, es un ministerio de hospitalidad. Ser hospitalario significa tratar a los invitados con calidez y generosidad. Los ministros de música se benefician cuando de corazón entienden lo que esto significa. Cuando visito la casa de alguien por primera vez, siempre ayuda saber “la topografía local”: “el baño está arriba, primera puerta a la izquierda”; “ven a la sala de familia; es muy acogedora y hay un asiento junto al fuego”. Ministros de música: permítanme decirles, como una persona sentada en el banco, que necesito que ustedes me den “la topografía musical del lugar”. Si van a introducir una nueva pieza de música, por favor no procedan así: “Oh, la cantaremos por varias semanas; ya la irán aprendiendo”. No. Por favor hagan todo lo posible para enseñarme lo que necesito saber antes de que empiece la misa. Yo deseo cantar durante la misa. Por favor hagan todo lo posible para ayudarme a cumplir con mi derecho y deber bautismal de participar plena, consciente y activamente en la misa de su parroquia. Perspectivas viene de la página 8 había compuesto su propia música para los ritos iniciales, así como el salmo responsorial. También empleó una nueva selección para las partes de la misa, que la parroquia nunca antes había cantado. Y justo ocurrió que el comité de liturgia, del cual yo era miembro, se iba a reunir en la noche siguiente para preparar liturgias para el tiempo de Cuaresma. Ella nos preguntó qué pensamos del Primer Domingo de Adviento. Resultó triste tener que decir lo que le expresé. “He estado en el mundo de la música católica por treinta años, y me entristece que, en mi propia parroquia en el Primer Domingo de Adviento, la única pieza musical que jamás había oído antes fue el canto para la procesión de la Comunión. Nadie se molestó en enseñarme ni siquiera uno de los cantos nuevos. Pienso que este fue un acto de falta de hospitalidad en una parroquia que de otro modo es muy hospitalaria”. El silencio descendió sobre la sala y rápidamente pasamos a nuestro trabajo de esa noche. spring/prim aver a 2010 Los mejores instrumentos La mayoría de los ministros de la música ofrecen un gran servicio a sus comunidades cuando se dan cuenta de que su instrumento musical más importante, el instrumento que necesita sonar en toda su plenitud y brillo es el instrumento de las voces conjuntas en el canto de la asamblea. Me encanta escuchar conmovedoras piezas corales. Me encanta escuchar los solos de órgano. Me gusta escuchar los contrapuntos corales. Me encanta escuchar un piano y una flauta o violín tocando una pieza instrumental. Pero no hay nada como el sonido de un grupo de personas en la misa que elevan sus voces armoniosamente en un canto, conducidos por ministros de música capaces y dedicados. Déjenme que también les diga, desde el banco de la iglesia: cuando recibo este gran regalo, siempre me siento agradecido. AIM 11 The Liturgy of the Word: Tent Security by Rev. Ron Raab, csc E very day I witness violence and anguish along the sidewalks surrounding our urban chapel. Drug dealers keeping people addicted to heroin, pimps encouraging young people into prostitution, and bar owners selling cheap booze to alcoholic patrons remind me that street terror is real. Outside the perimeter of our small chapel in downtown Portland, Oregon, daily life threatens so many people. Hope often feels buried among the burdens of homelessness or lost among the meager possessions our friends carry in their backpacks. Violence along our streets penetrates my heart as I pray on the inside of our chapel. The word of God heralds hope to the hurt and frustrations of so many people lost among the agony of poverty and addictions. The Mass stands out amid the chaos providing a moment of harmony and peace for many people in our neighborhood. the gospel is alive in every community, but so often we hide our need behind money, prestige, and power. No evil shall befall you This contrast became starkly obvious to me recently when I gathered a group of lectors in our parish for a morning of reflection. We gathered in a circle near the sanctuary, and I began the morning asking people to share their experience proclaiming the word of God. Sean spoke up immediately. He quietly stated that reading the word during Mass meant everything to him. He shyly shared with us that he had been homeless for five years. He slowly put words around his experience of loss and depression. Sean set up his home in a tent deep into a quiet wooded area. His cat kept him company on lonely nights and protected him from rodents. As he huddled himself against loneliness and the cold Portland rain, he told us that every night he read from the Bible. His favorite passage from scripture was Psalm 91. He relied on this simple assurance from the psalm, “No evil shall befall you, / no affliction come near your tent” (91:10). 12 AIM Sean shared with us that he reads scripture at Mass in order to give others hope that God is near everyone, keeping anguish from everyone’s lives, homes, and tents. Sean’s words washed over me with integrity and honesty I seldom experience. The word of God was literally protecting him from harm, consoling him through lonely, fearful nights. I also take shelter under the guidance of the Liturgy of the Word. I have ministered in a variety of parishes, but the Gospels ring more clearly in our small urban community where God protects people far beyond my reach. I have no adequate answers for the addict trying to stay off drugs. No advice I give will be sufficient to comfort the young man just released from prison who is trying to find clothing, a job, and a future. I realize the gospel is alive in every community, but so often we hide our need behind money, prestige, and power. It is no less difficult for me to become vulnerable in my own need for God. spring/prim aver a 2010 You shall not fear Lives here on our corner seem permanently broken, so disjointed that society cannot heal them. I remain hopeful under the guidance of the word of God that healing can happen even in the most unexpected situations. I must hold onto the notion that God is still protecting us all even when we are deaf to the words proclaimed at Mass. Even when we fear the terror of our loneliness at night or the battles of prejudice we face during our long days, the word guides us. I preach here on our corner with an honesty that I never claimed to have before. When I do not fully trust the word of God, my ministry suffers immensely. People rely on my claim that God is protecting every heart, including my own. I cannot fake my relationship with God among the poor. People see through my own fear, reluctance, and hesitation. They do not have time for my lack of faith or my claim that I do not have time to prepare adequately. I must give my full heart to God, who stands even at my shelter to protect me from all harm. God does not take suffering away. Suffering is hidden in every parish community. People’s suffering may not be so obvious in suburban parishes but it is there, waiting to be acknowledged. No matter the location of the parish or the liturgical season, there will still be people living outside, still people strung out on drugs, still parents divorcing, still elderly people worried about their health care. God is at our tents healing our hearts, but the ravages of a downward economy, losing a child to a miscarriage, and living through the death of a parent remain with us. I find myself now soaking up the word of God with intention and purpose. That word challenges me to become part of God’s plan for authentic justice. People here live on spring/prim aver a 2010 the margins of society, but it is precisely on these margins where I find God’s protecting grace. Along the perimeter of our liturgical celebrations and the all-night activity of our streets, I learn to be invested in prayer to God and in service to strangers who roam the neighborhood. My refuge and fortress The prayers of our community also act as protective agents against harm and anguish. The prayers of the faithful for our Sunday worship are written by a poetic soul who knows firsthand the turmoil of depression and overwhelming addictions. Her battle for life comes through her prayers for the community with a genuine trust in God. She has become another follower of God who stands in the midst of suffering. She realizes with her own life that she cannot write prayers that are not real and genuine. She finds herself being changed by her ministry. Her poetic life is now used by God to help the rest of us find the healing we all are searching for. I now have a greater love for the psalms in our Sunday worship because of Sean. Our responses to the word of God form us to become God’s love and compassion in the world. I understand this more profoundly now ministering among the poor who teach me a greater trust in God. Sean now has employment and housing. The Liturgy of the Word shelters us from fear and changes us into believers who really care about other people. The word in this parish has saved my faith and provided me a safe haven of healing against suffering I cannot solve or relieve on my own. The scriptures proclaimed in our community provide security for all who fear the night and long for a new day of hope. AIM 13 ♦ BEYOND THE BIO In this series, we’ll give you a bit more in-depth look at the artists who are part of what makes WLP worship resources and music for prayer so wonderful. We go “Beyond the Bio” that you might find on our Web site or in a CD booklet to explore the stories and ministry of these artists. In this issue, we talk with Kathleen Demny and Marcy Weckler Barr. These interviews took place in August of 2009. Composing a life: Kathleen Demny AIM: Congratulations are in order: you recently finished a degree in music composition! KD: Yes, last spring I finished a master’s degree in music theory and composition at Sam Houston State University here in Texas. AIM: Did you have some sort of thesis or final project? KD: My final project in April of 2009 included music I composed as a student for various instruments—percussion, brass, strings—with a different focus in each piece. It was a very exciting but demanding process. AIM: Anything sacred or liturgical? KD: There was a treble choir setting of the Magnificat that I was most proud of. I also did a percussion ensemble piece, “Just Passin’ Thru”—the music moved east to west. It began with an Asian feeling, then it traveled via the music and ended up in the islands. There was also a mixed ensemble that depicted the sunrise called “From Silence to Morning,” a woodwind ensemble piece depicting childhood games, and a piano prelude and toccata. AIM: That sounds like a very ambitious undertaking. KD: It was, especially when I look back and think that I did it while working full time and having my family to care for! AIM: What types of skills did you acquire composing music for the liturgy? KD: The whole process was one of opening up new compositional techniques to me—making me more aware of what I was capable of, seeing the possibilities and not the limitations. AIM: Do you see yourself continuing to explore those techniques for liturgical music? KD: I definitely would like to do that. Of course, there may be some that won’t be applicable, but others will hopefully appear in my future compositions for the liturgy. AIM: And you have a second generation of Demny women pursuing music. KD: Yes! My daughter Elizabeth is going to my alma mater, Baylor, pursuing vocal performance. She’s going to be studying with the same voice teacher I had. My daughter Sarah is also very involved in her high school choir and loves music as well. AIM: Tell us how you got connected with liturgical music. KD: For me it was both a call and an emerging journey. I’ve always had a passion for music, since I was very young. I started composing in elementary school. I guess that was the “call” part. Liturgical composition was the emerging journey. I started writing out of need for our own parish, mostly because we couldn’t afford to buy music, so this was my contribution. AIM: What led you to sending submissions of your music? KD: It was really other people who pushed me into submitting things: members of my choir, family members, folks in the pews. They felt I should at least try. Finally I listened. continued on page 16 14 AIM spring/prim aver a 2010 ♦ MArcy weckler barr It all comes together AIM: Can you tell us how you were called to a life in liturgical music ministry? MWB: At first it was purely expedient. It was 1965, and because I was a guitarist, people like me were being recruited in droves for the Catholic liturgy. It was my first liturgical music experience. I didn’t go to a parish school, so I came in through an outside road, definitely non-traditional from what I know a lot of my colleagues experienced. AIM: Do you have particular memories? MWB: I remember playing on the West Side of Chicago. I was teaching in a tutoring program and then we’d have Mass. We’d sing “Here We Are” and “Sons of God,” along with some others like “Whatsoever You Do” that we still use. I didn’t question it; I just did it. Actually I felt a little nervous because I really didn’t know the Mass that well. The priests were struggling, too; it was so new to all of us. AIM: When you say you didn’t know the Mass, do you mean you came from another denominational background? MWB: No, I was born and raised Catholic. But we never went to High Mass; we kids were too squirmy to sit through all that. And, as I said, I didn’t go to Catholic school. Mostly my memories