Using Communion Antiphons
Welcome to Laudate Dominum Communion Antiphons! This website provides free, accessible Communion antiphons for use in the Roman Catholic Mass. I encourage you to download, print, and sing these antiphons at your parish’s Masses.
According to the General Instruction of the Roman Missal (GIRM), there are four options for what is to be sung during the reception of Communion:
In the Dioceses of the United States of America, there are four options for singing at Communion: (1) the antiphon from the [Roman] Missal or the antiphon with its Psalm from the Graduale Romanum, as set to music there or in another musical setting; (2) the antiphon with Psalm from the Graduale Simplex of the liturgical time; (3) a chant from another collection of Psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including Psalms arranged in responsorial or metrical forms; (4) some other suitable liturgical chant (cf. no. 86) approved by the Conference of Bishops or the Diocesan Bishop. This is sung either by the choir alone or by the choir or a cantor with the people.However, if there is no singing, the antiphon given in the Missal may be recited either by the faithful, or by some of them, or by a reader; otherwise, it is recited by the Priest himself after he has received Communion and before he distributes Communion to the faithful. - GIRM 87 (emphasis added)
While many musicians have supported the restoration of the chanted antiphon from the Graduale Romanum (which is, indeed, the preferred option), the first option set forth in the GIRM clearly allows for another musical setting of the text in the Graduale. Laudate Dominum Communion Antiphons seek to provide for that option with paraphrases of the antiphons in the Graduale Romanum.
Additionally, the use of communion antiphons complies with the implications of the previous paragraph in the GIRM (86):
While the Priest is receiving the Sacrament, the Communion Chant is begun, its purpose being to express the spiritual union of the communicants by means of the unity of their voices, to show gladness of heart, and to bring out more clearly the “communitarian” character of the procession to receive the Eucharist. The singing is prolonged for as long as the Sacrament is being administered to the faithful. [cf. Inestimabile Donum 17]
This paragraph clearly states that the Communion chant is meant to be congregational, that the communicants should sing the antiphon as well as the choir or other song leaders. Regardless of the preference for the chanted antiphon from the Graduale, the reality in the vast majority of parishes is that the congregation cannot sing the chanted antiphon. Laudate Dominum Communion Antiphons are pieces of easy, English congregational music to meet this norm.
Each of these antiphons is a newly composed paraphrase, set in the same Gregorian mode as the corresponding antiphon in the Graduale Romanum. Like the normal execution of the responsorial psalm, they are to alternate with sung psalm verses, the same set forth in the Graduale for lengthening the singing (since, according to GIRM 86 above, the singing is to cover the entire procession). The last verse to be sung is the doxology (the Glory Be), provided at the end of each antiphon. These psalm verses and doxology are set to the St. Meinrad Psalm tones, transposed and provided with each example.
It is not the goal of Laudate Dominum Communion Antiphons to usurp the pride of place afforded to Gregorian Chant in the Roman Catholic liturgy. While the antiphons can be used as they are, it is designed and strongly encouraged for these antiphons to be used in addition to, not instead of, the antiphons in the Graduale Romanum. Suggestions for the execution of this goal are provided below.
