Throughout the period that followed, the Church continued to

preserve her great tradition while always fostering new and authentic
forms of sacred music. This ongoing activity of the Church continues
today.
 Organ Lesson
The task for today
On June 24, 2006, Pope Benedict XVI attended a concert of sacred  History of Sacred Music
music, after which he said:
 Liturgical Music
“An authentic renewal of sacred music can only happen in the wake of
the great tradition of the past, of Gregorian chant and sacred
polyphony. For this reason, in the field of music as well as in the areas  Theology of Music and its
of other art forms, the Ecclesial Community has always encouraged
and supported people in search of new forms of expression without
denying the past, the history of the human spirit which is also a history
practice
of its dialogue with God.”
 Liturgical year
The authentic renewal of sacred music…is one of preserving
the past and fostering new forms grown organically from it. This is a
truly great and essential task, entrusted in a particular way to pastors
 General principles in Church documents regarding the
and sacred artists. Preserving the old forms, fostering new growth: this
is how a gardener cares for a plant, how Christ tends our souls, how use of sacred music at Mass
the Church’s sacred music — carefully preserved — is able to surprise
us and more importantly glorify God with new and delightful growth.
 Basic Notes and Chords for piano/organ
Pope Francis expressed esteem for and encouraged those who
serve the liturgy through sacred music and singing, saying “they help  Do’s and Don’ts
the faithful feel attracted to beauty, elevating them towards God and
uniting hearts in praise and tenderness.”
(for the choir and organist/s)
3

A Short History of Liturgical Music

BASIC NOTES
BY: BISHOP THOMAS J. OLMSTED

(Adela Chapel)
 Liturgy(leitourgia) is a Greek composite word meaning
originally a public duty. Elements are leitos (from leos = laos, people)
meaning public, and ergo (to do.)
The music of the Church’s sacred liturgy, as distinct from
“religious music.” The Second Vatican Council proclaimed that “the
musical tradition of the universal Church is a treasure of inestimable
value, greater even than that of any other art” (Sacrosanctum
Concilium, 112). This led the Council fathers to decree that “the
treasure of sacred music is to be preserved and fostered with great
care” (Ibid, 114).
The Church inherited from the Psalms of the Old Testament as
her basic prayer and hymn book for worship. With these sacred texts
she also adopted the mode of singing that had been established during
the development of the psalms: a way of articulated singing with a
strong reference to a text, with or without instrumental
accompaniment.
This choice in Israel’s history signaled a concrete decision for a
specific way of singing. This way of singing the Psalms, traditionally
viewed as established by King David (cf. 2 Sam. 6:5). Sung with
respect to and during sacrifice in the Temple in Jerusalem, the early
Jewish Christians assumed this tradition into the sacrifice of the
Eucharistic liturgy.
1
Sacred music in the early Church
After Pentecost, the first centuries of the Church’s life were
marked by the encounter of what was a Jewish-Semitic reality (a
dramatic struggle ensued between, on one hand, openness to new
cultural forms and, on the other, what was irrevocably part of Christian
faith.) For the first time, the Church had to preserve her sacred music,
and then foster it. Although early Greek-style songs quickly became
part of the Church’s life (e.g., the prologue of John and the Philippians
hymn, 2:5-11), this new music was so tightly linked to dangerous
gnostic beliefs that the Church decided to prohibit its use. This
temporary pruning of the Church’s sacred music to the traditional form
of the Psalms led to previously unimaginable creativity: Gregorian
chant (latin chant) and then, gradually, polyphony and hymns arose.
In preserving the forms which embodied her true identity, the
Church made it possible for wonderful growth to be fostered, such that
centuries after that original restriction, the Second Vatican Council
boldly proclaimed that her treasury of sacred music is of more value
than any other of her artistic contributions.
Preserving, fostering through the centuries
St. Gregory the Great (the saint from whom “Gregorian chant”
takes its name) collected and systematized the Church’s chant tradition
in the 6th century and it spread and developed in the West throughout
the first millennium. Gregorian chant was sometimes enhanced by the
organ in the eighth or ninth centuries and with a single or with
multiple vocal harmonies (e.g. polyphony) beginning in the 10th
century. The development of polyphony carried on throughout the
beginning of the second millennium, producing music of a highly
sophisticated and ornate style.
2
Notes in legendary lines(Fa-La-Do-Mi)
Fa La Do Mi
Notes in imaginary lines(Mi-So-Ti-Re-fa)
 Mi So Ti Re Fa the Pope said, “represents a way of evangelization at all levels, from
children to adults.” “In fact, the Liturgy is the first 'teacher' of
catechism.”
Sharp(#) and Flat(b) Notes
Music brings people together
Sacred music, the Pope said, also helps hold Christian history
Lab together. Gregorian chant, polyphony, popular and contemporary
music resonate in the liturgy, bringing the past and present generation
Do# Mib Fa# So# Tib together in praising God.
Do Re Mi Fa So La Ti Sacred music, and music in general, the Pope said, builds
bridges and brings people closer, even the most distant. Ignoring the
barriers of nationality, ethnicity or skin colour, it involves everyone in
a “superior language”, bringing people and groups together from very
With One Sharp Note:(F#)
Fa#
different backgrounds.
“Sacred music reduces distances even with those brothers and
sisters who sometimes don’t feel close,” the Pope said. For this reason,
he pointed out, in each parish, the singing group is a place where one
"breathes availability and mutual help".
With Two Sharp Notes: (F# and C#) 4
Fa#
Do#
An Overview of the Theology of Music and Its Practice.
Theology is the study of God and, in a Christian context, of
God's involvement with humanity, including specific divine
interventions on behalf of particular people in certain historical
7 periods. The theological purpose or ultimate end of liturgical music
falls within the general purpose of all liturgical action, which is to
Helping people participate in the liturgy associate the church with Christ in the "great work wherein God is
Pope Francis noted that with its programme of love and fidelity perfectly glorified and the recipients made holy (Sacrosanctum
to the Church, to take care of the artistic and liturgical preparation, and Concilium 7). The end of liturgical music, therefore, is "the
promote the presence of the ‘schola cantorum’ (choir singing), in glorification of God and the sanctification of the faithful" (SC 112, MS
every parish community. “I recommend that you help the whole 4).
people of God to sing with conscious and active participation in the
liturgy. This is important: closeness to the people of God.”

