Peter wrote:Is there a limit on how long this "gradual transition" is allowed to take?
I presume – although am basing this on thin air – this means don't throw out everything in one go. Introduce a new Sanctus, for example, then make it part of the repertoire and drop a couple of old ones. Introduce another one and then drop a couple more.
I've planned for us phasing out all our old eucharistic acclamations by Advent, replacing them with three settings of the new text. I I realise that having just three settings is a tad tedious but we'll stick with them while we introduce a couple of Glorias straight after Christmas. The plan is to have seven sets of Eucharistic Acclamations and three Glorias by Advent 2012. Hopefully, these will keep us going for a while.
Following Peter's earlier example, I've taken his question as the starting point for a new thread.
It's also probable that many will adopt the adaptations of previously published settings eg Mass of Creation (Haugen), Celtic Mass (Walker), Mass of Hope (Farrell) etc as well as the Missal tones and the works of geniuses who grace these pages!
I'm looking forward to seeing Bernadette's adaptation of her Mass of Hope. I suspect the new texts will fit the music better than the old ones. And I'm looking forward to seeing the work of a genius from Sheffield!
I am getting to grips with the melodies of the three settings suggested at our diocesan music day, the Missal chant, and two described as being the ones that will be used across the diocese, i.e. Belmont and Mass of St Paul the Apostle, both by our former director of music, Chris Walker. A choir member presented a short meeting when a little BOBOSC was shown, with 8 of us there. We decided to introduce a Lamb of God for the last few Sundays before the Summer break. A tossed coin decided which we would use first, Chant or Belmont, and Belmont won. Not my choice, but there you go. First go, (I was not in charge,)we sang it after a flute intro. Second, I was away. Third, I led it as cantor. I am learning the whole of the three settings and exploring others, and have asked PP for a chat about the logistics. Will he sing? Not sure at the moment. I aimed to have weekly pracices right through the Summer, but so far no takers. I have looked at the various accompaniments to the Chant setting linked from another thread here. They are very different, some more suitable than others, IMHO. I tell you all this to explain what a fairly ordinary parish muso is doing. How are others doing? I expect most of you here are well ahead of things, and most definitely more able than I am. But what about those without the regular support and input from SSG?
A couple of queries: There has been a fair bit said about the Acclamations; how they are supposed, musically, to 'go together', the Sanctus with the Eucharistic Accs, and the Amen. But looking at the Chant and the Belmont I cannot see a connection. In the Belmont, the only thing in common is the marked key signature.
As a singer who plays the organ, rather than an organist, I would be quite happy to sing all this a capella, but it may not suit the parish. However, I can usually have a stab at a simple accompaniment from a melody, and will happily busk most things if necessary, and am familiar with modes, but I find this chant Gloria very awkward to accompany satisfactorily. I haven't had this difficulty with most of the old plainsong I have played.
i hadn't looked closely enough at the Belmont. There is a proper connection between the Accs. I would have edited my earlier post but could not find an edit button!