are of the post-Vatican II Mass. AIM: What solidified your expedient experience into more of a vocation? MWB: My real liturgical “career” started out of nowhere—I was hired to be a substitute teacher. I was working at the school, and somebody whose kid went there had seen me with the guitar, so I was pressed into service for three Masses at the parish. AIM: Did you have formal musical training? MWB: Oh yes. I went to the University of Michigan in Ann Arbor, where I earned bachelor’s and master’s degrees in music. It was sort of funny: with all that classical training, I was always known in the Catholic parish world as the guitarist/folk-singer. AIM: Was that “three Sunday Mass” parish a professional position? MWB: Yes, it was my first professional experience. I led the folk group. The planning in those days was “choose some songs”—and for many years after that it was still my method of doing liturgical planning. AIM: When or how did that start to change? MWB: After the time I spent doing those three Masses, I started getting a sense about the psalms and noticing the repetition of the texts. I was naturally curious, so I started to look into it. It was a gradual learning process, along with what seemed like a real knack to do the choosing of the music. Sometimes, at Masses when I was singing alone, I would wait until after the homily to choose a song that connected with the homily. AIM: How did you start composing? MWB: A priest said, “Why not compose a song based on Emmaus?” Now, I had taken music composition for one semester in college. My professor was William Bolcom, the well-known American composer. I wrote mostly folk-song style things, but he said, “You write good stuff; keep on doing this.” So when the priest suggested the “Road to Emmaus” song, I opened a Bible and looked at the passage. The refrain for the song pretty much came to me right away. AIM: Is this the one from your Road to Emmaus recording (wlp 002354)? A pretty auspicious beginning! continued on page 17 spring/prim aver a 2010 AIM 15 kathleen demny continued from page 14 AIM: What about your vocation in parish music ministry? KD: In elementary school I very much wanted to play the organ, but the organist wouldn’t let me touch the organ! Later, in high school I was president of the CYO, and I wanted to start a teen choir (I was 14 at the time), and so I did. We started singing for Sunday Mass. I don’t know that there was an “Aha! I’ll be a liturgical musician” moment, but it definitely became part of who I was and how I saw myself. AIM: How did it continue? KD: In college I explored worshiping with other denominations. If there was an “Aha” moment it was going to Midnight Mass one Christmas break. It became clear that I had to come home. AIM: So now you’re a parish liturgy and music director? KD: Yes, I’m in a parish of about 4300 families, with a strong Spanish/ English bilingual/cultural component. It’s a huge job: I oversee five adult choirs, three children’s choirs, and a LifeTeen band. AIM: What about the other ministries? KD: I work with people who are responsible for coordinating particular ministries, and am responsible for the ongoing organization of those groups that don’t currently have a coordinator. I’m also responsible for the ongoing formation and catechesis of everyone in liturgical ministries at the parish. AIM: What are the aspects of it that you find life-giving or energizing? KD: The whole process is life-giving and energizing. When there’s a transformation going on in people, when there’s growth in the individual ministers and the community, it’s very exciting. We had a ministry fair this past August, and it was the most successful one we’ve had to date. That gives me life. 16 AIM ♦ when there’s growth in the individual ministers and the community, it’s very exciting. KD: A lot of what I’ve been working on right now is focused on Advent. The light I was speaking of earlier from my personal experience is now connecting in a more liturgical context. I’ve waited and hoped so much, it felt like an Advent time. I’m also anxious to work on children’s music, to use the compositional techniques I learned to write for them. AIM: How and when do find time or set aside time for your own creative work? AIM: Sounds like another place you get some energy. KD: I go through periods when I’m lax. It sounds funny, but I have to schedule time to be creative. I do plan times for composition. I did take some time off after the recital to re-charge, but I now literally have time blocked out in my schedule. I can’t necessarily be creative every day, but it does keep the work flowing. KD: Working with the children’s choirs is an inspiration. The ideas are easily found when I’m around them. My choir this year was small, but they were on fire for singing and worship. We’re involved now in the Pueri Cantores; we’re working right now to go the Rome festival in 2010. AIM: Does your experience of parish liturgy and music have an impact on what and how you’re writing? KD: Things that I’ve already written came from my parish experience. What I’m working toward is a lot more for the bilingual needs of my community. AIM: What other personal experiences affected you as a composer? KD: I guess what I would call my journey of hope. I’ve gone through difficult times, but keeping focused on the light ahead of you—the light that faith shows to you—keeps you walking toward that place of light, and finally walking into that place. It’s personally transforming, as well as creatively. AIM: How do you translate that personal experience into new music? KD: I first go to the scriptures and other texts that have helped me through those times. The music follows from those. AIM: You don’t already have enough to do? KD: I wasn’t going to push it. It was the parents, when they saw and heard what their kids could do. They took the reins and I decided to get out of the way and let them. I couldn’t think of a better investment to make in the future of the Church. AIM: So you’re keeping the plate full? KD: Oh, yes. I also completed my certification as a Director of Music Ministry through NPM’s DMMD program. I’m very happy about that. I was also just elected to the NPM Council of Chapters. AIM: Congratulations! You did that along with your academic work? KD: Yes, along with all of that and being director of our local NPM chapter. But I’m done with pursuing more credentials for right now. AIM: Right now? KD: For right now, I’m “just” a Mom and a parish music and liturgy director and—a composer! AIM: What hopes, goals, or aspirations do you have for yourself as a composer? spring/prim aver a 2010 marcy weckler barr ♦ continued from page 15 MWB: Yes, that’s the song, but I didn’t compose again after that for about twelve years. I didn’t feel any particular drive to write. AIM: What sorts of things did you do after graduating with your degrees? MWB: I was a professional singer. I did professional chorus work around Chicago, also singing in churches and synagogues. I really wanted to do opera. I did a little bit, but life came between me and that, along with marriage and family. Plus, I had the voice but not the temperament for opera. AIM: How would you differentiate the two temperaments, opera and liturgy? MWB: Opera is an incredibly disciplined lifestyle, with a lot of self-focus, and it calls for a good deal of self-driven behavior. I knew some people in school who pursued it and have had careers, but I knew it wasn’t the path that would work for me. AIM: How do you find it different being a liturgical musician? MWB: A liturgical musician has to be flexible, tolerant, collaborative, a healthy amount of humility within the performing persona. Liturgy and its music have to facilitate some kind of dialogue. We’re part of the assembly first; you’d never say that an opera singer is part of the audience first. You have to understand that the music springs from the ritual, not the other way around, as happens in opera sometimes. It is part of a greater whole. You need everything in balance. AIM: What is your musical composition method or process? MWB: It’s a mystical process. I’m really not kidding about that; musical composition is a very mysterious thing. I do get ideas that seem to me to come out of nowhere. I don’t sit at a piano and work it out; I walk around and work it through. An idea or phrase spring/prim aver a 2010 Liturgy and its music have to facilitate some kind of dialogue. with words is there, then I flesh it out. And you let things from life interact with it. AIM: How has your ongoing parish work affected your composing? MWB: I’ve been in my current parish for twenty-one years. My colleagues are wonderful. They don’t mind being my laboratory for new compositions. They like when I bring something to a rehearsal and say, “Here, let’s sing it.” They don’t make disparaging remarks, though they will offer critique. I also get lots of affirmation from the assembly. Beyond that, I put my own filter to work. I’m very particular about what I put out there—whether it’s something for liturgy at my own parish or for publication. AIM: What kinds of kinds of things recharge your spiritual batteries? MWB: My work in itself recharges my spiritual batteries. I feel completely comfortable with it; I absolutely love what I do. I do pray and meditate; my ongoing private prayer is how I survive the day-to-day. Private prayer and those kinds of things I do to focus myself feed what I do in the public prayer that is my work. Being curious about life also recharges me. God’s works are amazing—everywhere—so looking around at all that definitely feeds my spirituality. AIM: What are some of the ways you take a break? MWB: I love gardening, and if I say so myself, have quite a green thumb! I adore my grandson. But I don’t listen to music. I need quiet in my life since so much of the rest of my life is sound. I’m a putterer around the house; there’s always something to be done. I’d rather read a book than watch TV or a movie. The rest is a lot of the usual life stuff—friends, some exercise. Luckily, I can say my life is never boring! AIM: What are some current projects or things you have planned for the future? MWB: I keep looking for things that will keep my ministry fresh. I go to the various conventions; I have gone regularly to the St. Louis Composers’ Forum. That’s where I met my husband, Tony Barr, who’s also a composer, though we don’t work together. Mostly it’s pretty prosaic. I continue to work on more complete arrangements of things I’ve already written. There’s been a lot, and some of it needs additional work with accompaniments, choral parts, and so on. AIM: Any final thoughts about your music or music composition? MWB: The fact that I’m doing what I do is a sign that I’m meant to be where I am. Even though this didn’t start out as my goal, and I sort of backed my way into it. My relationship with God is expressed through music, and the fact that other people want to use it to express their prayer is wonderful to me. It’s nice to get the recognition, which is always gratifying, but I get to help people pray, and I love to hear people raise their voices and sing. Music can be so controversial and difficult for some people, so I aim to provide music that is beautiful. Beauty is very important, so people’s hearts are stirred, and the words they are praying are lifted even higher by the music. My motto is “Don’t waste what you’ve been given.” Every day I try to live that out! AIM 17 ♦ w o r l d l i b r a ry p u b l i c at i o n s o f n ot e New resources for instruments and a new voice Light from the East: Piano Meditations on Melodies from the Russian and Byzantine Orthodox Liturgy by Alan J. Hommerding M arshall (Mike) Barnhouse III, a musician at St. George Orthodox Cathedral in Charleston, West Virginia, is also a concert pianist, teacher, and composer. In this collection he has taken beautiful, time-honored hymns from the Orthodox heritage and crafted them into piano pieces that will enhance any liturgy. There are some already-familiar melodies, including the Obikhod, Tone I (famous from Tchaikovsky’s 1812 Overture). As a teacher, Mike Barnhouse knows what will appeal to pianists at a variety of skill levels. The pieces in this collection will be particularly captivating for younger pianists, who will enjoy discovering the many different ways the piano can explore a melody. Pianists and choir directors who are familiar with the “Byzantine Alleluia” and “Orthodox Chant Lamb of God” (based on the abovementioned Obikhod) will find pieces in this collection based on those two popular WLP choral octavos. There are general pieces for the liturgy (“Come, Let Us Worship”), for the seasons of the Church year (“Glory to Thy Resurrection”), and devotions (“Hymn to the Mother of God”). Any piece in this collection would be suitable for recital as well. Pope John Paul II said the Church needed to breathe with both its Western 18 AIM and Eastern “lungs” in its prayer. Add some life and breath to your worship with these outstanding piano pieces! Voices As One® and C Instrument Companion Instrumental Part Collections by Christine Krzystofczyk T he prospect of an unexpected instrumentalist joining your musical forces on any given Sunday can trigger both joy and panic in the heart of the pastoral musician. While the enhancement of the music program may be the desired result, it may not occur at a time when you have the luxury of time to compose parts. We’ve heard your need and responded to it by providing two new collections of instrumental