Just 15 weeks until we start using the new Lectionary – First Sunday of Advent, Year C. CTS is producing a collection of chant-style settings of the Reponsorial Psalms. And McCrimmons is updating its existing Responsorial Psalter. Meanwhile, several members of this forum – mostly members of the SSG – have been swapping notes to produce an online psalm shop.
https://www.musicforliturgy.online will allow you to browse psalms by feast, number or composer. All will be available for download – and we’re working to keep the pricing competitive. As with the print editions, we’re currently awaiting approval for each piece from the Liturgy Office and that’s quite a lengthy process.
In the meantime, have a browse through the site and let us know if you think it might be useful.
I’ll update this when we have further news. In the meantime, click the “Contact” button at the top of https://www.musicforliturgy.online to join our mailing list.
Psalms for the new Lectionary
Moderators: Dom Perignon, Casimir
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Nick Baty
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Psalms for the new Lectionary
Last edited by Nick Baty on Sun Aug 11, 2024 10:28 am, edited 1 time in total.
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gwyn
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- Location: Abertillery, South Wales UK
Re: Psalms for the new Lectionary
A-ha! That looks to be a grand resource. Da iawn to all contributors.
Re: Psalms for the new Lectionary
Two points strike me:
[1] Some 50 years worth of Psalm settings are being jettisoned as a result of the introduction of new mandatory texts. Some, however, may survive in adapted form: mainly those using Gelineau or Bevenot methods of composition. 'Through-composed' works are more resistant to this sort of treatment.
[2] New texts require new settings; so composers have an opportunity to rethink how music is composed for them. Furthermore the copyright situation may prove simpler to operate and less obstructive than in the past - you don't have to deal with both the text publisher and the bishops conference as was the case before; the two are rolled in to one. The price, of course, is the rigid way the text is imposed on composers - no repetition, reshuffling of phrases or other adaptive devices that composers like to use. You have to stick exactly to the text as it stands, even if the music suffers as a result - a real test of any composer's skills. This though was often the case under the old regime.
Regarding new - or under-explored - technical approaches. Here are some ideas - mainly stemming from the built-in contrast between the response and verses; but also responding to the huge emotional - and often rapidly changing - mood range in many psalm texts. This is something that has often been understated in the past.
[a] Provide more demanding parts in verses that exploit a given Cantor's (specialist) skills to enhance the meaning and effect of textual images and ideas (word painting). Resist the natural tendency to write one note per syllable stuff at all times - melismas double your creative options. You can also use word painting to emphasise certain meanings at the expense of others; although this is quite a dangerous strategy.
In particular use a broader pitch range for the cantor compared with what a congregation can be expected to manage. Write for a specific voice - not a 'general purpose' passage that can be sung by any singer as this narrows the vocal range. Your parish is thus more likely to acquire a distinctive musical voice.
[c] In turn this opens the way for setting the verses and responses in different keys or modes (basic divide here between major and minor keys; but also between the old church modes for those who like archaic approaches). This means that a verse - or even a response - has to modulate - or else you use bridge passages between verses and responses for this purpose. Modulation also compels you to use a wider range of secondary, inverted and other chords (7ths, 9ths, diminished etc), imparting greater vitality to the whole. It is inadvisable though to try this on rhythm guitarists who only read off a limited range of chord sequences.
[d] Provide an introduction (i) to set automatically the 'tonality' of the piece for the Cantor, who just picks his/her opening note from that context: so there is no need to 'sound the opening note' before you begin (ii) Reuse that introduction in modified form for linking passages and a concluding phrase to the whole psalm setting. In this way greater coherence can be imparted to a form where the differences between response and verse can create a very 'biity' stop-go effect.
[e] Use different accompaniments (textures and harmonies - including chord selection) to match the changing moods of the text as you work through the verses. Motivic or figurative cross fertilisation can also be used developmentally across a piece. A changing variety of articulations, dynamics and instrumentations also enhance text. All this can be done without changing the vocal line. Most basically of all: if your melody (esp. in the response) is delivered by a 'single-line' instrument this releases other instruments (notably keyboards & guitars) to do this sort of thing more effectively. With Guitarists though this approach requires inside knowledge of playing techniques and ability to read specialist Classical Guitar notation. With Organs specify stops for particular effects - ditto with electric pianos and synthesisers! In other words write for specific instruments, as this gives you more options, despite the self-imposed limitation this implies. It also gives greater precision to your writing.
(f) Differing accompaniments can also signal the differences between passages for the Cantor and those for the congregation. These are most useful at the start e.g. slender accompaniment for Cantor's opening statement of the response; followed by something more powerful/solid/differently textured that 'tells' congregations to sing. Even bolder: using the same response melody, have the Cantor sing this to a different chord progression from that which then accompanies the congregation. Don't forget the option of the Cantor singing certain passages/phrases unaccompanied. The contrast with accompanied passages can be highly effective. Don't forget the 'drone' either! (very good for texts that invite soaring appeals in free time by the Cantor).