Each antiphon example is divided into two pages: the first is for the organist and the second for the cantor or choir (though the organist will need both to see the psalm verses). The St. Meinrad Psalm Tones are easy to sing. When there are four phrases in a psalm verse, each phrases matches the four phrases provided in the psalm tone. When there are fewer than four, the first is always sung first and the last is always sung last. For example, a two phrase verse is like this:
According to the General Instruction of the Roman Missal (GIRM), there are four options for what is to be sung during the reception of Communion:
In the Dioceses of the United States of America, there are four options for singing at Communion: (1) the antiphon from the [Roman] Missal or the antiphon with its Psalm from the Graduale Romanum, as set to music there or in another musical setting; (2) the antiphon with Psalm from the Graduale Simplex of the liturgical time; (3) a chant from another collection of Psalms and antiphons, approved by the Conference of Bishops or the Diocesan Bishop, including Psalms arranged in responsorial or metrical forms; (4) some other suitable liturgical chant (cf. no. 86) approved by the Conference of Bishops or the Diocesan Bishop. This is sung either by the choir alone or by the choir or a cantor with the people.However, if there is no singing, the antiphon given in the Missal may be recited either by the faithful, or by some of them, or by a reader; otherwise, it is recited by the Priest himself after he has received Communion and before he distributes Communion to the faithful. - GIRM 87 (emphasis added)
While many musicians have supported the restoration of the chanted antiphon from the Graduale Romanum (which is, indeed, the preferred option), the first option set forth in the GIRM clearly allows for another musical setting of the text in the Graduale. Laudate Dominum Communion Antiphons seek to provide for that option with paraphrases of the antiphons in the Graduale Romanum.
Additionally, the use of communion antiphons complies with the implications of the previous paragraph in the GIRM (86):
While the Priest is receiving the Sacrament, the Communion Chant is begun, its purpose being to express the spiritual union of the communicants by means of the unity of their voices, to show gladness of heart, and to bring out more clearly the “communitarian” character of the procession to receive the Eucharist. The singing is prolonged for as long as the Sacrament is being administered to the faithful. [cf. Inestimabile Donum 17]
This paragraph clearly states that the Communion chant is meant to be congregational, that the communicants should sing the antiphon as well as the choir or other song leaders. Regardless of the preference for the chanted antiphon from the Graduale, the reality in the vast majority of parishes is that the congregation cannot sing the chanted antiphon. Laudate Dominum Communion Antiphons are pieces of easy, English congregational music to meet this norm.
Each of these antiphons is a newly composed paraphrase, set in the same Gregorian mode as the corresponding antiphon in the Graduale Romanum. Like the normal execution of the responsorial psalm, they are to alternate with sung psalm verses, the same set forth in the Graduale for lengthening the singing (since, according to GIRM 86 above, the singing is to cover the entire procession). The last verse to be sung is the doxology (the Glory Be), provided at the end of each antiphon. These psalm verses and doxology are set to the St. Meinrad Psalm tones, transposed and provided with each example.
It is not the goal of Laudate Dominum Communion Antiphons to usurp the pride of place afforded to Gregorian Chant in the Roman Catholic liturgy. While the antiphons can be used as they are, it is designed and strongly encouraged for these antiphons to be used in addition to, not instead of, the antiphons in the Graduale Romanum. Suggestions for the execution of this goal are provided below.
Each antiphon example is divided into two pages: the first is for the organist and the second for the cantor or choir (though the organist will need both to see the psalm verses). The St. Meinrad Psalm Tones are easy to sing. When there are four phrases in a psalm verse, each phrases matches the four phrases provided in the psalm tone. When there are fewer than four, the first is always sung first and the last is always sung last. For example, a two phrase verse is like this:
And a three phrase verse is like this:
Regardless of how many verses are needed to cover the reception of Holy Communion, the final verse to be sung is the doxology, included as the last verse of every example.
As is stated above, these antiphons can be used alone or along with the antiphons in the Graduale Romanum. Since each of these new antiphons is in the same mode as its Gregorian counterpart, the transition from one to the other should be seamless. Try this with your schola cantorum:
1. Chant the Gregorian antiphon from the Graduale Romanum once, being sure the final is the same final of the English antiphon.
2. Sing the English antiphon, introducing it to the congregation. Repeat it once along with them.
3. Alternate singing verse and antiphon until the reception of Communion is finished or nearly finished.
4. In this case, omit the doxology provided with the English antiphon. Instead, stop after the final antiphon and chant the corresponding Gregorian doxology from the Graduale Romanum.