parts. The first collection is the C Instrument Companion. It contains over five hundred titles found in WLP’s missals and hymnals, including Mass settings and service music. These skillfully crafted instrumental parts offer a melody, and descants suited to beginners and intermediate players. Played separately or simultaneously, you can create instant orchestrations. We didn’t forget the practical side, either. A tune index allows you to discover alternative harmonies for the same hymn tune. We also call attention to hymn tunes that appear in multiple keys. If your community uses Voices As One®, you will be happy to know that we’ve created the perfect collection for your ensemble players to use. Three sets of books will cover your needs: C Instruments, B-flat Instruments, and Saxophones and Brass. Every title in Volume 2 of Voices As One® has arranged parts in both C and B-flat. Most C instruments will work well with the C book, and many titles include cello. The B-flat books are for clarinet, but many can be played on trumpet or tenor sax. The Saxophones and Brass edition provides parts for alto and tenor sax, trumpet, and trombone. WLP has you covered for your instrumentalists’ needs! spring/prim aver a 2010 Set the World on Fire by ♦ ron rendek S inger-songwriter Noelle Garcia has recently completed her much-anticipated second recording project with World Library Publications. Set the World on Fire includes new material and a superb cover song adaptation. This summer and fall were truly exciting times for Noelle in so many ways. The very same week that the finishing touches were put on the CD and booklet design, she and fiancé, David McHugh, celebrated their wedding in Lansing, Michigan. It must have been quite a gala event—John Angotti and his band were on hand for the wedding Mass as well as the dinner and reception. Congratulations again from all at WLP! And if that weren’t enough, Noelle is being featured on the CNN TV series Hispanics in America with Soledad O’Brien. This documentary is set to air nationally in October— perfect timing for the CD release. Noelle’s new songs are a mix of rock, pop, folk, and jazz-influenced settings—quite an array of contemporary styles! Noelle’s contemplative lyrics are drawn from her many experiences as a worship leader for youth and, of course, from life’s everyday struggles. She has a real gift for relating to today’s youth and adults through her music, performance, retreats, and missions. She discusses and sings about current issues and concerns that confront us all, young and old. Memphis-based producer extraordinaire Kevin Paige has worked closely with the WLP staff and Noelle to bring to life these compositions and the messages found within them. Kevin’s unique and intuitive arrangements create the perfect tonal backdrop for Noelle’s words and vocals. The driving, rock-influenced title track, “Set the World on Fire,” has an immediate melodic hook in “We won’t spring/prim aver a 2010 stop until every heart is burning with God’s love.” A contrasting reggae-like section focuses our attention on the words of St. Catherine of Siena: “When we are called to be who we are, we will set the world ablaze!” You’ll find yourself singing along after the first few bars. “Flight into Egypt” begins with the beautiful guitar work of David McHugh softly accompanying the expressive vocal writing. A distant counter-melody on the oboe gently hovers over the sparse texture. The piece develops and builds dynamically with the well-placed addition of percussion instruments, strings, and background vocals. One of my favorites! “Everyone will see You when they look at me,” Noelle sings in “Beautiful to Me.” This pop-inspired song highlights Kevin’s brilliant guitar effects as the background vocals echo the powerful lead vocal lines. A must-hear! In the gorgeous rendition of Laurie Klein’s “I Love You, Lord” we hear a tuneful affirmation of the love offered to our Savior through our daily prayer. Noelle’s sister, Alicia, contributes her vocal talent as she joins Noelle in this sweet duet. The upbeat salsa-flavored “Release” abounds with musical excitement. This stellar performance features soaring vocals, brass fills, electric guitar leads, and energy-filled percussion parts that focus our concentration on the refrain: “I must release my hold on things I cannot control.” Noelle Garcia’s strikingly clear and naturally beautiful voice, along with Kevin Paige’s masterful sense of production, elevates each song with a remarkable diversity. Other must-hear titles include “Like a Child;” “Come, Be My Light;” “Holy Spirit;” “Stay by My Side;” “All I Know;” “Song for Our Soldiers;” and “Hand of God.” Featured items Light from the East 017334 Piano book $17.95 Byzantine Alleluia 005261 Octavo $ 1.25 e05261 Click & Print Orthodox Chant Lamb of God 005264 Octavo $ 1.15 e05264 Click & Print C Instrument Companion 002475 Music book $95.00 Voices As One® B-flat Instruments 006705 Music book $69.95 Voices As One® Saxophones & Brass 006703 Music book $59.95 Set the World on Fire 001895 CD $17.00 AIM 19 e ♦ for your review Psalms and praises for Lent and Easter Common Psalm—Season of Lent Psalm 130:1–2, 3–4, 5–6, 7–8 J. Michael Joncas RESPONSE Psalm 130:7bc With confidence Œ = 80 b 4 œ & b bb 4 œ œ œ . J œ Cantor and Choir, Assembly sings soprano melody S. b 4 & b bb 4 œ œ œ œ œ A. With the Lord there œ œ ˙ is mer-cy; T. there is mer - cy, with the Lord bb 4 & bb 4 œ œœ œœ ? b b b 44 œ b œœ b & b bb œ œ œ œ & b bb b mer - cy and ˙ œ œ mer œœ œ œ œœ œ œ œœ ˙œ œ ˙ ˙ œ œ œ full - ness of œ œ œ cy and & mer-cy. œ œ œœ œœ œ œ mer - cy. With the Lord there is œ œ ˙ œ œ œ œ œ œœ œ œ œ ˙ œ œ œ œ there is there is mer - cy. With the Lord there is œœ ˙œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ. and œ œ œ œ œ ˙ mer - cy. With the Lord j œ œ œ. œ œ œ œ œœ re - demp - tion, With the Lord there is œ œ œ œ ˙ ˙ œ œœ œ œ œ J full - ness of œ œ œ œ œ œ œœ œ ˙œ œ œ œœ œ œ œ œ œ œ œ ˙ mer - cy and full - ness of re - demp - tion, and full - ness of re - demp - tion. mer - cy and full - ness of re - demp - tion, and full - ness of re - demp - tion. œ˙ œ œ ? bb œ bb œœ œ œ œœ œœ œœ œ œ œ œ œ œœ œœ œ œœ œ œ œœ œœ œ œ œ of re - demp - tion. œ œ œ œ œ œ nœ nœ œ œœ œ œ ˙œ œ nœ œ œ nœ œ œ œ œœ œ œœ . œ œ j œ œ œ œ œ œ œ œ œ œ œ œœ re - demp - tion. full - ness œ œ œ œ œ œœ œ œ ˙ œ œ œ ? bb œ œ œ œ bb full - ness of œ œœ œ œ œ œ œ œ re - demp - tion, and - b œ œ œ œ V b bb bbbb there is With the Lord ❖ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ there is mer - cy; with the Lord j œœ œœ . œ œ œœ there is there is œ œ œ œ With the Lord For rehearsal only œ œ J œ œ ˙ œ mer - cy; with the Lord is ? b b 44 œ œ œ œ œ œ œ ˙ bb B. with the Lord œ œ œ œ œ œ œœœ œ ˙ b V b b b 44 œ œ œ œ œ œ With the Lord there œ œ œ. PL E This first volume of The Michael Joncas Psalter offers the twentytwo common psalms from the Lectionary, composed to engage the assembly more deeply in the experience of singing the psalm. Here is Psalm 130, one of the psalms for the season of Lent. The longer responses of these psalms allow for repetition of some key texts. I find that as I sing these refrains I am able to consider and enjoy the meaning more fully than in a more concise refrain. The musical material of the response, hummed by choir or by all, also undergirds the proclamation of the psalm verses, subtly placing the text of the response in dialogue with the text of the verses. With the Lord There Is Mercy M (wlp es001752-G; also in The Michael Joncas Psalter Volume 1: Common Psalms, wlp 001752) 28 SA With the Lord There Is Mercy œœ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ ˙˙ ˙˙ Click & Print download es01752-G may be purchased at www.wlpmusic.com. The English translation of the psalm response from the Lectionary for Mass, © 1969, 1981, 1997, International Committee on English in the Liturgy, Inc. All rights reserved. Text of verses © 1998, 1997, 1970, Confraternity of Christian Doctrine, Washington, DC. All rights reserved. Used with permission. Music © 2009, The Jan Michael Joncas Trust. Published by World Library Publications. All rights reserved. 20 AIM spring/prim aver a 2010 spring/prim aver a 2010 œ 3. word. ˙ ? b b ˙˙ . bb b & b b b œœ ˙œ 4. demp - tion; b & b bb œ & b bb b ˙ . 2. stand? b & b bb ˙ 1. voice! b & b bb ˙ œ œ œœ œœ œ and œ Œ œ soul for - give - ness, œœ œ œ œ˙ will re - deem ˙œ œ œ œ he œ My ˙ you œ œ œ is But with œ œ œ œ œ œJ œ at - ten - tive, œ œ œ œ J soul is œ œ œ œ œœ œ˙ œœ œœ - œœ œ œ el œ for the LORD œ œ œ œ œ my œ œœ œœ œ œ œ œ plen - teous re - œœ œœ from œ œ more than œ œ for - give - ness and œ œ is œ œ in his œ œ œ 29 b bb b & & œ. œ œ œœ b & b b b œ˙ œ œ their in - iq - ui œ œ œ œ œ œ ? bb bb œ˙. œ - œ œ œœ - wait for the 4. all œ re - ˙ ˙œ all œ œ œ ˙œ . from ˙. œ œ œ j œ œœ œ œ their in - iq - ui œ - To Response To Response To Response To Response ˙ ˙ œœ ˙œ. n œ n œ ties. ˙. wait for the dawn. œ œ œ œ œ œ œ ˙ To Response ca - tion. re - vered. - œ œ œ œ œ ˙. you may be more than sen - ti - nels so œ œ in sup - pli j œ œ œ œ œ œ œ œ. œ œ and my voice œ œ œ to œ œ œ. œ œ n œœ œœ œœ œœ œ œ œ œ nœ œœ ˙. ties, dawn, ˙ vered, œ ˙ [With the Lord There Is Mercy – 3] ca - tion, œ œ œ œ œ œ you may be œ œ sup - pli œ œ œ œ in œ 3. sen - ti - nels b bb b 2. so b & b bb œ 1. voice b & b bb œ 30 PL E M œ trusts œ œ who can at - ten- tive to œ œ be œ œ Is - ra œ waits œ with you œ œ œ œœ œœ œœ œ œ œ hear my œ j œ œœ œœ . œ œ œ œ˙ and with him your ears œ J my œ œ œ œ œ œ SA ˙ LORD, LORD, ˙ œ œ œ in - iq - ui - ties, œ œ œJ œ be œ Let your ears œ œ ˙ ˙. ˙œ kind - ness œ œ œ œ œ œ is œ œ œ ˙ ˙. œœ œ Œ Œ œœ œ. our œ œ œ œ J cry to you, O LORD; œ œ œ œ ˙ in the LORD; œ œ mark œ I œ [With the Lord There Is Mercy – 2] œœ j œ œœ œ 4. For with the LORD trust ‰ j œ œ œ 3. I œ T.B. ? b b œ œœ œœ bb S.A. Choir œ J œ O LORD, ˙ you, b & b b b œ œœ œœ . Cantor b & b bb Œ b Cantor & b bb Œ 2. If œ 1. Out of the depths ‰ j œ œ œ b Cantor & b bb œ œ œ . b b Cantor &b b Œ VERSES ♦e for your review With the Lord There Is Mercy (wlp es001752-G; also in The Michael Joncas Psalter Volume 1: Common Psalms, wlp 001752) Whether at Sunday Mass, Lenten Evening Prayer, reconciliation, or other times of prayer during Lent, “With the Lord There Is Mercy” makes this scripture come alive in a new way. The entire collection is available for purchase in a spiral-bound book, and multiple copies of each psalm for your choir singers are available as a Click & Print download at www.wlpmusic.com. AIM 21 ♦e for your review Kathleen Demny INTRODUCTION With excitement q. = c 98 # 6 & # 8 ∑ Flute ∑ # 6 Choir/Assembly ∑ & #8 Em7 œœœœ œ VERSE 1 ‰ F F unison j œ œ. œ ∑ 1. Come A D with me, ## & œ ‰ # & # œ 1. stone’s # & # œ œ. Em ? ## 008854 œ œ œ j œ œ been rolled œ j œ œ. œ D A œ j œ œ a A j œ œœ . j œ œ - j œ j œ j œ œœ œ œ œœ way! ‰ ‰ j œ œ The - œœ œ D j œ œ. j œ œ G A j œ œ Click & Print download e08854 may be purchased at www.wlpmusic.com. Artwork: Copyright © Eugene Plaisted. Used by permission œœ the j œ œ œœ .. œ œ œ œ. j œ j œ œ œ J 14 & ## & ## & ## œ J œ œ œ œ œ œJ up from the grave! œœ œœ œœ œœ œœ up from the grave! # & # œœœ ... > G ? ## # & # 17 œ œ œ œ œ œ œ ‰ œ œ œ œ œ. is œœ .. œ. . >œ œ. Asus œœ .. œ. A œœ œ >œ . >œ œœ œ. œ œ œ œ œ. œ. œ. > > > œœ He is ris - en, Al - le - lu - ia! D/A œœ œ G œœ .. œ. œ œ .. œ œ œœ . œ j œ œ œ >œ œ œ> >œ œ œ œ œœ œœ œœ J œœ j œ ƒ ‰ ˙. > > œœ .. œœ .. > > G œ J œ œ œ œ D œ A D ˙. F ∑ ˙. >j œœ œ J > . œ. œ œ œ >œ > > ∑ Je - sus is ris - en to - day! # & # œœ œœ œœ œœ œ œ œ> œœ ˙. # œ œ & # œ œ œ œ œ>. ris - en, Al - le - lu - ia! D A # œ œ œ œ & # œœ œ œœ œ œœ ? ## 22 AIM œ j œ œ D œ ˙. > œ J œ œ œ œ œ œ œ œ. ris - en.” œ œ œ œ œ. Asus >œ . f œ He is œœœ œ ris - en, Al - œ. > le & ## en, G lu - > œœ .. > Al D œœ œ œ VERSES 2, 3 # Fl. & # ‰ # F & # œ ∑ To Verses 2, 3 ∑ To Verses 2, 3 A D œ J œ œ œ œ œ œ J tacet 1st time 21 F Choir/Assembly 2. Come 3. Come j œ œ. F# m j œ œœ œ œ D œ œ œ œ œ œ j œ j œ œ œ. œ. > ‰ >j œœ œ J > œœ .. œ. œ œ œœœ ia! - ris - en, He is lu - ia! Ris D/A A Em . >œ >œ . œ >œ D j œ œ G œœ .. - en D/F # œ œ œ œœ œœ œœ œ œ j œ j œ >œ >œ œ 5 œ œ J œ with me, with me, # & # œœ . F ? ## œ le - is ˙ .œ œ œ œ œ œ. ≈ f j œ œ œ >œ œ œ >œ œ œ œœ œœ > œ œœœ .. . j œ œ œ œ. > - > œœ .. > œœ .. ris - œ> >œ . He D j œ œ . j œ œ œ f œ A œœ œ œ œœ œ œ œ œ œ œ œ J f œ œœ œ ‰ ris - en to - day! Em7 Fl. # & # ‰ 11 # œ & # 24 œ. and see, and see, G j œœ œœ .. œ œ œ ‰ j œ œ come come œ œ œ œ œ. # & # œ. œ 2. lies. 3. said. Em œœœ œ œ Je - sus is D j œ œ œ œ J j œ come he’s A œ œ œ œ œ œ œ œ A j œ œœ . œ œ œ œœ . j œ œ J see where he no lon - ger ris - en just as he Em j œ œ œ j œ j œ œ œ j œ To Verses 2, 3 Je - sus is ris - en to - day! Em œ >œœ œ œJ œœ # œ & # œœ ? ## œ œ œ œ Choir/Assembly ƒ œœ .. œœ .. is G ? ## >œ . ƒ ‰ œ œ œ œ œœ He 1. “He # f & # œœ .. F# m Copyright © 2008, World Library Publications 3708 River Road, Suite 400, Franklin Park, IL 60131-2158. All rights reserved. Unauthorized duplication is against the law. 4 œ J œ optional Descant II gel said, œ # & # œ # & # ‰ j œ œ. œ œ J œ J REFRAIN œ œ œ œ œ an œ œœ œœ œœ œœ œ œœ œ œ J œ j œ œ j œ œ œ œ œ œ œ œ J œ come and see, F# m D # 6 œœ œ œ œ œ ˙. & # 8 œ œ œœ œœ ≈ œ œ œ œ œ œ . œœ . F j ? ## 6 j 8 œ œj œ œ œ. œ œ œ 5 œ J & œ ## PL E If you have been looking for a simple yet joyous Easter song that can be used across generations and types of singing groups, take a few minutes to get to know Kathleen Demny’s “Jesus Is Risen Today.” Enter the title in the search box on our home page to find a sound clip. A congregation can easily sing this as a unison piece, a children’s choir or small adult group can sing it in two parts, and a fuller group can add the descants and delightful flute line. The text is simple, but still conveys the excitement of the Resurrection, the cornerstone of our faith. —Mary Beth Kunde Anderson 3 8 M (wlp 008854, e08854) JESUS IS RISEN TODAY Two-Part Choir, 2 optional Descants, Assembly, Flute, Guitar, Keyboard SA Jesus Is Risen Today To Verses 2, 3 œ .œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ .œ œ ≈ œ œœœ œ ≈ œ œ œ œ. F j j j j j œ œ œ œ œ œ œ œ œ œ œ . . # & # œœ œ œ D ? ## œ œ œ A j œ œ œœ œœ œœ ‰ j œ The Go œ j œ œ bur tell - œ œ œ œ œ œ œ œ i all œœ œ D œ œ œ - al the œ œ J clothes world œ J j œ lie F# m œœ .. œ. œ œ œ œ spring/prim aver a 2010 ♦e h av e yo u h e a r d ? spring/prim aver a 2010 #4 & #4 œ œ ˙ REFRAIN/ESTRIBILLO #4 & #4 œ œ ˙ The English: Español: Lord El Se - ñor # & #˙ & ## fal - ta. # & # Œ œ œ œ œ œ œ œ œ œ ˙. œ # & # j œ there is œ na - da ˙ is my shep - herd; es mi pas - tor, Œ want. œ œ œ œ Œ Œ œ œ œ œ œ œ there is noth - ing I shall œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙. The Lord El Se - ñor œ j œ me œ œ fal Text (Eng.) © 1969, 1981, 1997, ICEL Text (Sp.) © 1970, Comisión Episcopal de Liturgia touch and softer sound to carry the music gently along. Guitar, gently plucked rather than strummed, would be an ideal accompaniment. A well-prepared cantor and a concise explanation are all that an assembly needs to learn and pray this psalm. “The Lord Is My Shepherd/El Señor Es Mi Pastor: Psalm 23” is found in Word & Song 2010 at #299. It comes from ¡Aclama, Tierra Entera!/Sing, All You me ˙ is my shep - herd; es mi pas - tor, œ œ I shall œ want. - œ œ rá. noth - ing œ œ na - da PL E G od’s loving care for us is shown in interwoven images of shepherd and host in Psalm 23. Probably the most beloved of all the psalms, it describes the confidence we have that God will lead us to a good place— beside restful waters—and will be with us when in danger—in the dark valley. God will feed us lavishly and our foes will witness this care. Because of this protecting presence, we will be followed not by enemies but by goodness and kindness. These comforting words have been set to music many times and in many different ways. “The Lord Is My Shepherd/El Señor Es Mi Pastor: Psalm 23” is a setting of great beauty and flexibility. Michelle Lobato, a composer working in music ministry in Colorado, has chosen the peaceful mood inspired by verdant pastures and restful waters as the musical style for her setting. The refrain illustrates this with a smooth melody in a low (and quiet) register and a harmonic rhythm of one chord per measure, giving a stable and peaceful quality. Verses for a cantor are set with more motion, a slightly higher range, and two chords per measure, providing subtle contrast. Probably the most remarkable feature of this psalm is that Lobato has set English and Spanish words to the same music with natural and beautiful declamation. It can be sung completely in one language, or Spanish and English might alternate for bilingual use. The refrain could be sung twice each time to utilize both languages. Creative directors will find the best way to sing this with each assembly. A piano accompaniment provides flowing eighth-note motion; sensitive organists will find a light The Lord Is My Shepherd/ El Señor Es Mi Pastor: Psalm 23 M tom strickland SA by ta - Œ Œ ˙. ˙. Michelle Lobato Music © 2006, WLP Lands!, a collection of fifty-six bilingual psalms, many of which may be sung in a single language as well. This wonderful resource is available in a Keyboard/ Vocal Edition (wlp 012636) and a Guitar/ Vocal Edition (wlp 012637). Both English and Spanish words are the Lectionary texts, so this setting may be used as a responsorial psalm, or at other times whenever praying for goodness and kindness is appropriate. AIM 23 planner for ash wednesday through EAster sunday 2010 LITURGY ♦ ❖ notes liturgical music planner Celebration: _______________________________________________________ Day/Date/Time: ____________________________________________________ Lectionary Number: ____________ Year: __________ Presider: __________________________ Rehearsal Time: _________________ Instrumental/Vocal/Choral Prelude: _ __________________________________ New Music/Instructions: _____________________________________________ introductory rites Entrance Song: ____________________________________________________ Penitential Rite (omit on Ash Wednesday): _ ____________________________ Glory to God (Easter Sunday only): _ __________________________________ liturgy of the word Responsorial Psalm: ________________________________________________ Sequence (Easter Sunday only): _ _____________________________________ Gospel Acclamation: ________________________________________________ Dismissal of Catechumens (and Candidates): ____________________________ General Intercessions: _______________________________________________ liturgy of the eucharist Presentation of the Gifts: ____________________________________________ Preface Dialogue/Eucharistic Prayer: _ _________________________________ Holy, Holy, Holy: __________________________________________________ Memorial Acclamation: _____________________________________________ Great Amen: ______________________________________________________ The Lord’s Prayer: __________________________________________________ Lamb of God: _ ____________________________________________________ Communion Procession: _____________________________________________ Meditation/Song of Praise: _ _________________________________________ concluding rites Permission is granted to make multiple copies of this form. Copyright ©2009, World Library Publications, the music and liturgy division of J. S. Paluch Co., Inc. All rights reserved. 24 AIM Dismissal: _ _______________________________________________________ Closing Song: _____________________________________________________ Postlude: _________________________________________________________ spring/prim aver a 2010 Plan para MIÉRcoles DE ceniza HASTA pascua de resurecciÓn 2010 LITURG I A ♦ ❖ notAs Plan para la música litúrgica Celebración: _______________________________________________________ Día/Fecha/Hora: ___________________________________________________ Leccionario: ____________ Volumen: ____ Página: ______ Año: _______ Celebrante: ______________________ Hora de ensayo: ____________________ Preludio Instrumental/Vocal/Coral: ___________________________________ Cantos Nuevos/Instrucciones: _________________________________________ RITOS INICIALES Canto de Entrada: __________________________________________________ Acto Penitencial (no el Miércoles de Ceniza): __________________________ Rito de Aspersión (Pascua): _________________________________________ Gloria (Sólo el Domingo de Pascua): _________________________________ LITURGIA DE LA PALABRA Salmo Responsorial: ______________________________________________ Secuencia (Sólo el Domingo de Pascua):_______________________________ Aclamación del Evangelio (si no se canta, se omite): ___________________ Despedida de los Catecúmenos (y los Candidatos):_______________________ Plegaria Universal (Oración de los Fieles): ______________________________ LITURGIA EUCARÍSTICA Preparación del Altar (Ofertorio): ______________________________________ Santo, Santo, Santo: ________________________________________________ Aclamación Memorial: ______________________________________________ Gran Amén: ________________________________________________________ El Padre Nuestro: __________________________________________________ Cordero de Dios: _____________________________________________________ Canto de Comunión: _________________________________________________ Se da permiso para hacer copias de esta hoja para planear. Copyright ©2009, World Library Publications, la división de música y liturgia de J. S. Paluch Co., Inc. Todos los derechos reservados. spring/prim aver a 2010 Canto de Alabanza/Meditación o Silencio: _____________________________ RITO DE CONCLUSIÓN Canto de Salida: ____________________________________________________ AIM 25 ♦ ❖ ❖ Holy Thursday Evening Mass of the Lord’s Supper notes holy thursday music planner Day/Date/Time: _______________________________________________________ Presider: ____________________________ Rehearsal Time: __________________ Instrumental/Vocal/Choral Prelude: _ _____________________________________ New Music/Instructions: ________________________________________________ introductory rites Entrance Song: _______________________________________________________ Presentation of Oils: ___________________________________________________ Glory to God (with church bells): _ _____________________________________ liturgy of the word Responsorial Psalm: ___________________________________________________ Gospel Acclamation: ___________________________________________________ Music during Washing of Feet: __________________________________________ Dismissal of the Catechumens (and Candidates):____________________________ General Intercessions: __________________________________________________ liturgy of the eucharist Presentation of the Gifts: _______________________________________________ Preface Dialogue/Eucharistic Prayer: _ ____________________________________ Holy, Holy, Holy: _ ____________________________________________________ Memorial Acclamation: ________________________________________________ Great Amen: _________________________________________________________ The Lord’s Prayer: _____________________________________________________ Lamb of God: ________________________________________________________ Communion Procession: _ ______________________________________________ _ ______________________________________________ Permission is granted to make multiple copies of this form. Copyright ©2009, World Library Publications, the music and liturgy division of J. S. Paluch Co., Inc. All rights reserved. 26 AIM Transfer of the Eucharist: _______________________________________________ spring/prim aver a 2010 ♦ ❖ ❖ Jueves Santo Misa Nocturna de la Cena del Señor notAs Plan para la música litúrgica: Día/Fecha/Hora: _____________________________________________________ Celebrante: ______________________ Hora de ensayo: ____________________ Preludio Instrumental/Vocal/Coral: _____________________________________ Cantos Nuevos/Instrucciones: __________________________________________ RITOS INICIALES Canto de Entrada: ____________________________________________________ Presentación de los Óleos: _____________________________________________ Gloria (con las campanas): _____________________________________________ LITURGIA DE LA PALABRA Salmo Responsorial: __________________________________________________ Aclamación del Evangelio (si no se canta, se omite): _______________________ Durante el Lavado de los Pies: _________________________________________ ____________________________________________________________________ Despedida de los Catecúmenos (y los Candidatos): _________________________ Plegaria Universal (Oración de los Fieles): ________________________________ LITURGIA EUCARÍSTICA Preparación del Altar (Ofertorio): _______________________________________ Santo, Santo, Santo: __________________________________________________ Aclamación Memorial: ________________________________________________ Gran Amén: _________________________________________________________ El Padre Nuestro: _____________________________________________________ Cordero de Dios: _____________________________________________________ Canto de Comunión: __________________________________________________ Canto de Alabanza/Meditación o Silencio:_______________________________ Se da permiso para hacer copias de esta hoja para planear. Copyright ©2009, World Library Publications, la división de música y liturgia de J. S. Paluch Co., Inc. Todos los derechos reservados. spring/prim aver a 2010 Durante el Traslado de la Eucaristía: ___________________________________ AIM 27 ❖ ♦❖ Good Friday Celebration of the Lord’s Passion good friday music planner notes Day/Date/Time: _______________________________________________________ Presider: _____________________________ Rehearsal Time: _________________ liturgy of the word Responsorial Psalm: ___________________________________________________ Gospel Acclamation: ___________________________________________________ Dismissal of the Catechumens (and Candidates)_____________________________ General Intercessions: Let us kneel. (Silence) Let us stand. (Prayer) Amen. -or- Acclamation: ________________________________ Veneration of the Cross: ________________________________________________ Communion Procession: _ ______________________________________________ ❖ Easter Vigil notes c o n t i n u e d o n pa g e 30 easter vigil music planner Day/Date/Time: _______________________________________________________ Presider: _____________________________ Rehearsal Time: _________________ service of light Procession: _ _________________________________________________________ Easter Proclamation (Exsultet): __________________________________________ liturgy of the word Responsorial Psalms (First Reading): ______________________ (Prayer) Amen. Second Reading: _______________________________________ (Prayer) Amen. Third Reading: ________________________________________ (Prayer) Amen. Fourth Reading: _ ______________________________________ (Prayer) Amen. Fifth Reading: _________________________________________ (Prayer) Amen. Permission is granted to make multiple copies of this form. Copyright ©2009, World Library Publications, the music and liturgy division of J. S. Paluch Co., Inc. All rights reserved. 