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TRANSCRIPT
SIMPLE CHORAL
GRADUAL Entrance, Offertory, and Communion Antiphons for Parish Choirs
Music by Richard Rice
Volume III: Lent and Passiontide
Foreword i
Foreword
In the years since the Second Vatican Council, many collections of music for Catholic worship
have emerged that address the desire of the Council to promote the full, conscious, and active
participation of the faithful in liturgical celebrations (CSL 14). The emphasis of these collections
has been on vernacular texts for sung liturgies, especially those texts designated as the people’s
parts.
In response to the Council’s mandate, composers have produced dozens of settings for
Eucharistic acclamations and responsorial psalmody, as well as psalms, hymns, and spiritual
songs for general use in worship. The latter have been widely used in the Mass as substitutes for
the entrance, offertory, and communion antiphons.
This Simple Choral Gradual is intended to provide settings of the approved texts from the
Roman Missal for the entrance and communion antiphons for Sundays and Solemnities of the
Church year, with accompanying psalm verses as prescribed by the Ordo Cantus Missæ. It pro-
vides settings of offertory antiphons found in the Graduale Romanum, as well as accompanying
psalm verses from the Offertoriale Triplex. It also provides antiphons and responses for special
rites, including the distribution of ashes on Ash Wednesday, the washing of feet on Holy Thurs-
day, the reproaches and veneration of the cross on Good Friday, and the baptismal responses for
the Easter Vigil. English translations of the offertory antiphons and all accompanying psalm
verses are taken from the Grail Psalter (1963).
Simple Choral Gradual is intended primarily for small parish choirs, recognizing the traditional
role of the choir to sing these texts. Nevertheless, the antiphons are written to allow—in fact, to
encourage—the congregation to respond with the choir, following the form of the responsorial
psalm. The melodies are written in step-wise motion, seldom exceeding a range of a fifth or
rising higher than middle-c. The melodies generally employ one or two repeated phrases (three
for the longest texts). Harmonies are simple and rarely chromatic, enabling choirs of modest
forces to master the choral texture with minimal effort.
Seasonal worship aids (known as “missalettes”) tend more and more to include the texts for the
entrance and communion antiphons, albeit without musical settings. Congregations that use these
worship aids can sing these antiphons while referring to the texts alone, simply by listening and
responding to the choir. It would be helpful, however, to prepare an edition of Simple Choral
Gradual for congregational use containing the texts and melodies of the antiphons.
It is my hope that Simple Choral Gradual will provide textual and musical resources for singing
the entrance, offertory, and communion antiphons as prescribed by the Roman Missal, Graduale
Romanum, and Ordo Cantus Missæ, and thus to restore these antiphons to their integral place in
Roman Catholic Eucharistic worship. I do not expect congregations to abandon their custom of
hymn singing, nor is this collection intended to displace worship aids currently in use in a given
parish. Simple Choral Gradual is intended to supplement a parish’s liturgical music program by
using these neglected but spiritually rich texts. In the end, it can be judged successful only when
it leads to genuine praise of God through the Church’s liturgy.
Introduction iii
Introduction
Textual Sources
English texts used in Simple Choral Gradual for the entrance and communion antiphons are from
the Roman Missal (ICEL, 1973). Psalm verses for use with the entrance and communion anti-
phons are taken from The Psalter (The Grail, 1963). Verses from other scriptural canticles are
taken from the �ew American Bible (Confraternity of Christian Doctrine, 1970). The translation
of the Magnificat (Communion for the Feast of Mary, Mother of God) is by the International
Consultation on English Texts. Verses for the entrance and communion antiphons have been
chosen according to the references given in the Graduale Romanum (Abbaye Saint-Pierre de
Solesmes, 1979) and in the Ordo Cantus Missæ (Libreria Editrice Vaticana, 1987). In choosing
between the antiphon texts in the Roman Missal and the more traditional texts of the Graduale
Romanum, I chose the former because they are more readily available for common use in Sunday
missals and popular worship aids.
Since the Roman Missal does not contain them, texts for the offertory antiphons and verses have
also been taken from the Grail Psalter, according to the references given in the Offertoriale
Triplex (Abbaye Saint-Pierre de Solesmes, 1985). The unique nature of the offertory antiphon
has necessitated some modifications in the ordering, selection, and occasionally, the sense of the
verses. In doubtful cases, I have tended to defer to the verses as they appear in the Grail Psalter.
In one case (Pentecost: Mass During the Day, page 123), the sense of the Offertoriale was
preserved by using the Douay translation. Verses not from Scripture are taken from the sources
indicated.
Musical Forms
The form of the entrance and communion antiphons, with their accompanying verses, follows the
form customarily used for responsorial psalmody. The antiphon is sung once by the choir or the
cantor and repeated by all. The antiphon is sung between verses.
Verses are sung using a flexible musical formula composed of two phrases. Each phrase consists
of a reciting note and a cadence. The reciting note can accommodate any number of syllables,
which should be sung according to the natural rhythm of the text. The cadences (called the
mediation and termination for each phrase, respectively) consist of four notes, with an additional
note (in reduced typeface) to accommodate a fifth (unaccented) syllable (for example, 1 below).
