NEW MASS for JOHN CARROLL

MICHAEL JONCAS

R E V I S E D O R D E R O F M A S S 2 0 1 0

G I A P u b l i c a t i o n s , I n c .

NEW MASS for JOHN CARROLL

MICHAEL JONCAS

R E V I S E D O R D E R O F M A S S 2 0 1 0

G I A P u b l i c a t i o n s , I n c .

NEW MASS for JOHN CARROLL

MICHAEL JONCAS

R E V I S E D O R D E R O F M A S S 2 0 1 0

G I A P u b l i c a t i o n s , I n c .

For SATB Voices, Assembly, Cantor, Presider, Keyboard and Guitarwith Optional Brass Quintet, Timpani, and 2 Woodwinds

See back cover for a list of available editions

Notes

Kyrie: Although the cantor’s verses are grouped in sets of three, according to the season, it is possible to create an extended, nine-verse Kyrie litany by using the initial set, a seasonal set, and the alternative Ordinary Time set. Vocal variety may be established with two cantors: male singing the first invocation, female the second, and both on the third in unison.

Gloria: Although the choral sections add vocal variety to the piece, the entire Gloria may be performed with one or more cantors taking the soprano line of the choral sections (except for measures 69–72, where the cantor sings the men’s part in the proper octave, and measures 72–76 and 109–116, where the cantor should sing in unison with the assembly).

Gospel Acclamation: If an introduction is needed, use the accompaniment in measures 3–4.

Prayer of the Faithful: The introduction may be played softly underneath the presider’s spoken invitation to the Prayer of the Faithful. The refrain should be intoned by cantor or choir in unison and repeated by the assembly before going on to the petitions. I recommend that two cantors share the verses; for every group of three petitions, each cantor takes a solo verse, then both sing the third verse in unison. Feel free to omit petitions or add new ones (according to the pattern of those pro-vided in this edition), as dictated by necessity or the occasion. The piece concludes with the accompanist softly playing the introduction as a coda under the presider’s concluding prayer.

Eucharistic Prayer: I have provided a full musical setting of the Eucharistic Prayer for Use in Masses for Various Needs IV, which has a thematic focus on “Jesus, Who Went About Doing Good.” However the music for this setting may be used in a variety of ways:

1) At the simplest, the Preface Dialogue might be recited by the presider and the assembly, followed by any spoken Preface, which will seamlessly connect to my setting of the Holy, Holy, Holy. Any recited Eucharistic Prayer text can then follow. One of my settings of the Memorial Acclamations would be sung after the Institution Narrative. The presider would then continue reciting the rest of the Eucharistic Prayer he had chosen, concluding with the recited Doxology. The prayer would conclude with the assembly singing my setting of the Amen.

2) A slightly more musical rendition would involve the chanting of the Preface Dialogue according to the missal tone or in my setting, followed by any Preface chanted according to the missal tone transposed from a reciting tone on C (as in the missal) to A<. My setting of the Holy, Holy, Holy would be sung, with the ensuing portion of the Eucharistic Prayer recited or chanted (according to the solemn missal tone transposed from a reciting tone on A to F) through the Institution Narrative. The assembly would sing one of my Memorial Acclamation settings, followed by the presider continuing with the Eucharistic Prayer recited or chanted (again, according to the solemn missal tone transposed from a reciting tone on A to F) to the Doxology. The Doxology would be sung according to my setting or the missal tone transposed from a reciting tone on C to A<. My setting of the Amen would conclude the Eucharistic Prayer.

3) The most complex form of the Eucharistic Prayer would be to follow the score exactly as it appears (i.e., the presider chants all of his parts according to my setting, from the Preface Dialogue through the Doxology).

I would call your attention to the bilingual Holy, Holy, Holy (English and Latin). It is meant to be sung in English by the assembly; in the absence of a choir it should only be sung in English. When a choir is available, however, sopranos should sing the English text, while the alto, tenor, and bass parts may sing the Latin—but only if it will not create confusion within the assembly.

Agnus Dei: If there is a need for a lengthy fraction rite, repeat the first two measures indefinitely.

—Michael Joncas

Contents

Kyrie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Gloria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Gospel Acclamation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Prayer of the Faithful . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Eucharistic Prayer: Preface Dialogue and Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Holy, Holy, Holy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Eucharistic Prayer: Post-Sanctus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Eucharistic Prayer: Institution Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

We Proclaim Your Death, O Lord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

When We Eat This Bread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Save Us, Savior of the World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Eucharistic Prayer: Post-Memorial Acclamation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Doxology / Amen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Agnus Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

&

&?

&

&?

b

b b

b b

b b

b b

b b

44

44

44

44

44

44

Horn in F

TrumpetI, II

Trombone I, II

Keyboard

˙ ˙

∑

∑

‰ jœ œ œ .œ jœ2.3.

1. You‰‰ You

raise the

bring

dead

light

to

to

œ œ œ œ œ3

You bring par - don and

˙ ˙w ˙

GmEm( )

EbC( )

pCantor

p

Capo 3:

q = 72–76

P œ œ œ ˙

∑

∑

œ œ œ œ œlife

peacethose

intoin

thethe

Spir -sin -

dark -

it:ner:ness:

œ œ œ ˙˙œ œ ˙˙

FD( )

B b/DG/B( )

Œ œ œ .œ Jœ

˙ ˙˙ ˙w ˙

Œ œ œ .œ jœKy -Chri -Ky -

ri -

ri - e,ste,e, e -

e -e -

Œ œ œ .œ jœ˙ ˙w ˙

EbC( )B b/DG/B( )

π

π

G-7693FS

The English translation of the Alleluia Verse, Gospel Verse, and Lenten Gospel Acclamation fromLectionary for Mass © 1969, 1981, 1997, International Commission on English in the Liturgy Corporation (ICEL);

excerpts from the English translation of The Roman Missal © 2010, ICEL. All rights reserved.Published with the approval of the Committee on Divine Worship, United States Conference of Catholic Bishops.

Setting Copyright © 1990, 2012 by GIA Publications, Inc. • All Rights Reserved • Printed in U.S.A.7404 S. Mason Ave., Chicago, IL 60638 • www.giamusic.com • 800.442.1358

Reproduction of this publication without permission of the publisher is a violation of the U.S. Code of Lawfor which the responsible individual or institution is subject to criminal prosecution. No one is exempt.

Dedicated by John Carroll University to the Hierarchy of the United States on their Bicentennial

NEW MASS FOR JOHN CARROLLFirst Bishop of the United States

KYRIE

Michael Joncas