28 AIM Sixth Reading: _ _______________________________________ (Prayer) Amen. Seventh Reading: ______________________________________ (Prayer) Amen. spring/prim aver a 2010 ❖ ♦❖ Viernes Santo Celebración de la Pasión del Señor notas Plan para la música litúrgica: Día/Fecha/Hora: ______________________________________________________ Celebrante: _________________________ Hora de ensayo:___________________ (Hoy no hay Ritos Iniciales) LITURGIA DE LA PALABRA Salmo Responsorial: ___________________________________________________ Aclamación del Evangelio: ______________________________________________ Despedida de los Catecúmenos (y los Candidatos): __________________________ Plegaria Universal (Oración de los Fieles): _________________________________ Adoración de la Santa Cruz: ____________________________________________ Cantos:______________________________________________________________ _____________________________________________________________________ Canto de Comunión: __________________________________________________ ❖ La Vigilia Pascual notAs c o n t i n ú a e n l a p á g i n a 31 Plan para la música litúrgica Día/Fecha/Hora: ______________________________________________________ Celebrante: ________________________ Hora de ensayo:___________________ CELEBRACIÓN DE LA LUZ (LUCERNARIO) Procesión:___________________________________________________________ Pregón Pascual (Exsultet): ______________________________________________ Se da permiso para hacer copias de esta hoja para planear. Copyright ©2009, World Library Publications, la división de música y liturgia de J. S. Paluch Co., Inc. Todos los derechos reservados. spring/prim aver a 2010 AIM 29 ❖ ♦ ❖ Easter Vigil notes c o n t i n u e d f r o m liturgy of the word pa g e 28 continued Glory to God (with church bells): ________________________________________ Gospel Acclamation: ___________________________________________________ liturgy of baptism Litany of Saints: ______________________________________________________ Blessing of Water: _____________________________________________________ Baptismal Acclamations: _______________________________________________ Sprinkling Rite: _______________________________________________________ Return of the Newly Baptized: _ _________________________________________ Confirmation: ________________________________________________________ General Intercessions: __________________________________________________ liturgy of the eucharist Presentation of the Gifts: _______________________________________________ Preface Dialogue/Eucharistic Prayer: _ ____________________________________ Holy, Holy, Holy: _ ____________________________________________________ Memorial Acclamation: ________________________________________________ Great Amen: _________________________________________________________ The Lord’s Prayer: _____________________________________________________ Lamb of God: ________________________________________________________ Communion Procession: _ ______________________________________________ _ ______________________________________________ Meditation/Song of Praise: _ ____________________________________________ concluding rites Dismissal (with Alleluias): ______________________________________________ Closing Song: ________________________________________________________ Permission is granted to make multiple copies of this form. Copyright ©2009, World Library Publications, the music and liturgy division of J. S. Paluch Co., Inc. All rights reserved. 30 AIM Postlude: ____________________________________________________________ spring/prim aver a 2010 ❖ ❖ ♦ La Vigilia Pascual notAs c o n t i n u a c i ó n v i e n e d e l a p Á g i n a 29 LITURGIA DE LA PALABRA Salmos Responsoriales: Primera Lectura: ____________________________(oración) Amén. Segunda Lectura: ___________________________(oración) Amén. Tercera Lectura (No se dice “Palabra de Dios”.) El Salmo comienza enseguida: ________________(oración) Amén. Cuarta Lectura: _____________________________(oración) Amén. Quinta Lectura: _____________________________(oración) Amén. Sexta Lectura: ______________________________(oración) Amén. Séptima Lectura: ____________________________(oración) Amén. Gloria (con las campanas): ___________________________________ Aclamación del Evangelio (si no se canta, se omite): _____________ LITURGIA BAUTISMAL Letanía de los Santos: ______________________________________________ Bendición del Agua: ________________________________________________ Aclamaciones Bautismales:___________________________________________ Rito de Aspersión (Pascua): _____________________________________________ Regreso de los Recien Bautizados: _______________________________________ Confirmación: ________________________________________________________ Plegaria Universal (Oración de los Fieles): _________________________________ LITURGIA EUCARÍSTICA Preparación del Altar (Ofertorio): ________________________________________ Santo, Santo, Santo: ___________________________________________________ Aclamación Memorial: _________________________________________________ Gran Amén: __________________________________________________________ El Padre Nuestro: ______________________________________________________ Cordero de Dios: ______________________________________________________ Canto de Comunión: ___________________________________________________ Canto de Alabanza/Meditación o Silencio: _________________________________ Se da permiso para hacer copias de esta hoja para planear. Copyright ©2009, World Library Publications, la división de música y liturgia de J. S. Paluch Co., Inc. Todos los derechos reservados. spring/prim aver a 2010 RITO DE CONCLUSIÓN Despedida con Aleluyas: ________________________________________________ Canto de Salida: ______________________________________________________ AIM 31 ❖ ♦ ash wednesday lectionary 219 music suggestions 17 f e b rua ry 2 0 10 E=Entrance/O=Offertory/C=Communion/D=Dismissal E/O/D E/O O/C C C E/O/C E/O/D E/O/C E/O/C E/O/C E/O/D E/O/C/D C E/O/D E/O E/O/D E/O/D O/C SM WC/H WS VAO PMB CEL/H CEL/M Again We Keep This Solemn Fast 185 519 432 233 121 Amazing Grace 283 662 539 323 552 212 Come Home 16 Create a Clean Heart 236 Draw Near 231 613 499 20 293 531 189 Draw Near, O Lord/Attende Domine 275 521 427 239 503 120 From Ashes to the Living Font 184 522 429 236 501 123 Grant to Us, O Lord 191 661 543 329 551 135 Hosea (Come Back to Me) 196 659 544 327 554 136 Journey for Home 635 50 Lift High the Cross 289 748 613 393 599 148 O Lord, Your Mercy Does Extend 422 Remember Me 256 642 526 304 Return to God 188 528 423 140 Spare Us, Lord/Parce, Domine 190 518 431 228 142 The Glory of These Forty Days 189 530 437 237 502 130 There’s a Wideness in God’s Mercy 286 660 537 322 556 You Know Who I Am 388 Español/Bilingüe O/C O/C E/O/C C CPD 100 E=Entrada/O=Ofertório/C=Comunión/S=Salida Acuérdate de Jesucristo 644 El Señor Es Compasivo: Sal 103(102) 428 339 163 Escúchanos, Señor/Attende Domine Gusten y Vean: Sal 34(33) 309 908 737 855 714 315 266 269 300 107 70 29 61 O/C Misericordia, Señor: Sal 51(50) 827 255 64 O O E/O/C S E/O/S E/S Óyenos, Señor: Sal 130(129) 437 348 835 267 Pequé, Pequé, Dios Mío 858 253 Perdón, Oh Dios Mío 856 260 Perdona a Tu Pueblo 857 252 Señor, Tu Gran Misericordia Sí, Me Levantaré 873 265 80 32 30 36 35 101 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “Kyrie Eleison: Two Settings in Alternatim,” ed. Richard Proulx. SATB a cappella, cantor, assembly. wlp 005278 • “Somebody’s Knockin’ at Your Door,” arr. Leonard Bobrowski. SATB a cappella. wlp 008858 • “Praise to You, Word of God: Gospel Acclamation and Verses for Lent and Holy Week,” Charles Gardner. SATB, descant, cantor, assembly; keyboard. wlp 008560 • “Be Merciful, O Lord: Psalm 51,” Joseph B. Sullivan. SATB, cantor, assembly; keyboard. wlp 006296 • “Kyrie Eleison,” Nicholas Palmer. SATB a cappella. wlp 005289 32 AIM Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Be with Me, Lord: Psalm 91,” John Angotti. SATB, 2 cantors, assembly; guitar, keyboard. wlp 008341 • “Psalm 91,” from Seasonal Psalms for Children, Dolores M. Hruby. Unison choir, cantor, assembly; Orff instruments, keyboard. wlp 007102 • “Return to God,” Alan J. Hommerding & John Angotti. SAT, cantor, assembly; guitar, keyboard. wlp 008340 Español/Bilingüe • “Al Partir el Pan,” Pedro Rubalcava. 2- or 3-part choir, cantor, assembly; trumpets, violins, guitar, piano. wlp 012642 • “Del Señor Viene la Misericordia/With the Lord There Is Mercy: Sal 130(129)” (bilingual), Mary Frances Reza. Cantor, SATB, assembly; guitar, piano. wlp 012641 • “Limpia Nuestros Pecados: Sal 32,” Julie Howard, from Canten con Gozo songbook. wlp 012549 • “Misericordia, Señor/Be Merciful, O Lord: Sal 51(50),” Eleazar Cortés. ¡Aclama, Tierra Entera!/ Sing All You Lands! bilingual songbook. wlp 012637 spring/prim aver a 2010 ❖ ♦ first Sunday of lent lectionary 23 music suggestions E=Entrance/O=Offertory/C=Communion/D=Dismissal WC/H WS VAO PMB CEL/H CEL/M CPD Again We Keep This Solemn Fast 185 519 432 233 121 Answer Me 4 Answer When I Call 3 Blessed Be Your Name 216 Draw Near, O Lord/Attende Domine 275 521 427 239 503 120 Forty Days and Forty Nights 187 534 420 232 124 From Ashes to the Living Font 184 522 429 236 501 123 Have Mercy, Lord, on Us 665 541 328 Hosea (Come Back to Me) 196 659 544 327 554 136 I Believe This Is Jesus 633 518 Jesus Walked This Lonesome Valley 194 529 430 242 143 Journey for Home 635 50 Lead Me, Guide Me 777 609 397 601 Lift High the Cross 289 748 613 393 599 148 Make of Our Hands a Throne 656 536 312 302 542 192 The Glory of These Forty Days 189 530 437 237 502 130 The Lord Hears the Cry of the Poor (Bolduc) 356 The Lord Hears the Cry of the Poor (Tate) 398 310 These Forty Days of Lent 183 527 438 240 504 122 Español/Bilingüe E/S O/C O O O E E/S C E/O/S E/S SM 2 1 f e b rua ry 2 0 10 E/O/D O C O/D E/O/C E/O/D E/O/D E/O/C/D E/O/C C E/O/D E/O/C E/O/D E/D C E/O/D O/C O/C E/O/D E=Entrada/O=Ofertório/C=Comunión/S=Salida Caminaré: Sal 116(114) 831 256 El Señor Es Compasivo: Sal 103(102) 428 339 163 737 266 Misericordia, Señor: Sal 51(50) 827 255 Óyenos, Señor: Sal 130(129) 437 348 835 267 Pequé, Pequé, Dios Mío 858 253 Perdón, Oh Dios Mío 856 260 Perdona a Tu Pueblo 857 252 Señor, Tú Eres el Pan 872 302 Señor, Tu Gran Misericordia Sí, Me Levantaré 873 265 K147 70 64 80 32 30 36 94 35 101 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “Listen, O Lord, to My Prayer,” from Eleven Communion Chants for Lent, Charles Thatcher. SATB, cantor, assembly; keyboard. wlp 005286 • “Be with Me, Lord: Psalm 91,” from Psalms for the Lenten Season, Chrysogonus Waddell, ocso. SATB, cantor, assembly; keyboard. wlp 006298 • “Kyrie Eleison,” Hans Leo Hassler, ed. Lee Gwozdz. SATB a cappella, cantor, assembly. wlp 008832 • “Be with Me, Lord: Psalm 91,” William Ferris. SATB or cantor, assembly; organ. wlp 006221 spring/prim aver a 2010 Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Psalm 91,” from Seasonal Psalms for Children, Dolores M. Hruby. Unison choir, cantor, assembly; Orff instruments, keyboard. wlp 007102 • “Praise to You (Lenten Gospel Acclamation),” Joe Mattingly. SATB, cantor & solo, assembly; guitar, keyboard. wlp 003689 • “Bread of the World,” Paul A. Tate. SAB, cantor, assembly; flute; opt violin, cello, bells; guitar, keyboard. wlp 008844 • “Be with Me, Lord: Psalm 91,” John Angotti. SATB, 2 cantors, assembly; guitar, keyboard. wlp 008341 Español/Bilingüe • “A Ti, Señor/To You, O Lord: Sal 25(24),” Eleazar Cortés. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “Del Señor Viene la Misericordia/With the Lord There Is Mercy: Sal 130(129)” (bilingual), Mary Frances Reza. Cantor, SATB, assembly; guitar, piano. wlp 012641 • “Misericordia, Señor/Be Merciful, O Lord: Sal 51(50),” Eleazar Cortés. ¡Aclama, Tierra Entera!/ Sing All You Lands! bilingual songbook. wlp 012637 • “Muéstranos, Señor: Sal 85,” Pedro Rubalcava, from Cantemos songbook. wlp 012538 AIM 33 ❖ ♦ second Sunday of lent lectionary 27 music suggestions 28 f e b rua ry 2 0 10 E=Entrance/O=Offertory/C=Communion/D=Dismissal E/O/C E/O/D E/O/C/D E/O/C/D C E/O/D O/C O E/O/C/D C E/O/D E/O/D E/O/D E/O/D E/O/D E/O/C O E/O/C SM WC/H WS VAO PMB CEL/H CEL/M CPD Be Still for the Presence of the Lord 9 Glory and Praise to You 716 563 360 454 God So Loved the World 803 646 27 418 Have Mercy, Lord, on Us 665 541 328 I Believe This Is Jesus 633 518 I Want to Walk as a Child of the Light 199 781 608 404 602 217 In Remembrance of You 251 612 512 46 317 537 188 Jesu, Joy of Our Desiring 711 357 Near the Cross 198 755 435 165 Now We Remain 237 640 516 543 139 Open the Eyes of My Heart, Lord 324 Sometimes by Step 85 Take Up Your Cross 223 750 428 238 596 160 There’s a Wideness in God’s Mercy 286 660 537 322 556 ’Tis Good, Lord, to Be Here 193 535 426 229 129 We Fall Down 373 You Are the Light I Seek 855 677 You Are the Voice 384 Español/Bilingüe E/S O/C C O O/C O E/S C E/O/S O/C E/C E=Entrada/O=Ofertório/C=Comunión/S=Salida Caminaré: Sal 116(114) 831 256 El Señor Es Compasivo: Sal 103(102) 428 339 163 737 266 El Señor Es Mi Luz: Sal 27(26) 824 Misericordia, Señor: Sal 51(50) 827 255 Múestranos, Señor: Sal 85(84) 828 Óyenos, Señor: Sal 130(129) 437 348 835 267 Perdona a Tu Pueblo 857 252 Porque Nos Invitas 914 309 Señor, Tu Gran Misericordia Sí, Me Levantaré 873 265 Venimos ante Ti 912 332 K147 70 58 64 68 80 36 K48 35 101 154 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “Anthem for Transfiguration,” Christopher M. Wicks. SATB, assembly; organ. wlp 008783 • “Transfiguration Prayer,” David A. deSilva. SATB a cappella. wlp 008857 • “Of You My Heart Has Spoken/The Lord Is My Light: Psalm 27,” Steven R. Janco. SATB, cantor, assembly; 2 C instruments, opt string quartet, keyboard. wlp 008841 • “Una Cosa Pido al Señor/Only This I Ask of the Lord: Psalm 27,” Jennifer Kerr Breedlove. SATB a cappella, cantor, assembly. wlp 012677 34 AIM Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Listen to Him,” Danielle Rose. SATB a cappella, soloist. wlp 008286 • “The Lord Is My Light: Psalm 27,” Brian Bisig. SATB, cantor, assembly; guitar, keyboard. wlp 008297 • “God, in Our Faith,” Paul Lisicky. SATB, descant, cantor, assembly; guitar, keyboard. wlp e08537 • “The Lord Is My Light,” Ed Bolduc. Unison choir, cantor, assembly; guitar, keyboard. wlp 008206 Español/Bilingüe • “Al Partir el Pan,” Pedro Rubalcava. 