Evangelizing
The Pope acknowledged that the commitment of the members Liturgical Year
entails sacrifices, such as devoting time to rehearsals, getting people The liturgical year is made up of six seasons:
together or performing on holidays when one would prefer to spend Advent - four weeks of preparation before the celebration of Jesus'
time with friends. “But your dedication to the liturgy and its music, “ birth
Christmas - recalling the Nativity of Jesus Christ and his manifestation
to the peoples of the world
Lent - a six-week period of penance before Easter
Sacred Paschal Triduum - the holiest "Three Days" of the Church's
year, where the Christian people recall the suffering, death, and
resurrection of Jesus
Easter - 50 days of joyful celebration of the Lord's resurrection from
the dead and his sending forth of the Holy Spirit
Ordinary Time - divided into two sections (one span of 4-8 weeks after
Christmas Time and another lasting about six months after Easter 6
Time), wherein the faithful consider the fullness of Jesus' teachings
and works among his people.  Begin the Communion processional at the priest’s communion.
 Work toward some shared lists for all Masses so that for
special celebrations (for example, Christmas and Easter) the
5 total assembly will be able to participate well.
The following are some general principles in Church documents  Provide adequate music resources for the assembly and clearly
regarding the use of sacred music at Mass: let them know the music chosen for the service.
 Know your assembly, ensemble, choir, and worship space.
1. Sacred music is for the glory of God and the sanctification and Know what is possible and what isn’t. Understand the acoustics
edification of the faithful (SC 26). and the sound system in your church.
2. Sacred music should consequently possess, in the highest
degree, the qualities proper to the liturgy, and in particular
sanctity and goodness of form (Tra Le Sollecitudini 2). DON’T
3. It must be holy, and must, therefore, exclude all profanity not  Don’t let personal preference overshadow correct liturgical
only in itself but in the manner in which it is presented by those praxis (principles of liturgy or musical judgments).
who execute it (Ibid.).  Don’t be a performer. Be a prayerful enabler of prayer.
4. The introduction into the celebration of anything that is merely  Don’t allow the accompaniment or trained voices to drown out
secular, or which is hardly compatible with divine worship, the voice of the assembly.
under the guise of solemnity should be carefully avoided (MS  Don’t draw undue attention to yourself and to others during the
43). service either by your apparel or posture. Body language
5. Instruments that are generally associated and used only with communicates your respect for the liturgy.
worldly music are to be absolutely barred from liturgical  Don’t think of the assembly as an audience. They are co-
services and religious devotions (MS 63). participants in the praise of God at the liturgy.
6. Gregorian chant should be given pride of place in liturgical  Ever feel you know enough. Be a life-long learner of music and
services (SC 116). liturgy.
7. There must be no innovations unless the good of the Church
genuinely and certainly requires them, and care must be taken
that any new forms adopted should in some way grow
organically from forms already existing (SC23).
 8
11
With Three Sharp Notes:(F#, C# and G#)

Fa# Do#

So#

With One Flat Note:(Bb)

Tib

With Two Flat Notes:(Bb and Eb)

Tib Mib

With Three Flat Notes:(Bb, Eb and Ab)

Tib Mib
Lab
 FOR
9 LITURGY
AND
SPIRITUA
LITY
For the
DO’S
Choir
 Have and continue to acquire liturgical and musical education. and
 Read and follow what the Church teaches in liturgical Music
documents.
 Set aside time to prepare music for each season of the
Director
Liturgical Year. s
 Allow your music range to influence your prayer, and your
prayer to influence your music range.
 Choose music that fosters an atmosphere of communal
liturgical prayer and encourages full, conscious and active
participation of the entire assembly.
 Critique music choices using the musical, liturgical and
pastoral judgment outlined in Music in Catholic Worship.
 Plan for the most important musical elements first:
Primary Elements to sing:
 Entrance Song
 Presentation and/or Preparation of Gifts,
 Communion Song/s
 Recessional/Final Song
Secondary Elements to sing:
 Kyrie/Lord Have Mercy,
 Gloria (if applicable),
 Responsorial Psalm,
 Gospel and Memorial Acclamation,
 Sanctus,
 The Lord’s Prayer
 Agnus Dei/Lamb of God
10