5. Repeat the chanted Gregorian antiphon, concluding the singing.
It is our sincere hope that these pieces of music will be useful in lifting our hearts and voices to God in our worship of him in the Holy Sacrifice of the Mass. Please direct any questions or comments to [email protected]. God bless.
As is stated above, these antiphons can be used alone or along with the antiphons in the Graduale Romanum. Since each of these new antiphons is in the same mode as its Gregorian counterpart, the transition from one to the other should be seamless. Try this with your schola cantorum:
1. Chant the Gregorian antiphon from the Graduale Romanum once, being sure the final is the same final of the English antiphon.
2. Sing the English antiphon, introducing it to the congregation. Repeat it once along with them.
3. Alternate singing verse and antiphon until the reception of Communion is finished or nearly finished.
4. In this case, omit the doxology provided with the English antiphon. Instead, stop after the final antiphon and chant the corresponding Gregorian doxology from the Graduale Romanum.
5. Repeat the chanted Gregorian antiphon, concluding the singing.
It is our sincere hope that these pieces of music will be useful in lifting our hearts and voices to God in our worship of him in the Holy Sacrifice of the Mass. Please direct any questions or comments to [email protected]. God bless.
Why don't these communion antiphons line up with the ones in my parish's missalette?
Short answer: The antiphons from your parish's missalette are from the Missal (Sacramentary); these settings are from the Graduale Romanum (Gradual). The antiphons are not always the same. Both the Missal and Gradual antiphons are licit for use at Mass.
Long answer: The Gradual has traditionally been the book from which the music for the Mass is used. It contains all of the propers: Introit, Gradual, Alleluia, Offertory, and Communio for the entire church year. The most recent Graduale was published in 1974 and is still in force. The previous Missal, before the current translation introduced in 2011, was completed in 1975. When it was being published, the powers that be conducted a poll as to whether they should include the Introit and Communio verses for the priests in the Missal for when there was no music and Mass was spoken. The answer was a resounding yes, and so the antiphons were included. Many of them were too long, or for whatever other reason, many of the antiphons were changed from the ones included in the Gradual. This is why there is a discrepancy between the Gradual antiphons and the Missal antiphons.
Laudate Dominum Communion Antiphons are based on translations from the Gradual, which is why they are different from the ones in most missalettes. There are several reasons that these antiphons use the Gradual as their basis. First, these English versions retain a musical connection to the Gregorian originals, which are not contained in the Missal at all. Second, the antiphons in the Missal were meant for speech, while the Gradual antiphons are meant for song. Third, the translations of the Missal are wont to change, as we have recently seen. The Gradual has no official translation, and so will endure changes without a complete rewrite of the repertoire.
Read a detailed article on this topic here.
Long answer: The Gradual has traditionally been the book from which the music for the Mass is used. It contains all of the propers: Introit, Gradual, Alleluia, Offertory, and Communio for the entire church year. The most recent Graduale was published in 1974 and is still in force. The previous Missal, before the current translation introduced in 2011, was completed in 1975. When it was being published, the powers that be conducted a poll as to whether they should include the Introit and Communio verses for the priests in the Missal for when there was no music and Mass was spoken. The answer was a resounding yes, and so the antiphons were included. Many of them were too long, or for whatever other reason, many of the antiphons were changed from the ones included in the Gradual. This is why there is a discrepancy between the Gradual antiphons and the Missal antiphons.
Laudate Dominum Communion Antiphons are based on translations from the Gradual, which is why they are different from the ones in most missalettes. There are several reasons that these antiphons use the Gradual as their basis. First, these English versions retain a musical connection to the Gregorian originals, which are not contained in the Missal at all. Second, the antiphons in the Missal were meant for speech, while the Gradual antiphons are meant for song. Third, the translations of the Missal are wont to change, as we have recently seen. The Gradual has no official translation, and so will endure changes without a complete rewrite of the repertoire.
Read a detailed article on this topic here.
Laudate Dominum Communion Antiphons by Andrew R. Motyka is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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