2- or 3-part choir, cantor, assembly; trumpets, violins, guitar, piano. wlp 012642 • “Del Señor Viene la Misericordia/With the Lord There Is Mercy: Sal 130(129)” (bilingual), Mary Frances Reza. Cantor, SATB, assembly; guitar, piano. wlp 012641 • “Misericordia, Señor/Be Merciful, O Lord: Sal 51(50),” Eleazar Cortés. ¡Aclama, Tierra Entera!/ Sing All You Lands! bilingual songbook. wlp 012637 • “Venimos, Hoy, a Tu Presencia,” José Soler, from Una Voz Jubilosa. wlp 012400 spring/prim aver a 2010 ❖ ♦ third Sunday of lent lectionary 30 (28) music suggestions E=Entrance/O=Offertory/C=Communion/D=Dismissal WC/H WS VAO PMB CEL/H CEL/M Again We Keep This Solemn Fast 185 519 432 233 Amazing Grace 283 662 539 323 552 121 Blessed Be Your Name 216 Come to Me (holy manna) 856 451 Come to Me (Norbet) 842 679 444 628 Draw Near, O Lord/Attende Domine 275 521 427 239 503 120 Eucharistic Litany 614 524 21 310 Forgive Our Sins as We Forgive 202 663 540 324 553 131 Glorify Thy Name 257 God of Our Salvation 665 Grant to Us, O Lord 191 661 543 329 551 135 Have Mercy, Lord, on Us 665 541 328 Healing Waters 268 Out of the Depths (Gerrish) 209 520 241 Out of the Depths (Hay) 349 141 Shelter Your Name 337 Español/Bilingüe C/S O/C E/S O/C O/C E/O O/S C O/C O C E/S E/O/S E/S SM CPD 100 E=Entrada/O=Ofertório/C=Comunión/S=Salida A los Hombres Amó Dios Acuérdate de Jesucristo 644 908 315 Altísimo Señor 868 310 El Señor Es Compasivo: Sal 103(102) 428 339 163 737 266 En la Paz de Cristo Fuente de Agua Viva 807 292 Fuente Eres Tú Gusten y Vean: Sal 34(33) 309 714 300 No Endurezcan el Corazón: Sal 95(94) 829 263 Óyenos, Señor: Sal 130(129) 437 348 835 267 Porque Nos Invitas 914 309 Pueblo Libre 886 Señor, Tu Gran Misericordia Un Solo Señor (Rubalcava) 898 293 93 107 98 70 151 258 33 61 69 80 K48 123 35 138 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “El Señor Es Compasivo/The Lord Is Rich in Kindness: Psalm 103,” Peter M. Kolar. Choir, descant, cantor, assembly; flute, guitar, piano. wlp 012670 • “You Shall Be My People,” Michael Philip Ward. SATB, descant, cantor, assembly; C instrument, keyboard. wlp 007677 • “O God, to Whom We Turn,” Don Michael Dicie. SATB a cappella. wlp 007510 • “Bless the Lord, O My Soul: Psalm 103,” Lucien Deiss, CSSp. SATB, cantor, assembly; keyboard. wlp 002553 spring/prim aver a 2010 Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Scatter the Seeds,” Timothy R. Smith & Kim Anne Smith. SATB; guitar, keyboard. wlp e08575 • “There Is a River,” Michael John Poirier, arr. Ed Bolduc. 3-part choir, soloist; opt percussion, bass guitar, & synth pad, guitar, keyboard. wlp 008127 • “Come Home: Softly and Tenderly,” Will L. Thompson & Paul A. Tate. SAB; C instrument, guitar, keyboard. wlp 008860 • “The Lord Is Kind and Merciful,” Ed Bolduc. 3-part choir, cantor, assembly; guitar, keyboard. wlp 007357 Español/Bilingüe • “Al Partir el Pan,” Pedro Rubalcava. 2- or 3-part choir, cantor, assembly; trumpets, violins, guitar, piano. wlp 012642 • “El Señor Es Compasivo: Sal 103(102)” (bilingual), Peter Kolar. Cantor, unison choir; descants, opt flute. wlp 012670, 012674 • “Fuente Eres Tú,” José Soler, from Una Voz Jubilosa. wlp 012400 • “No Endurezcan el Corazón ,” Eleazar Cortés, arr. P. Kolar, from Alabemos a Dios songbook. wlp 012682 • “Ojalá Escuchen Hoy la Voz,” Al Valverde, from Vamos a la Casa del Señor songbook. wlp 012685 AIM 35 7 m a rc h 2 0 10 E/O/D O/D O/D E/O/C E/O/C E/O/C C E/O/C/D E/O/C E/O/D E/O/C E/O/C/D E/O/C E/O/C E/O/C O/C ❖ ♦ fourth Sunday of lent lectionary 33 (31) music suggestions CEL/M CPD Amazing Grace 283 662 539 323 552 212 Christ, Be Our Light 924 746 664 Come Home 16 Forgive Our Sins as We Forgive 202 663 540 324 553 131 Give Thanks and Remember 644 534 I Want to Walk as a Child of the Light 199 781 608 404 602 217 In the Arms of the Shepherd 179 848 682 47 449 632 In You, O Lord 671 49 Journey for Home 635 50 Our Father, We Have Wandered 228 666 538 326 555 Precious Lord, Take My Hand 841 686 448 633 Reason to Live 77 Return to God 188 528 423 140 Treasures Out of Darkness/Tesoros Ocultos 835 662 440 909 325 Yes, I Shall Arise/Sí, Me Levantaré 203 658 542 325 557 127 You Know Who I Am 388 100 14 m a rc h 2 0 10 E=Entrance/O=Offertory/C=Communion/D=Dismissal O/D E/O/C/D O/C E/O/C/D O/C E/O/D O/C C E/O/C O O O/C E/O/D O O O/C Español/Bilingüe C/S O E/S O/C O/C O/C C O/C E/S O O O/C SM WC/H WS VAO PMB CEL/H 147 E=Entrada/O=Ofertório/C=Comunión/S=Salida A los Hombres Amó Dios Amémonos de Corazón 875 257 Caminaré: Sal 116(114) 831 256 El Señor Es Compasivo: Sal 103(102) 428 339 163 737 266 El Señor Es Mi Luz: Sal 27(26) 824 El Señor Es Mi Pastor: Sal 23(22) (Florián) 822 261 Gusten y Vean: Sal 34(33) 309 714 300 Nada Me Falta: Sal 23(22) Perdona a Tu Pueblo 857 252 Señor, Tu Gran Misericordia Sí, Me Levantaré 873 265 Tu Recuerdo, Señor: Sal 138(137) 262 93 104 K147 70 58 55 61 57 36 35 101 81 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “Amazing Grace,” arr. Robert W. Schaefer. SSATTBB a cappella. wlp 008803 • “Gusten y Vean/Taste and See: Psalm 34,” Pedro Rubalcava. SATB, descant, cantor, assembly; guitar, keyboard. wlp 012676 • “Taste and See: Psalm 34,” from Psalms for the Lenten Season, Chrysogonus Waddell, ocso. SATB, cantor, assembly; keyboard. wlp 006298 • “Taste and See/The Angel of the Lord: Psalm 34,” Joseph B. Sullivan. SATB, cantor, assembly; keyboard. wlp 006281 36 AIM Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Come, My Children/Taste and See: Psalm 34,” Paul Inwood. Unison choir, cantor, assembly; guitar, keyboard. wlp 006277 • “I Will Rise and Go to My Father: Psalm 51,” John Angotti. SATB, cantor, assembly; guitar, keyboard. wlp 007365 • “Taste and See: Psalm 34,” Paul A. Tate. SATB, descant, cantor, assembly; opt cello, guitar, keyboard. wlp 008231 • “Come, All You Blessed Ones,” Steven C. Warner. SATB, cantor, assembly; flute, 2 violins, guitar, keyboard. wlp 005209 Español/Bilingüe • “El Señor Es Mi Luz: Sal 27(26),” Mary Frances Reza. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “El Señor Es Mi Pastor: Sal 23(22),” Pedro Rubalcava, from Hoy Nos Reunimos en Nombre de Dios songbook. wlp 012692 • “El Señor Es Mi Pastor/The Lord Is My Shepherd: Sal 23(22),” Michelle Lobato. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “Gusten y Vean/Taste and See: Sal 34(33),” Pedro Rubalcava. SATB with Latin descant. wlp 012676 spring/prim aver a 2010 ❖ ♦ fifth Sunday of lent lectionary 36 (34) music suggestions E=Entrance/O=Offertory/C=Communion/D=Dismissal WC/H WS VAO PMB CEL/H CEL/M CPD Crux Fidelis 206 751 442 19 247 156 Go Light Your World 26 Grant to Us, O Lord 191 661 543 329 551 135 Have Mercy, Lord, on Us 665 541 328 Hope to Carry On 274 I Heard the Voice of Jesus Say 245 681 452 626 144 In Remembrance of You 251 612 512 46 317 537 188 In the Arms of the Shepherd 179 848 682 47 449 632 Jesus, Bread of Life 627 520 Make of Our Hands a Throne 656 536 312 302 542 192 Make Us Your Own 313 Remember Me 256 642 526 304 Set Your Heart on the Higher Gifts 819 654 80 618 Shall We Gather at the River 806 641 422 615 Strength for the Journey 770 626 87 The Servant Song 205 800 638 413 610 There in God’s Garden 749 417 There Is a Balm in Gilead 204 669 547 331 559 133 Español/Bilingüe O/C E/S O/C O O/C O/C O E/S O C O C/S SM 2 1 m a rc h 2 0 10 E/O/D O/D E/O/C E/O/C/D D E/O/D C O/C C C C C O/C E/O/D O/C O/C O O/C E=Entrada/O=Ofertório/C=Comunión/S=Salida Acuérdate de Jesucristo 644 908 315 Caminaré: Sal 116(114) 831 256 El Señor Es Compasivo: Sal 103(102) 428 339 163 737 266 Entre Tus Manos 906 330 La Alianza Nueva 258 Múestranos, Señor: Sal 85(84) 828 Óyenos, Señor: Sal 130(129) 437 348 835 267 Perdona a Tu Pueblo 857 252 Pues Si Vivimos/When We Are Living 796 637 408 896 314 Señor, Tú Eres el Pan 872 302 Tomado de la Mano 907 329 Yo Soy el Pan de Vida 867 301 107 K147 70 110 102 68 80 36 137 94 132 96 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “We Will Follow You,” Kevin Keil. SATB; opt flute, clarinet, & cello, guitar, keyboard. wlp 008835 • “Six Choral Introits for the Church Year,” Richard Proulx. SATB a cappella. wlp 005783 • “Forgive, O Lord, Our Severing Ways,” Robert W. Schaefer. Unison choir, descant; 3 C instruments, cello, bass, guitar, keyboard. wlp 008673 • “The Lord Has Done Great Things: Psalm 126,” Rudy T. Borkowski. SATB, cantor, assembly; opt C instrument, guitar, keyboard. wlp 006284 spring/prim aver a 2010 Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Homeward Bound,” Ken Macek. SATB, cantor, assembly; guitar, keyboard. wlp 008189 • “Journey for Home,” Ed Bolduc. SAB, cantor, assembly; opt trumpets, guitar, keyboard. wlp 007437 • “Return to God,” Alan J. Hommerding & John Angotti. SAT, cantor, assembly; guitar, keyboard. wlp 008340 • “Now Is the Time,” James V. Marchionda, op. Unison or children’s choir, descant, cantor, assembly; opt trumpet, guitar, keyboard. wlp 008404 Español/Bilingüe • “Como Muere el Trigo,” José Soler, from Una Voz Jubilosa. wlp 012400 • “Del Señor Viene la Misericordia/With the Lord There Is Mercy: Sal 130(129),” Eleazar Cortés. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “Del Señor Viene la Misericordia/With the Lord There Is Mercy: Sal 130(129)” (bilingual), Mary Frances Reza. Cantor, SATB, assembly; guitar, piano. wlp 012641 • “Pan del Cielo,” Eleazar Cortés, arr. P. Kolar, from Alabemos a Dios songbook. wlp 012682 AIM 37 palm Sunday of the lord’s passion ❖ ♦ lectionary 37, 38 music suggestions 28 m a rc h 2 0 10 E=Entrance/O=Offertory/C=Communion/D=Dismissal E E E/O/D E E O/C/D O/C/D O/C E E E/O/D C O/C/D O/C O/C/D O/C/D O/C C SM WC/H WS VAO PMB CEL/H CEL/M CPD All Glory, Laud, and Honor 287 439 244 505 149 Blessed Is He 213 Crux Fidelis 206 751 442 19 247 156 He Is Exalted 32 Hosanna, Son of God 266 537 243 147 Lord, Let Me Walk 213 434 230 152 Near the Cross 198 755 165 O Cross of Christ, Immortal Tree 752 248 Ride On! Ride On in Majesty 263 543 441 245 145 Sing Hosanna to Our King 440 342 Then Let Us Glory in the Cross 421 This Is My Body 623 318 Up to Jerusalem 262 536 444 246 146 We Acclaim the Cross of Jesus 290 754 453 252 163 Were You There 215 544 450 250 510 161 What Wondrous Love 192 713 436 253 578 150 You are My King 382 Your Sacrifice 392 Español/Bilingüe E/S O/C E E O/S E O/S O/S C C E=Entrada/O=Ofertório/C=Comunión/S=Salida A Ti, Jesús, Honor y Gloria Acuérdate de Jesucristo 644 908 315 Alzad la Cruz 890 270 Con la Cruz 891 303 Cristo, Recuérdame 221 555 877 254 Gloria, Honor a Ti 271 Mirad la Cruz 274 Oh Cruz Fiel y Venerable 859 276 Porque Nos Invitas 914 309 Venid, Oh Cristianos 275 37 107 129 127 108 116 42 41 K48 40 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “You Are Worthy,” Cynthia Gowens, arr. Kenneth Louis. SATB, soloist, assembly; guitar, keyboard. wlp 001250 • “Four Palm Sunday Motets,” Franz Schubert, ed. & tr. William Tortolano. SATB a cappella. wlp 005790 • “Surely He Hath Borne Our Griefs,” Richard B. Rosewall. SATB a cappella. wlp 002183 • “My God, Why Have You Abandoned Me?” from Psalms for Holy Week, Chrysogonus Waddell, ocso. SATB, cantor, assembly; keyboard. wlp 006307 38 AIM Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Why Have You Abandoned Me?” W. Clifford Petty. SATB, cantor, assembly; guitar, keyboard. wlp 001236 • “Only Love,” Patrick Bradley. 3-part choir (opt bass), soloist; guitar, keyboard. wlp 001243 • “God So Loved the World,” Paul A. Tate. SATB, descant, cantor, assembly; guitar, keyboard. wlp 007486 • “Strength for the Journey,” Michael John Poirier, arr. Ed Bolduc. SAB, descant, soloist, assembly; guitar, keyboard. wlp 008122 Español/Bilingüe • “A Ti, Jesús, Honor y Gloria,” José Soler, from Una Voz Jubilosa. wlp 012400 • “Al Partir el Pan,” Pedro Rubalcava. 2- or 3-part choir, cantor, assembly; trumpets, violins, guitar, piano. wlp 012642 • “Dios Mío, Dios Mío/My God, My God: Sal 22(21),” Al Valverde. ¡Aclama, Tierra Entera!/ Sing All You Lands! songbook. wlp 012637 • “Dios Mío, Dios Mío/My God, My God: Sal 22(21),” Eleazar Cortés. ¡Aclama, Tierra Entera!