The Communion Song: When to Sing and What to Sing

Have you ever attended a banquet where the musicians engaged to provide dinner music enjoy their appetisers while the guests eat in silence? Of course not! However, a liturgical version of this scenario is enacted in many churches and cathedrals each weekend as music ministers rush to be first in line to receive communion. By the time the communion song begins, a quarter of the assembly has already received the sacrament, often in complete silence.

The word ‘ministry’ comes from the Latin ministerium, meaning ‘service’. Servants always prioritise the needs of the guests and of the occasion. Music ministers are called to serve the needs of both the liturgy and the assembly; in the Communion Rite these needs are very clear. The General Instruction of the Roman Missal (GIRM), the ‘user manual’ for liturgy, spells out the purpose and procedure for the communion song.

While the priest is receiving the Sacrament, the communion [song] is begun (GIRM 86). Not after the priest has received. Not after the communion antiphon has been recited. Not after a long instrumental introduction while the choir is receiving communion. The communion procession begins with the priest’s communion, and the song should accompany the entire procession. Does it matter?

It matters. The purpose of the communion song is to 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). Theologically and liturgically, the Communion Rite is about unity in and through the Body of Christ. Many become one as the assembly processes to eat and drink in a shared ritual action; the ‘glue’ that unifies this ritual is the song. Communal song enables the assembly to experience and express unity as they move in procession to become sacramentally unified in the eucharistic meal.

Importantly, the ‘unity of voices’ which is called for in GIRM #86 is only possible if the assembly can actively participate in the chosen song. Enabling the voice of the assembly is the paramount consideration. This is no time for silence, instrumentals, solos or choir performances. It is about the participation of the people. So, can the assembly sing the song? Is the refrain easily remembered? Does the language in the song express unity – we, us and our rather than I, me and my? Is the song processional in nature? Does it accompany and assist the physical movement of the procession?

There are tensions in the documents. GIRM #87 states that [the communion song] is sung by the choir alone, or by the choir or cantor with the people. The first option – ‘the choir alone’ singing the communion song – is an outright contradiction of the directions and spirit of GIRM #86. It is apparent in some liturgical documents that the underpinning theology, purpose and ‘best practice’ are stated first (GIRM #86) and then a ‘fall back’ position (often to placate alternative viewpoints) is given afterwards. We must always look to the principles and best practice! Let the people sing and the choir support them.

How long should the communion song last? The singing is continued for as long as the Sacrament is being administered to the faithful (GIRM #86). To unify the communion procession, the song accompanies the distribution of communion for as long as practically possible. The paragraph concludes: Care should be taken that singers, too, can receive communion with ease.

So, when and how do music ministers receive communion? Certainly, musicians’ communion must not be forgotten but this occurs after they have served the liturgy and the assembly. Balancing these seemingly competing needs is imperative and is possible with careful forethought and planning. Specific procedures will depend on the size and make-up of the music ministry group and their placement in the liturgical space.

A larger group might go to receive communion a few at a time so that some are always available to support the song of the assembly; and, of course, those in procession would still be singing as part of the full, conscious and actively participating assembly! This might mean that the flute descant or vocal harmonies that have been rehearsed will need to be omitted for part of the song. But are the harmonies the priority here? Is the performance of the choir/instrumentalists more important than the song of the assembly during the communion procession? The liturgy says no.

For smaller groups with a single accompanist, an instrumental might continue as the singers receive communion or the singers could continue to lead the song of the assembly a capella as they join the end of the communion procession. And, if necessary, a little silence as the last few musicians receive communion is immeasurably preferable to beginning with a long silence as the musicians come to the table first. Communion ministers must be aware of the local procedure and ensure that the musicians also have the opportunity to share in the eucharistic banquet.

In conclusion:

• The communion song begins as the priest receives communion and continues for as long as the sacrament is being administered.

• This song belongs to the assembly: the unity of voices shows a unity of spirit and highlights the communitarian nature of the communion procession.

• The communion procession is not a time for silence, instrumentals or choral pieces in which the assembly cannot participate.

• As servants of the liturgy and the assembly, music ministers must firstly fulfill the requirements of the rite. This may mean that they receive communion at the end of the procession.

Finally, while there may be good logistical reasons for music ministers hurrying off to communion first, there are no good liturgical or theological reasons to do so. Liturgy always trumps logistics!

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Previous versions of this article were published in the Newsletter of the Australian Pastoral Musicians Network (Vol 11/2, June 2021), Liturgy News (Vol 51/3, Spring 2021) and GIA Quarterly (Vol 33/1, March – April 2022).  Reprinted with permission. 

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