Unlike the reciting note, cadences are sung metrically, but their meter is determined both by the
music of the formula and by the natural rhythm of the text. These “natural meters” usually fall
into one of three metrical patterns:
1. I rejoiced ____________ whén I héard them sáy q q q q h
2. And now our _________ féet are stán-ding q q q h
3. For love of my ________ bréth-ren and friénds q q q h .
Simple Choral Gradual
iv Introduction
No attempt has been made to notate or otherwise point the different “natural meters” of the
cadences. Choirs should spend rehearsal time uncovering and internalizing these meters to
achieve an interpretation which is both uniform and natural sounding.
Verses usually are made up of two couplets. For longer couplets, the first line may be divided
into two phrases, with a one-note cadence at the end of the first phrase (similar to the “flex” in
traditional psalm formulas). This elongated couplet may stand alone as a single verse.
For the entrance antiphon, the Graduale Romanum lists one, occasionally two, verses. In addi-
tion, the Gloria Patri is given as the final verse, following the ancient custom. The Gloria Patri
should always be prefaced and followed by the antiphon. The entrance antiphon may be short-
ened by omitting the Gloria Patri. On the other hand, additional verses may be sung. (Additional
verses are not included in this collection, but can be taken from the Grail Psalter and set to the
formula given for the day.) In any case, the Gloria Patri, if used, should be the last verse sung.
For the communion antiphon, as far as possible, all the verses listed in the Graduale Romanum
are given. It is not necessary to sing all the verses. In situations where more psalmody is needed,
additional psalm verses may be used. The Graduale Romanum (page 391) suggests Psalms
(79)80, (33)34, (22)23, (77)78, (110)111, and (118)119 as suitable for use ad libitum during
communion.
Simple Choral Gradual uses two basic formulas for singing the verses, one each for major and
minor keys. Both formulas may end either on the dominant or the mediant to ensure a smooth
transition to the antiphon. This is a functional approach which may seem limiting to some choirs.
The regularity of the cadences makes it possible to use other formulas of the same pattern. Choir
directors should feel free to expand their repertoire of Psalm formulas and adapt those already
used by their choirs.
The form of the offertory antiphon is somewhat different. In the Offertoriale Triplex, the offer-
tory antiphon has two distinct, though dependent, textual phrases. Rather than repeating the
entire antiphon after each verse, the offertory repeats only the second phrase. (The entire anti-
phon is sometimes repeated, usually after even numbered verses.) The verses are selected—occa-
sionally modified—so that the second phrase of the antiphon completes or heightens the sense of
the verse. This interweaving of psalm verses creates a poetical and theological structure of great
richness and beauty. To complement this, the verses use an extremely florid and expressive
melody. These virtuosic settings were never intended for congregational singing.
In Simple Choral Gradual, I have attempted to capture the spirit of this unique form in a simpler
way. The first phrase of the antiphon, as well as the offertory verses, are sung on a musical
formula. The verses are composed of one, two, or three lines, each of which uses the same musi-
cal formula. After each verse, the second phrase of the antiphon is sung as a melodic response
that completes the sense of the verse.
Since the texts of the offertory antiphons are not included in seasonal worship aids, the offertory
may become the exclusive responsibility of the choir. Nevertheless, the response is compara-
tively short, and the congregation should be able to pick it up after a verse or two. It is possible
for the choir or cantor to sing the first occurrence of the response, and then invite the congrega-
tion to repeat it, as indicated by the repeat marks. The response should not be “introduced”
before the first verse, since this would obscure the unique form of the offertory and, in some
cases, make bad textual sense.
Simple Choral Gradual
Introduction v
Interpretation
No tempo or dynamic markings are given in Simple Choral Gradual. Musical interpretation of
the antiphons should follow the general rules governing liturgical declamation. Any additional
clues to interpretation should be governed by a sensitive reading of the text. Musical interpre-
tation will also depend on nonmusical considerations, such as the size and ability of the choir, its
distance from the congregation, and the reverberation of the church. Antiphons use compound
meters frequently, suggesting a flowing half-note tempo.
Accompaniment
Simple Choral Gradual is intended for unaccompanied choirs. Nevertheless, organ may be used
to introduce the tune of the antiphon, and to support the choir and congregation in singing it. This
is especially useful in the absence or deficiency of one or more of the choral parts, or when a
cantor alone is singing. Organ registration should remain light so as not to overpower the singing.
When accompanying the verses, the organist should hold the chord of the reciting note for the
duration of the recitation, rather than attempt to play each syllable. For longer recitations, the
organist may restrike the chord for each new phrase, in effect breathing with the singers.
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5. Make me hear rejoic- | ing and gladness,that the bones you have | crushed may revive. From my sins | turn away your faceand | blot out all my guilt.
6. A pure heart cre- | ate for me, O God,put a steadfast spir- | it within me.Do not cast me away | from your presence,nor deprive me of your | Holy Spirit. 7. Give me again the | joy of your help;with a spirit of fer- | vor sustain me,that I may teach trans- | gressors your waysand sinners | may return to you.
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8. O rescue me, | God, my helper,and my tongue shall ring | out your goodness.O Lord, | open my lipsand my mouth | shall declare your praise. 9. For in sacrifice | you take no delight,burnt offering from | me you would refuse,my sacrifice a | contrite spirit.A humbled, contrite | heart you will not spurn. 10. In your goodness, show fa- | vor to Zion:rebuild the walls | of Jerusalem.Then you will be pleased with | lawful sacrifice,holocausts offered | on your altar.
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1. He who dwells in the shelter
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3. They shall bear
1. He who dwells in the shelter
2. It is he who will
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says to the
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and trample the young lion
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