/ Sing All You Lands! bilingual songbook. wlp 012637 • “Los Niños Hebreos,” Ron Rendek, from Salmos Responsoriales y Aclamaciones. wlp 012568 spring/prim aver a 2010 ❖ ♦ holy thursday evening mass of the lord's supper Lectionary 39 music suggestions E=Entrance/O=Offertory/C=Communion/D=Dismissal SM WC/H WS VAO PMB CEL/H CEL/M CPD Español/Bilingüe 1 a pr i l 2 0 10 O/C A New Commandment* 252 809 656 423 616 203 C Christ Has No Body Now But Yours* 772 610 222 598 220 C Draw Near 231 613 499 20 293 531 189 C Eucharistic Litany 614 524 21 310 O How Beautiful 392 O/C In Remembrance of You 251 612 512 46 317 537 188 O/C Jesu, Jesu, Fill Us with Your Love* 216 768 632 407 604 155 Jesus Took a Towel* 539 446 E Lift High the Cross 289 748 613 393 599 148 Love One Another* 817 652 311 C Make of Our Hands a Throne 656 536 312 302 542 192 C One Communion of Love 211 650 513 70 311 545 187 Pange, Lingua/Praise We . . . ** 56 541 448 600 507 38 O The Sacrament of Service* 249 540 447 254 509 153 O/C Where Charity and Love Prevail (Benoit)* 291 816 649 424 623 201 O/C Where Charity and Love Prevail (Hill)* 820 647 429 O/C Where True Charity/Ubi Caritas* 182 813 655 430 621 202 You are My Hands* 380 *Washing of Feet **Transfer of the Eucharist E=Entrada/O=Ofertório/C=Comunión/S=Salida S A Tan Alto Sacramento** 940 93 E Alzad la Cruz 890 270 C/S Cristo, Recuérdame** 221 555 877 254 O/C El Cáliz de la Bendición: Sal 116(115) 742 272 C Nos Congregamos Junto a la Mesa C Pan de Vida 637 510 871 298 Pange, Lingua/Canta, Lengua, Jubilosa** 860 40 O Quiero Servirte, Mi Señor** 893 O/C Trilingual Ubi Caritas* 653 428 903 273 O/C Un Mandamiento Nuevo* 894 306 *Lavatorio de los Pies **Traslado del Santísimo Sacramento 186 129 108 74 39 K46 38 130 140 125 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “O Lord, with Wondrous Mystery,” Michael Gannon & Hendrik F. Andriessen, arr. Paul M. French. 3-part choir, opt assembly; C instrument, organ. wlp 002048 • “Our Blessing Cup,” Laura Kutscher. SATB, descant, cantor, assembly; 2 opt C instruments, guitar, keyboard. wlp 006297 • “Sing, My Tongue, the Song of Triumph,” arr. Charles Thatcher. 3-part mixed choir a cappella, opt assembly. wlp 005821 • “O Sacred Banquet,” Chrysogonus Waddell, ocso. SATB a cappella, soprano soloist. wlp 007270 spring/prim aver a 2010 Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Behold the Lamb of God,” Alan J. Hommerding. SATB, cantor, assembly; keyboard. wlp 005287 • “I Am the Bread of Life,” Tom Kaczmarek. 3-part choir, cantor, assembly; 2 C instruments, guitar, keyboard. wlp 008360 • “Ave Verum,” Gabriel Fauré, ed. Douglas J. Walczak. 2-part equal-voice choir; organ. wlp 009600 • “Trilingual Ubi Caritas,” Cheryl Aranda. SATB, cantor, assembly, guitar, piano. wlp 012675 Español/Bilingüe • “Al Partir el Pan,” Pedro Rubalcava. 2- or 3-part choir, cantor, assembly; trumpets, violins, guitar, piano. wlp 012642 • “El Cáliz Que Bendecimos/Our Blessing Cup: Sal 116(115),” Eleazar Cortés. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “El Lavarse los Pies,” Lorenzo Florián, from Venga Tu Reino songbook. wlp 012695 • “En el Pan y el Cáliz,” José Soler, from Una Voz Jubilosa. wlp 012400 • “Trilingual Ubi Caritas,” Cheryl Aranda. Cantor, SATB; guitar, piano. wlp 012675 AIM 39 good friday of the lord’s passion ❖ ♦ lectionary 40 music suggestions 2 a pr i l 2 0 10 E=Entrance/O=Offertory/C=Communion/D=Dismissal SM WC/H WS VAO PMB CEL/H CEL/M At the Name of Jesus* 574 5 Crux Fidelis 206 751 442 19 247 156 Forever Grateful* 251 C God So Loved the World 803 646 27 418 C Jesus, Remember Me/Cristo, Recuérdame* 221 555 877 151 Joseph, Take Him off the Tree* 445 C Near the Cross* 198 755 435 165 C Now We Remain 237 640 516 543 139 C O Sacred Head, Surrounded* 288 547 454 255 506 164 Tree of Life* 455 C We Acclaim the Cross of Jesus* 290 754 453 252 163 C We Remember 236 653 501 550 138 C Were You There* 215 544 450 250 510 161 C What Wondrous Love* C When I Behold the Wondrous Cross* 212 753 443 249 157 C Your Sacrifice 392 *Veneration of the Cross Español/Bilingüe CPD 108 E=Entrada/O=Ofertório/C=Comunión/S=Salida A Tan Alto Sacramento 940 Acuérdate de Jesucristo* 644 908 Cristo, Recuérdame* 221 555 877 C Entre Tus Manos* 906 Madre Llena de Aflicción* Mirad la Cruz* Oh Cruz Fiel y Venerable* 859 C Óyenos, Señor: Sal 130(129) 437 348 835 Perdona a Tu Pueblo* 857 C Venid, Oh Cristianos* *Se pueden cantar durante la Adoración de la Santa Cruz 93 315 254 330 277 274 276 267 252 275 186 107 108 110 34 42 41 80 36 40 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “My Song Is Love Unknown,” William Ferris. SATB; oboe, organ. wlp 008824 • “And God Looked Down,” Chad Walsh & Thomas Strickland. Unison choir, baritone solo; organ. wlp 005763 • “Adoramus Te,” Roger Stratton. SATB, cantor, 2 soloists, assembly; guitar, keyboard. wlp 005822 • “Kyrie Eleison: Two Settings in Alternatim,” ed. Richard Proulx. SATB a cappella, cantor, assembly. wlp 005278 40 AIM Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Jesus, Gentle Love,” James V. Marchionda, op. SATB, descant, assembly; guitar, keyboard. wlp 007827 • “Only Love,” Patrick Bradley. 3-part choir (opt bass), soloist; guitar, keyboard. wlp 001243 • “There Is a Love,” Fred Pratt Green & Steven R. Janco. Unison choir, descant, cantor, assembly; flute, keyboard. wlp 008701 • “Wondrous Love,” arr. James E. Clemens. SATB a cappella. wlp 008767 Español/Bilingüe • “Padre, en Tus Manos/Father, into Your Hands: Sal 31(30),” Eleazar Cortés. ¡Aclama, Tierra Entera!/ Sing All You Lands! bilingual songbook. wlp 012637 • “Por Nosotros Intercedes,” José Soler, from Una Voz Jubilosa. wlp 012400 • “Traspasado por Nuestras Culpas,” José Soler, from Una Voz Jubilosa. wlp 012400 spring/prim aver a 2010 ❖ ♦ holy Saturday: easter vigil lectionary 41 music suggestions E=Entrance/O=Offertory/C=Communion/D=Dismissal SM WC/H WS VAO PMB CEL/H CEL/M CPD Español/Bilingüe O/C/S O/S C C O/C O/C O/C O O/C C O/C C/S 3 a pr i l 2 0 10 O/D Alleluia! . . . Let the Holy Anthem Rise 292 573 464 273 511 176 O/C/D Alleluia! The Strife Is O’er 293 549 469 257 513 167 Anointing, Fall on Me** 204 Baptized in Water* 229 603 492 286 526 227 O/D Christ Is Risen! Shout Hosanna! 570 467 263 Come, Holy Ghost** 274 728 584 372 580 224 Come, Holy Spirit, Wind and Fire** 257 724 589 375 582 Come, O Spirit, Come** 597 493 289 528 O He Is Risen 267 O/C/D Hymn of Joy 294 567 474 264 516 177 I Saw Water Flowing* 84 339 266 112 81 O/D Jesus Christ Is Risen Today 276 551 470 259 515 170 O/D Let All Creation Sing Alleluia 692 561 51 565 O/C/D Praise the Risen Lord 553 466 256 Send Forth Your Spirit, O Lord** 429 341 79 165 478 221 Spirit, Move upon the Waters* 601 490 285 Waters of Life* 221 341 264 95 450 *Sprinkling Rite **Confirmation E=Entrada/O=Ofertório/C=Comunión/S=Salida Aleluya, Cantemos al Señor 923 Canten a Dios Con Alegría Dad Gracias al Señor: Sal 136(135) 836 290 Den Gracias al Señor: Sal 118(117) 832 287 Fuente de Agua Viva 807 292 La Ruda Lucha Terminó 285 Nuestra Pascua Resucitó 866 281 Señor, Tú Has Vencido a la Muerte Todos Los Que Han Sido Bautizados 895 291 Un Solo Señor (Rubalcava) 898 293 Yo Soy el Pan de Vida 867 301 166 169 K151 76 258 46 49 K115 50 K59 138 96 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “Easter Vigil Alleluia: Psalm 118,” Chrysogonus Waddell, ocso. Unison choir, cantor, assembly; keyboard. wlp 002314 • “You Will Draw Water Joyfully,” Paul A. Tate. Opt 3-part choir, cantor, assembly; guitar, keyboard. wlp 007495 • “Antiphons for the Sprinkling Rite,” Chrysogonus Waddell, ocso. SATB, cantor, assembly; keyboard. wlp 005260 • “You Are My Inheritance: Psalm 16,” Paul Lisicky. SATB, descant, cantor; oboe, guitar, keyboard. wlp 007741 spring/prim aver a 2010 Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.asp Children/Youth/Young Adults • “Jesus Christ Is Risen Today,” arr. Steven R. Janco. SATB, descant, assembly; brass quartet, handbells, timpani, organ. wlp 008654 • “Bread of Heaven,” Kathleen Demny. SATB, cantor, assembly; 2 C instruments, guitar, keyboard. wlp 008833 • “And God Saw That It Was Good,” Tony Barr, from Three Paschal Responses. 2-part choir, cantor, assembly; guitar, keyboard. wlp 005877 • “You Will Draw Water,” John Angotti. SATB, cantor, assembly; guitar, keyboard. wlp 008344 Español/Bilingüe • “Cantemos al Señor/Let Us Sing to the Lord: Éxodo 15,” Eleazar Cortés. ¡Aclama, Tierra Entera!/ Sing All You Lands! bilingual songbook. wlp 012637 • “El Amor de Dios/God’s Love Is Everlasting: Sal 136(135),” Lourdes C. Montgomery. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “Envía Tu Espíritu, Señor/Send Out Your Spirit: Sal 104(103),” Mary Frances Reza. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “Ustedes Sacarán Agua,” Eleazar Cortés, from Alabemos a Dios songbook. wlp 012682 AIM 41 ❖ ♦ easter Sunday: the resurrection of the lord lectionary 42 (41, 46) music suggestions 4 a pr i l 2 0 10 E=Entrance/O=Offertory/C=Communion/D=Dismissal E/O/C/D E/O/C/D E/O/C/D E/O/C/D E/O/C/D E/O/D O/D O/C O E/O/C/D E/O/D E/O/D O/C E/O/C/D E/O/D E/O/D SM WC/H WS VAO PMB CEL/H CEL/M CPD All You on Earth 269 571 462 266 171 Alleluia! The Strife Is O’er 293 549 469 257 513 167 At the Lamb’s High Feast 270 569 459 271 512 178 Christ the Lord Is Risen Today (llanfair) 273 552 468 265 514 175 Christ the Lord Is Risen Today (victimae) 272 558 456 268 173 Come, Christians, Join to Sing 873 701 465 Come to the Living Stone 234 God So Loved the World 803 646 27 418 He Is Risen 267 Hymn of Joy 294 474 264 516 177 Jesus Christ Is Risen Today 276 551 470 259 515 170 Let All Creation Sing Alleluia 692 561 51 565 Now the Green Blade Rises 562 473 260 Sequence: Let Christians All . . . 248 559 471 270 168 Sequence: Victimae Paschali Laudes 180 561 461 172 Sing with All the Saints in Glory 940 750 510 672 Thine Be the Glory 556 460 This Is the Day (Deiss) 574 269 Español/Bilingüe E E/O E/S E/S E/O O/C S S E/S O/C O/S C E=Entrada/O=Ofertório/C=Comunión/S=Salida Alaben Todos: Sal 148 446 359 751 283 Aleluya, Cantemos al Señor 923 Aleluya, el Señor Resucitó 861 280 Con la Cruz 891 303 Cristo Jesús Resucitó 863 288 Den Gracias al Señor: Sal 118(117) 832 287 Él Vive, Él Reina 925 Éste Es el Día (Rosas) 865 278 Éste Es el Día: Sal 118(117) (Rubalcava) 743 286 Nuestra Pascua Resucitó 866 281 Yo Soy el Pan de Vida 867 301 85 166 48 127 43 76 171 53 75 49 K115 96 SM = Seasonal Missalette • WC/H = We Celebrate Hymnal • WS = Word and Song • VAO = Voices As One (vols. 1 & 2) PMB = People’s Mass Book CEL/H = ¡Celebremos!/Let Us Celebrate! Hymnal • CEL/M = ¡Celebremos!/Let Us Celebrate! Missal • CPD = Cantos del Pueblo de Dios MORE MUSIC • “Gospel Acclamations for the Easter Season,” Paul M. French. SATB, descant, cantor, assembly; 2 C instruments, organ. wlp 005818 • “Christ Is Risen! Alleluia!” Dale Grotenhuis. SATB; trumpet, keyboard. wlp 005887 • “Six Choral Introits for the Church Year,” Richard Proulx. SATB a cappella. wlp 005783 • “O Choirs of New Jerusalem,” Chrysogonus Waddell, ocso. SATB, assembly; organ. wlp 002313 42 AIM Planner commentary (online subscribers): http://www.wlp.jspaluch.com/wlp/csw/login.as Children/Youth/Young Adults • “Jesus Is Risen Today,” Kathleen Demny. 2-part choir, 2 opt descants, assembly; flute, guitar, keyboard. wlp 008854 • “Easter Song,” Aaron Thompson. 3-part choir, cantor, assembly; guitar, keyboard. wlp es08164-B • “This Is the Day: Psalm 118,” John Angotti. SATB, cantor, assembly; guitar, keyboard. wlp 008349 • “This Is the Day,” Richard Cheri & Jolanda Robertson. SATB, cantor, assembly; guitar, keyboard. wlp 001245 Español/Bilingüe • “Éste Es el Día (Aleluya)/This Is the Day (Alleluia): Sal 118(117),” Michelle Lobato. ¡Aclama, Tierra Entera!/Sing All You Lands! bilingual songbook. wlp 012637 • “No Es la Muerte el Final,” Diego Correa y Damaris Thillet, from Él Vive, Él Reina songbook. wlp 012578 • “Por Eso Cantamos Gloria,” Al Valverde, from Vamos a la Casa del Señor songbook wlp 012685 • “Jesús, por Nosotros Resucitaste,” José Soler, from Una Voz Jubilosa. wlp 012400 spring/prim aver a 2010 A C K N O W L E D G M E N T S Excerpt from the New American Bible with Revised New Testament and Psalms © 1991, 1986, 1970, Confraternity of Christian Doctrine, Inc., Washington, DC. Used with permission. All rights reserved. No portion of the New American Bible may be reprinted without permission in writing from the copyright holder. Image on cover by G. E. Mullan. Images on pp. 8, 9 by Maria Laughlin. Used with permission. Image on p. 13 from Photos.com. The publisher has made every attempt to locate the ownership of all copyrights. If any omission or infringement of copyright has occurred, we apologize. Upon notification from the copyright owner, the error will be corrected in future editions. The Advent, Christmas, and New Year issue of AIM seems like just yesterday, and now Lent, the Triduum, and Easter are upon us! But whatever the season, our composers, artists, and authors are busy at the work they do for each of us, the Church. Whether at a large conference such as LA Congress in March of 2010, where many of WLP’s artists ♦ Speaking of WLP . . . will present in sung and spoken word, or parish and diocesan workshops, concerts, or retreats, they are there with enthusiasm and commitment to spread God’s word. The seasons of the liturgical year and the diversity of ages and cultures our artists serve can be experienced through the music, art, and books our artists share through their WLP publications. Consider exploring the richness of our Web site (www. wlpmusic.com) and see how all of these works can touch our own liturgical and spiritual lives as well as those with whom we minister. All it takes is a phone call or an e-mail to have one of our artists or on the road clinicians speak, present a concert, or with WLP lead an evening or day of reflection for your parish, diocese, or organization. Contact Sister Joan Thomas, op, Programs Coordinator, at 800-6215197, ext. 2901, or at email@example.com, and she’ll help you arrange everything. Our Web site (www.wlpmusic.com) will also provide you with an extensive list of workshop topics if you would like to gather some ideas before contacting Sister Joan. Just click on Artists & Authors, then Workshops or the name of a particular artist. spring/prim aver a 2010 AIM 43 ♦ Music in WLP Missals ash wednesday through easter sunday • dates of application appear in missalette’s table of contents sm = seasonal missalette cel = ¡celebremos!