[g] Given that the texts have Gelineau-type rhythmic patterning, you can use highly stylised rhythmic articulation to fit in with and enhance the rigid pulse that underpins it. This can deliver terrific 'punch' where the mood of the text demands it. 'Bevenot' type chanting (influenced by monastic plainchant) cuts against this and often smooths things out; although it can be very effective - so be prepared to use it where appropriate. Note that the Gelineau system is primarily chordal; whereas the Bevenot system is basically linear, despite underpinning by a few held chords. Both systems obviate the need to write entirely different settings for each verse, as can happen with a genuine 'through composed' work. This saves valuable composition and learning time!
[1] Some 50 years worth of Psalm settings are being jettisoned as a result of the introduction of new mandatory texts. Some, however, may survive in adapted form: mainly those using Gelineau or Bevenot methods of composition. 'Through-composed' works are more resistant to this sort of treatment.
[2] New texts require new settings; so composers have an opportunity to rethink how music is composed for them. Furthermore the copyright situation may prove simpler to operate and less obstructive than in the past - you don't have to deal with both the text publisher and the bishops conference as was the case before; the two are rolled in to one. The price, of course, is the rigid way the text is imposed on composers - no repetition, reshuffling of phrases or other adaptive devices that composers like to use. You have to stick exactly to the text as it stands, even if the music suffers as a result - a real test of any composer's skills. This though was often the case under the old regime.
Regarding new - or under-explored - technical approaches. Here are some ideas - mainly stemming from the built-in contrast between the response and verses; but also responding to the huge emotional - and often rapidly changing - mood range in many psalm texts. This is something that has often been understated in the past.
[a] Provide more demanding parts in verses that exploit a given Cantor's (specialist) skills to enhance the meaning and effect of textual images and ideas (word painting). Resist the natural tendency to write one note per syllable stuff at all times - melismas double your creative options. You can also use word painting to emphasise certain meanings at the expense of others; although this is quite a dangerous strategy.
In particular use a broader pitch range for the cantor compared with what a congregation can be expected to manage. Write for a specific voice - not a 'general purpose' passage that can be sung by any singer as this narrows the vocal range. Your parish is thus more likely to acquire a distinctive musical voice.
[c] In turn this opens the way for setting the verses and responses in different keys or modes (basic divide here between major and minor keys; but also between the old church modes for those who like archaic approaches). This means that a verse - or even a response - has to modulate - or else you use bridge passages between verses and responses for this purpose. Modulation also compels you to use a wider range of secondary, inverted and other chords (7ths, 9ths, diminished etc), imparting greater vitality to the whole. It is inadvisable though to try this on rhythm guitarists who only read off a limited range of chord sequences.
[d] Provide an introduction (i) to set automatically the 'tonality' of the piece for the Cantor, who just picks his/her opening note from that context: so there is no need to 'sound the opening note' before you begin (ii) Reuse that introduction in modified form for linking passages and a concluding phrase to the whole psalm setting. In this way greater coherence can be imparted to a form where the differences between response and verse can create a very 'biity' stop-go effect.
[e] Use different accompaniments (textures and harmonies - including chord selection) to match the changing moods of the text as you work through the verses. Motivic or figurative cross fertilisation can also be used developmentally across a piece. A changing variety of articulations, dynamics and instrumentations also enhance text. All this can be done without changing the vocal line. Most basically of all: if your melody (esp. in the response) is delivered by a 'single-line' instrument this releases other instruments (notably keyboards & guitars) to do this sort of thing more effectively. With Guitarists though this approach requires inside knowledge of playing techniques and ability to read specialist Classical Guitar notation. With Organs specify stops for particular effects - ditto with electric pianos and synthesisers! In other words write for specific instruments, as this gives you more options, despite the self-imposed limitation this implies. It also gives greater precision to your writing.
(f) Differing accompaniments can also signal the differences between passages for the Cantor and those for the congregation. These are most useful at the start e.g. slender accompaniment for Cantor's opening statement of the response; followed by something more powerful/solid/differently textured that 'tells' congregations to sing. Even bolder: using the same response melody, have the Cantor sing this to a different chord progression from that which then accompanies the congregation. Don't forget the option of the Cantor singing certain passages/phrases unaccompanied. The contrast with accompanied passages can be highly effective. Don't forget the 'drone' either! (very good for texts that invite soaring appeals in free time by the Cantor).
[g] Given that the texts have Gelineau-type rhythmic patterning, you can use highly stylised rhythmic articulation to fit in with and enhance the rigid pulse that underpins it. This can deliver terrific 'punch' where the mood of the text demands it. 'Bevenot' type chanting (influenced by monastic plainchant) cuts against this and often smooths things out; although it can be very effective - so be prepared to use it where appropriate. Note that the Gelineau system is primarily chordal; whereas the Bevenot system is basically linear, despite underpinning by a few held chords. Both systems obviate the need to write entirely different settings for each verse, as can happen with a genuine 'through composed' work. This saves valuable composition and learning time!
T.E.Muir