Two musical nits: key changes and missing doxologies

[japhy]

I was at an Ash Wednesday mass last night at a nearby parish. Nevermind that the psalm was an upbeat, lounge-singer/show-tune number, but the entrance hymn had two things wrong with it (apart from it being “Ashes”…):

1. It has four verses, the last of which is a doxology to the Trinity. We did not sing it. This was not because the priest was already at the altar (since the closing hymn – “Jerusalem, My Destiny” – went on and on forever), but because the cantor simply announced we wouldn’t sing verse 4.
2. They imposed a KEY CHANGE before the third verse. WHY?

I see no value in either of those two decisions on the part of the music ministry.

(And they use “We Remember” for the Memorial Acclamation. Sigh.)

 

[Evan]

Our organist regularly changes the key on the last verse of anything we sing. This is an effective way to indicate, last verse. It does not interupt the flow of the music or distract from the mass.

It is especially appreciated when neither he nor we know when to end a song (such as the Agnus Dei, the communion and offertory songs).

 

[japhy]

Our organist regularly changes the key on the last verse of anything we sing. This is an effective way to indicate, last verse. It does not interupt the flow of the music or distract from the mass.

It is especially appreciated when neither he nor we know when to end a song (such as the Agnus Dei, the communion and offertory songs).

The entrance hymn was the only time it happened, and that was when we’d been told how many verses to sing. Then again, the other hymns had a refrain that they would slow down when it was the last time, so I guess that could be the purpose they had in mind.

 

[jc-servant]

OP,

At least you have people who have volunteered to be a part of the music ministry. From your comments about them, I assume that you have not volunteered your talents in that area?

It would really tick me off to read such nit picking comments about our choir after we gave up our time to rehearse and then stood for the whole lengthy Ash Wednesday mass (except when we had to sit on the risers or whereever we could find during the homily) because rude people actually sat in the choir’s pews when they got there too late to sit elsewhere.

I sincerely hope that no one from your choir reads this board. You could end up like some parishes with no singers at all.

 

[Phemie]

In my parish we have people who are wonderful about volunteering for the music ministry but know little about liturgy. That’s how we ended up having just music for part of the processions for ashes and Communion last night. All because when the hymn was over ‘Sister’ said ‘keep playing’ and nobody questions Sister who, in spite of 20+ years of religious life, obviously still doesn’t know that that’s a no-no during Lent.

 

[japhy]

At least you have people who have volunteered to be a part of the music ministry. From your comments about them, I assume that you have not volunteered your talents in that area?

The parish I attended Mass at is not my home parish. I have been in the choir at my home parish, but my regular ministry there is as a lector. I am also on the RCIA team, which would make it nearly impossible for me to be in the choir as well. The parish I was at last night did have a rather large choir (probably about two dozen singers).

My comments were not about the singers themselves, it was about the choices made by the music ministry in general.

 

[Sarabande]

I was at an Ash Wednesday mass last night at a nearby parish. Nevermind that the psalm was an upbeat, lounge-singer/show-tune number, but the entrance hymn had two things wrong with it (apart from it being “Ashes”…):

1. It has four verses, the last of which is a doxology to the Trinity. We did not sing it. This was not because the priest was already at the altar (since the closing hymn – “Jerusalem, My Destiny” – went on and on forever), but because the cantor simply announced we wouldn’t sing verse 4.
2. They imposed a KEY CHANGE before the third verse. WHY?

I see no value in either of those two decisions on the part of the music ministry.

(And they use “We Remember” for the Memorial Acclamation. Sigh.)

1. I cannot tell you why they would omit the last verse, but can tell you that you can’t always blame the music ministers for that. Working in music ministry, myself, I do know that sometimes, the pastors or the resident priests will have something to say in regards to what music is played and how many verses and which verses are sung.

Before we the wonderful set of priests of 5-6 priests now in residence at our parish (it’s like an oasis of goodness and reverence now), there were a few priests no longer in residence who were extremely adamant about only having one or two verses for the processional and recessional. They’d get really upset if you didn’t do as they wished. One of them was also into the broadway-style music as he used to be a high-school musical director, so you can imagine that whenever he’d say mass for our 11:00 we’d have to partake in really cheesy stuff. (Nothing against broadway musicals, as most music from real musicals are much better than what has been written for mass - it just evoked Broadway.)