/let us celebrate missal h ym n i n de x SM A New Commandment 252 Again We Keep This Solemn Fast 185 All Glory, Laud, and Honor 287 All Will Be Well 222 All You on Earth, Rejoice and Sing 269 Alleluia! . . . Let the Holy Anthem Rise 292 Alleluia No. 1 268 Alleluia! The Strife Is O’er 293 Amazing Grace 283 As We Forgive 181 At That First Eucharist 264 At the Cross Her Station Keeping (Stabat Mater) 279 At the Lamb’s High Feast 270 At the Table of the World 220 Attende Domine/Draw Near, O Lord 275 Awake, O Sleeper, Rise from Death 195 Baptized in Water 229 Be Joyful, Mary, Heavenly Queen 278 Be Not Afraid 242 Be with Me, Lord: Ps 91 244 Bilingual Intercessions By the Waters of Babylon: Ps 137 Canticle of Mary 102 Canticle of Simeon 103 Canticle of Zechariah 98 Celtic Song of Farewell 96 Chant Mass: Jubilate Deo 169ff Chant Style Gloria 178 Christ Be beside Me Christ Has No Body Now But Yours Christ the Lord Is Risen Today (llanfair) 273 Christ the Lord Is Risen Today (victimae paschali) 272 Christian People, Sing Your Praises 200 Christians, Praise the Paschal Victim/ Victimae Paschali Laudes 180 Come to His/Her Aid (Song of Farewell) 94 Come, All You Blessed Ones Come, Holy Ghost 274 44 AIM CEL 203 121 149 Come, Holy Spirit, Wind and Fire 257 Come to Me 255 Coventry Litany of Reconciliation 247 Cristo, Recuérdame/Jesus, Remember Me 88 Crux Fidelis 117, 206 Draw Near 231 Draw Near, O Lord/Attende Domine 275 Easter Sequence: Metrical (Let Christians All Their Voices Raise) 248 Easter Sequence: Responsorial (Christian People, Sing Your Praises) 200 Easter Sequence (Victimae Paschali Laudes) 180 El Señor Es Compasivo/ The Lord Is Rich in Kindness: Ps 103 197 Faith of Our Fathers 299 Forgive Our Sins as We Forgive 202 Forty Days and Forty Nights 187 From Ashes to the Living Font 184 From Ashes to the Living Font (Scrutinies of the Elect) 108 Gather Us In 238 Gathered as One Gift of Finest Wheat 235 God, Full of Mercy 115 God’s Blessing Sends Us Forth 296 God’s Holy Mountain We Ascend 284 Grant to Us, O Lord 191 Heart of Christ 260 Here I Am, Lord (Ward) 217 Holy God, We Praise Thy Name 300 Holy, Holy, Holy 271 Hosanna, Son of God 266 Hosea (Come Back to Me) 196 How Great Thou Art 259 Humbly Let Us Voice Our Homage/ Tantum Ergo 304 Humbly We Adore You (Adoro Te Devote) 282 Hymn of Joy 294 I Am the Bread of Life (Toolan) 233 I Heard the Voice of Jesus Say 245 171 176 167 212 137 184 158 178 197 120 227 214 134 9 132 226 117ff 208 220 175 173 172 86 193 224 SM CEL 151 156 189 120 168 172 266 131 124 123 204 205 182 128 135 125 200 209 147 136 229 91 180 177 186 144 spring/prim aver a 2010 ♦ music in wlp missals continued ash wednesday through easter sunday • dates of application appear in missalette’s table of contents sm = seasonal missalette cel = ¡celebremos!/let us celebrate missal SM CEL spring/prim aver a 2010 SM CEL O Lord, with Wondrous Mystery 261 179 O Most Holy One/O Sanctissima 231 O Sacred Head, Surrounded 288 164 O Salutaris Hostia/O Saving Victim 303 90 O Sanctissima/O Most Holy One 231 O Saving Victim/O Salutaris Hostia 303 90 O Sons and Daughters 295 169 On Eagle’s Wings 243 On the Wings of Change 207 One Bread, One Body 241 191 One Communion of Love 211 187 Open Wide the Doors to Christ 225 Our Father, We Have Wandered 228 Out of the Depths: Psalm 130 209 141 Pan de Vida 298 Pange, Lingua/Praise We Christ’s Immortal Body 56 38, 40 Panis Angelicus/Jesus, Our Living Bread 281 Parce, Domine/Spare Us, Lord 190 142 Peace Is Flowing 218 People’s Mass 2ff Praise to the Lord 302 210 Praise We Christ’s Immortal Body/ Pange, Lingua 56 38, 40 Priestly People 223 Ps 23: Shepherd Me, O God 126 Ps 91: Be with Me, Lord 244 134 Ps 103: El Señor Es Compasivo/ The Lord Is Rich in Kindness 197 266 Ps 104: Send Forth Your Spirit, O Lord 221 Ps 137: By the Waters of Babylon 132 Remember Me 256 Return to God 188 140 Ride On! Ride On in Majesty 263 145 Send Forth Your Spirit, O Lord: Ps 104 221 Shepherd Me, O God: Ps 23 126 Sing Praise and Thanksgiving Mass 150ff 108ff Sing Praise to Our Creator 298 206 Sing, Rejoice, O Heavenly Powers 232 166 Song of Farewell (Come to His/Her Aid) 94 86 Spare Us, Lord/Parce, Domine 190 142 Springs of Water 82 77 AIM 45 h ym n i n de x I Know That My Redeemer Lives (Song of Farewell) 93 I Received the Living God (Jacob) 254 181 I Saw Water Flowing 84 81 I Want to Walk as a Child of the Light 199 217 Immaculate Mary 277 232 In Remembrance of You 251 188 In the Arms of the Shepherd 179 Jesu, Jesu, Fill Us with Your Love 216 155 Jesus Christ, Bread of Life 246 194 Jesus Christ, by Faith Revealed 239 Jesus Christ Is Risen Today 276 170 Jesus, Our Living Bread/Panis Angelicus 281 Jesus, Remember Me/Cristo, Recuérdame 88 151 Jesus Walked This Lonesome Valley 194 143 Just a Closer Walk with Thee 214 230 Keep in Mind 92 228 Let Christians All Their Voices Raise 248 168 Let There Be Peace on Earth 280 216 Let Us Break Bread Together 185 Lift High the Cross 289 148 Litany of Repentance 114 Litany of the Saints (chant) 81 75 Lord, by your cross and resurrection (The Way of the Cross) 116 Lord, Let Me Walk 213 152 Lord, When You Came to the Seashore/ Pescador de Hombres 305 Lord, Whose Love in Humble Service 199 Love Is His Word 201 219 Make of Our Hands a Throne 192 Make Us True Servants 219 196 Mass in Honor of Pope Paul VI 162ff Mass of Redemption 1ff 101ff May the Angels 95 89 Misa Luna 233ff Near the Cross 198 165 Now Thank We All Our God 301 198 Now We Remain 237 139 O Blessed Savior 234 195 O God, Our Help in Ages Past 240 O Joseph, Mighty Patron 265 ♦ music in wlp missals continued ash wednesday through easter sunday • dates of application appear in missalette’s table of contents sm = seasonal missalette cel = ¡celebremos!/let us celebrate missal h ym n i n de x SM Stabat Mater (At the Cross Her Station Keeping) 279 Stations of the Cross Take and Eat This Bread Take Up Your Cross 223 Tantum Ergo/ Humbly Let Us Voice Our Homage 304 Taste and See (Moore) 210 Tesoros Ocultos/Treasures Out of Darkness The Glory of These Forty Days 189 The King of Love 285 The Lord Is Rich in Kindness/ El Señor Es Compasivo: Ps 103 197 The Sacrament of Service 249 The Servant Song 205 The Way of the Cross 208 There Is a Balm in Gilead 204 There Is One Lord There’s a Wideness in God’s Mercy 286 These Forty Days of Lent 183 This Is Our Accepted Time 258 Three Litanies for the Scrutinies 107 ’Tis Good, Lord, to Be Here 193 To Jesus Christ, Our Sovereign King 267 Treasures Out of Darkness/ Tesoros Ocultos CEL 158 159 190 160 91 183 325 130 266 153 162 133 222 122 129 174 SM Trilingual Ubi Caritas 186 Ubi Caritas/Live in Charity Ubi Caritas/Where True Charity and Love Dwell 182 Up to Jerusalem 262 Waters of Life 221 We Acclaim the Cross of Jesus 290 We Are the Light of the World We Gather Together 297 We Have Been Told 230 We Remember 236 Were You There 215 What Wondrous Love 192 When I Behold the Wondrous Cross 212 When We Are Living Whenever You Serve Me 226 Where Charity and Love Prevail (Benoit) 291 Where True Charity and Love Dwell/ Ubi Caritas 182 Who Calls You by Name 224 Wisdom’s Feast 250 Yes, I Shall Arise 203 You Are Mine 225 You Are the Light of the World 253 You Have Put on Christ CEL 273 154 202 146 163 215 207 211 138 161 150 157 314 201 202 127 213 80 325 ¡CELEBREMOS!/LET US CELEBRATE! missal HISPANIC MUSIC INDEX/índice de música hispana A Tan Alto Sacramento/ Tantum Ergo Acudamos Jubilosos Acuérdate de Jesucristo Adoro Te Devote/ Ante Ti Me Postro Al Partir el Pan Alabado Sea el Santísimo Sacramento Alabaré Alaben Todos: Sal 148 Aleluya, el Señor Resucito Aleluya, Grandes, Maravillosas 46 AIM 93 304 315 321 299 317 338 283 280 279 Altísimo Señor Alzad la Cruz Amémonos de Corazón Amor Es Vida Ante Ti Me Postro/ Adoro Te Devote Arriba los Corazones Attende Domine/ Escúchanos, Señor Ave de Lourdes Bendeciremos por Siempre: Sal 145 Bendigamos al Señor 310 270 257 337 321 294 269 343 331 323 Bendito, Bendito 319 Bendito Seas Tú, Señor 297 Bilingual Intercessions/ Oración de los Fieles 9 Caminaré: Sal 116 256 Canción del Testigo 322 Canta, Lengua Jubilosa/ Pange, Lingua 39, 40 Cantemos al Amor de los Amores 318 Con la Cruz 303 Cordero de Dios (Misa Mariachi) 251 Cristo Jesús Resucitó (lasst uns erfreuen) 284 spring/prim av er a 2010 ♦ ¡CELEBREMOS!/LET US CELEBRATE! missal HISPANIC MUSIC INDEX/índice de música hispana Cristo Jesús Resucitó (o filii et filiae) 288 Cristo, Recuérdame/ Jesus, Remember Me 254 Dad Gracias al Señor: Sal 136 290 Demos Gracias al Señor 334 Den Gracias al Señor: Sal 118 287 Donde Hay Caridad y Amor/ Trilingual Ubi Caritas 273 El Cáliz de la Bendición: Sal 116 272 El Señor Es Compasivo/ The Lord Is Rich in Kindness: Sal 103 266 El Señor Es Mi Pastor: Sal 23 (Florián) 261 El Señor Es Mi Pastor: Sal 23 (Rubalcava) 264 El Señor Resucitó (Jesus Christ Is Risen Today) 282 El Señor Resucitó (tradicional) 289 Entre Tus Manos 330 Envía Tu Espíritu: Sal 104 333 Eres Mi Pastor: Sal 23 259 Escúchanos, Señor/ Attende Domine 269 Éste Es el Día (Rosas) 278 Éste Es el Día: Sal 118 (Rubalcava) 286 Fuente de Agua Viva 292 Gloria al Señor (Misa Popular) 248 Gloria, Honor a Ti 271 Gracias 341 Guarda Mi Alma 268 Gusten y Vean/ Taste and See: Sal 34 300 Himno a la Alegría 340 Hoy Nos Reunimos 327 Id y Enseñad 307 Jesus, Remember Me/Cristo, Recuérdame 254 Juntos Como Hermanos 339 La Alianza Nueva 258 La Ruda Lucha Terminó 285 Letanía de los Santos 76 Lord, When You Came to the Seashore/Pescador de Hombres 305 Los Caminos 316 Madre Llena de Aflicción 277 spring/prim aver a 2010 Mi Alma Tiene Sed: Sal 63 326 Mirad la Cruz 274 Misa de Santa María del Lago 241ff Misa Luna 233ff Misericordia, Señor: Sal 51 255 No Endurezcan el Corazón: Sal 95 263 O Salutaris Hostia/ Oh Víctima de Salvación 92 Ofertorio Nicaragüense 296 Ofertorio (Todo Lo Que Tengo) 295 Oh Buen Jesús 308 Oh Cruz Fiel y Venerable 276 Oh Santísima 342 Oración de los Fieles/Bilingual Intercessions 9 Óyenos, Señor: Sal 130 267 Pan de Vida 298 Pange, Lingua/Canta, Lengua Jubilosa 39, 40 Pequé, Pequé, Dios Mío 253 Perdón, Oh Dios Mío 260 Perdona a Tu Pueblo 252 Pescador de Hombres/ Lord, When You Came to the Seashore 305 Plegaria Universal/Señor, Escucha Nuestra Oración 250 Porque Nos Invitas 309 Pueblo de Reyes 324 Pues Si Vivimos/When We Are Living 314 Que los Ángeles Te Lleven 89 Resucitó 281 Sal 23: El Señor Es Mi Pastor (Florián) 261 Sal 23: El Señor Es Mi Pastor (Rubalcava) 264 Sal 23: Eres Mi Pastor 259 Sal 34: Gusten y Vean/ Taste and See 300 Sal 51: Misericordia, Señor 255 Sal 63: Mi Alma Tiene Sed 326 Sal 95: No Endurezcan el Corazón 263 Sal 103: El Señor Es Compasivo/ The Lord Is Rich in Kindness 266 Sal 104: Envía Tu Espíritu 333 Sal 116: Caminaré 256 Sal 116: El Cáliz de la Bendición 272 Sal 118: Den Gracias al Señor 287 Sal 118: Éste Es el Día (Rubalcava) 286 Sal 130: Óyenos, Señor 267 Sal 136: Dad Gracias al Señor 290 Sal 137: Tu Recuerdo, Señor 262 Sal 145: Bendeciremos por Siempre 331 Sal 148: Alaben Todos 283 Santa María del Camino 344 Señor, Escucha Nuestra Oración/ Plegaria Universal 250 Señor, Tú Eres el Pan 302 Sí, Me Levantaré 265 Siempre Unidos 312 Tantum Ergo/ A Tan Alto Sacramento 93 Tesoros Ocultos/Treasures Out of Darkness 325 The Lord Is Rich in Kindness/ El Señor Es Compasivo: Sal 103 266 Todos Los Que Han Sido Bautizados 291 Tomado de la Mano 329 Treasures Out of Darkness/ Tesoros Ocultos 325 Trilingual Ubi Caritas/ Donde Hay Caridad y Amor 273 Tu Recuerdo, Señor: Sal 137 262 Un Mandamiento Nuevo 306 Un Solo Señor (Deiss) 311 Un Solo Señor (Rubalcava) 293 Una Mirada de Fe 313 Vamos Cantando al Señor 335 Vaso Nuevo 328 Venid, Oh Cristianos 275 Venimos ante Ti 332 Vi Que Manaba Agua 82 Vienen con Alegría 336 Vine Para Que Tengan 320 When We Are Living/ Pues Si Vivimos 314 Yo Soy el Pan de Vida 301 AIM 47 ♦ A New & Complete Program for the Eucharist! Inspiretire your enunity! comm Developed for the Centennial Year of Prayer and Renewal St. James Cathedral, Seattle, WA The Very Reverend Michael G. Ryan, Pastor Corinna Laughlin, Director of Liturgy An affordable program to assist with your community’s learning and understanding of the source and summit of our Christian life: the Eucharist. This resource offers much flexibility. Several types of materials are included for exploring specific elements of the Eucharistic celebration (Gathering, Liturgy of the Word, Giving Thanks, Communion, Sending). • Scripts for spoken introductions at Mass • Discussion/Reflection questions for bulletin inserts or stand alone flyers • Reproducible table tents for discussion starters at parish gatherings • Expanded materials for parish Web site posting, parish study groups, and groups of the newly initiated • Each section includes a rich bibliography of resources for further study and reflectioin Price includes the right to reproduce all materials found in this book. CD-ROM for easy printing is included! 002800 Complete Resource book with CD-ROM ................................................. $50.00 Easy Ordering Online: World Library Publications 800-566-5160 • www.wlpmusic.com 48 AIM CD-ROM with all materia includedls !