Suitable & Singable: Composing Music for Liturgy

Questions around the genre, style and language of liturgical music are still debated in some quarters. However, those who compose music for the liturgy, regardless of the genre, will find consistent principles to guide them in Church documents: Sacrosanctum Concilium (SC), Musicam Sacram (MS), the General Instruction of the Roman Missal (GIRM), along with the helpful Sing to the Lord: Music in Catholic Worship (STL) from the US Conference of Catholic Bishops, and the Australian Catholic Bishops’ Conference’s Music in the Order of the Mass (MOM).

It is the responsibility of everyone who sets out to compose texts and music for liturgy to study these documents so that they firstly have a solid grounding in, and knowledge of liturgy and its various parts, and then an understanding of the ‘necessary or integral’ role that music plays within it (SC #112). Composers should appreciate that two key considerations for liturgical music are that it ‘serves the needs of the liturgy’ (STL #125) and that it ‘fosters maximum participation of the gathered assembly’ (STL #122). Armed with this background, the composition process might then proceed by answering a series of focus questions.

Will this piece set an existing ritual text or include a newly-written text?

The text is central in any liturgical song and the accompanying music must add beauty and bring new insights to it, not hide it, detract from it or render it incomprehensible. If it is a set liturgical text, such as a Responsorial Psalm or the Glory to God (Gloria), composers are required to set the words exactly as they appear in the Lectionary for Mass or the Roman Missal without any additions, alterations or deletions. If newly written, texts “must always be in conformity with Catholic teaching [and] should be drawn chiefly from Holy Scripture and liturgical sources.” (SC #121) It would be wise to consult a theologian or liturgist to ensure that theological integrity is respected.

Composers must be clear about where the text is addressed. Is it addressed to God? Is it about God? Is it singing of us and our relationship with God and with each other as members of the Body of Christ? The ‘direction’ of the text must not jump inconsistently between ‘to God,’ ‘about God’ and ‘about us’ within the same verse.  Additionally, sung liturgical texts should have artistic or poetic merit and be appropriate for liturgical use.

Who will sing this piece?

The nature of liturgy demands the “full, conscious and active participation” of the assembly and we are reminded that this participation “is the aim to be considered before all else” (SC #14). Composers must remember that singing is “one of the main ways” that this participation is encouraged and enabled (STL #126). The vast majority of liturgical music is meant to be sung by the entire assembly and this will impact the work of the composer.

Can the ‘average’ member of the assembly sing this composition? Is it too high or too low? Is the melodic range too wide? Is the melody memorable and somewhat intuitive? Is it ‘balanced’ with its use of steps and leaps? Does the harmonic structure support the participation of the assembly? Is the assembly able to manage the rhythms used? Are natural speech rhythms respected and the correct words and syllables stressed? Does the musical accompaniment support the text or distract from it? All of these things can impact the effective participation of the gathered worshiping community.

What is the ‘liturgical category’ of this composition?

Is it an acclamation, a responsorial psalm or one of the other set texts for Mass? Is it a processional song for Entrance or Communion or a hymn for the Preparation of the Offerings? Will it accompany a ritual action such as a Sprinkling Rite? Each category of song fulfills a specific liturgical purpose and therefore requires particular attributes.

What does the liturgy require from this piece?

Go to the documents mentioned above and research the purpose the piece is required to fulfill. Acclamations (Gospel Acclamation, Holy Holy Holy, Memorial Acclamation and Amen) are to be enthusiastically sung by everyone present and so be must musically accessible to all and amplify the meaning and joyful, acclamatory nature of the set texts. The three acclamations of the Eucharistic Prayer should share some melodic or tonal relationship which help to musically unify the entire prayer.

The people’s response in the Responsorial Psalm must be composed so that the assembly can participate after only hearing it once. A simple, intuitive melody for the response can then be supported by a more elaborate setting of the verses which are sung solo by a cantor, always remembering that the text must be conveyed clearly and be easily understood.

The General Instruction (#47) notes that in addition to opening the celebration and accompanying the procession, the two main purposes of the Entrance or Gathering Song are to “foster the unity of those who have been gathered [and to] introduce their thoughts to the mystery of the liturgical season or festivity.” Unity is most effectively fostered when the whole assembly can enthusiastically participate in vibrant, engaging and accessible melodies and rhythms, while singing corporate texts that speak of ‘we’ and ‘us’ rather than ‘I’ and ‘me.’ All the better if the sung texts and musical style reflect the themes of the season, feast or scripture readings of the day.

The purpose of the Communion song “is express the communicants’ union in spirit by means of the unity of their voices, to show joy of heart, and to highlight more clearly the “communitarian” nature of the procession to receive Communion” (GIRM #86). To fulfill this purpose, communion songs must be composed with the goal of active participation in the singing of theologically sound texts. A verse/chorus structure is suggested here to enable the assembly to sing the refrain from memory while processing to receive the sacrament. This is clearly not a time for a choral anthem or motet.

Three Judgments

In addition to the requirement for theologically sound texts, the oft-quoted three judgments for choosing liturgical music are also most pertinent for those composing it. Musically, is this piece, technically, aesthetically and expressively worthy? Liturgically, does this piece meet the requirements of this liturgy and this part of the liturgy? Pastorally, does this composition consider the culture and capabilities of those who will sing it and help them express their faith? (STL #126-136)

In a nutshell, liturgical compositions must be suitable and singable; suitable for the liturgy and singable by the assembly.

The ACBC’s National Liturgical Music Council offers helpful links to Guides for Liturgical Composers published by the Bishops Conferences of England and Wales OM-Composers-Guide.pdf (liturgyoffice.org.uk)  and Canada composer-guide.pdf (catholicyyc.ca) 

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This article was originally published in Liturgy News Vol 53(3) September 2023. Reprinted with permission.