1. Do you mean the half-step modulation? I’ve heard it done both in a tasteful and tactless manner. It depends on the hymn and how the modulation is achieved without it sounding like a rock ballad about love. Often times, it is done to invoke more emotion and feeling into the words and the music of the hymn - also to indicate that this is the last verse of the hymn. If a choir is singing, this is the part where a descant is sung over the melody and harmonies. Our choir does “Once in Royal David’s City” beautifully. The last verse is always modulated a half step up with a soprano descant. It is one of the most beautiful and powerfully spiritual Christmas hymns I love to hear and sing at Christmas. There are other hymns where it is done very well too.

But I have attended mass at other places where the hymn is already styled like a broadway/secular song, so doing that kind of modulation just makes it sound even more “secular” in style. I don’t mean any offense to those who like “Ashes” (and this is just my opinion), but since my childhood, it has always reminded me of 1970s secular songs or like that wedding song, “There is Love”. So, I can imagine in my mind that this key modulation probably sounded a bit too sentimental and saccharine. Although, I wasn’t there, and I know that there are good musicians out there who can make something saccharine and cheesy sound quite nice.

That said, to some people who rely on music as a major part of their prayer, that key change modulation (whether or not it’s beautifully and tastefully done) can truly help that person go further into his/her prayer. To others it may not, but I wouldn’t say there is “no value” in doing something like that. Composers throughout the centuries have used modulations for sacred and secular - although sometimes so subtly many won’t even realize it’s being done. So I don’t think there is anything wrong with using it, except for me, it should be done tasfefully.

 

[puzzleannie]

we had no music at the last Mass, and certainly did not miss it.

 

[Guitar]

1. If there’s a doxology I always sing it, and if a hymn can’t be cut short without omitting it (or, say, the Holy Spirit verse of a trinitarian hymn) then I don’t use it in places when cutting it short might be called for. But Sarabande (once more!) speaks the truth about music ministers not always having control over this. I’ve seen priests begin to speak over the top of musicians to cut them off and I’ve also had a priest keep right on singing a cappella at the top of his lungs when the musicians stopped so they had little choice but start up again and wait till he thought it was time to stop. One former PP in particular was (at first, at least) quite happy to ride roughshod over musicians to impose his preferences on a couple of matters he had a “bee in his bonnet” over, such as when he wanted the hymn after communion to start.
2. A key change can gee up the troops for a big finish, or prevent a tune becoming “tired”. (Even a good tune might get tired on an organ where you can’t vary the registration much or where the electronic voicing isn’t real flash, and some not-so-good tunes are a bit worn after three verses and benefit from a “lift”.) It should be applied sparingly, though, and never habitually - for traditional hymns it’s best left for rousing tunes, and for some of the sappier of “modern” hymns IMO it just imbues them with the Manilow factor.

 

[Sarabande]

1. A key change can gee up the troops for a big finish, or prevent a tune becoming “tired”. (Even a good tune might get tired on an organ where you can’t vary the registration much or where the electronic voicing isn’t real flash, and some not-so-good tunes are a bit worn after three verses and benefit from a “lift”.) It should be applied sparingly, though, and never habitually - for traditional hymns it’s best left for rousing tunes, and for some of the sappier of “modern” hymns IMO it just imbues them with the Manilow factor.

You said it much better and more concise than I could.

 

[Guitar]

You said it much better and more concise than I could.

Aww, gee, shucks. Thank you! (Concise is not my strong suit when writing OTTOMH )

I hasten to add I have nothing against Manilow - he does what he does very successfully. And so does Richard Carpenter. But I don’t want to be reminded of their work during Mass.

 

[Sarabande]

Aww, gee, shucks. Thank you! (Concise is not my strong suit when writing OTTOMH )

Don’t worry… as you can see from my posts, I’m always too verbose.

I hasten to add I have nothing against Manilow - he does what he does very successfully. And so does Richard Carpenter. But I don’t want to be reminded of their work during Mass.

Totally understand. I feel the same.