THE CHOIR AND THE EUCHARISTIC CELEBRATION By John Ewelukwa Udegbunam

THE CHOIR AND THE EUCHARISTIC CELEBRATION

By

John Ewelukwa Udegbunam

3.0.  Introduction:

This lecture is aimed at making the choir to be aware of their proper responsibility in the Eucharistic celebration. The choir has a very vital role to play in the Mass, and could help make the sacred celebration “a spirit filled one” that every participant goes home in high spiritual mood. The choir can achieve this depending on their spiritual level, practice, organization, zeal and selection of songs.

3.1.  Spiritual Level:      The choir members must live spiritually. How can someone sing sacred songs while his life depicts evil activities, opposed to what he professes? That is why many songs we sing these days do not motivate, change, or edify the congregation despite their possession of powerful words that can heal, soothe, instill faith, assurance, and hope amongst the worshiping congregation.

The bible has this to say in Sirach 15:9-10, “it is not appropriate for a sinner to sing hymns of praise, because his worship is insincere”. A hymn should be an expression of wisdom, inspired by the Lord himself.

CHOIR MEMBERS SHOULD AVOID THE FOLLOWINGS:

i.                       Drunkenness

ii.                       Sex outside marriage

iii.                       Foul talk

iv.                       Scandal

v.                       Gossip

vi.                       Disobedience

vii.                       Pride

viii.                       Arrogance

ix.                       Laziness

At interval the choir should organize pure spiritual revival and fasting. Days of bible sharing and prayer is highly recommended once or twice a week.

A tremendous change for good could be achieved if the above suggestion is adhered to.

3.2.     Practice: The choirmaster or music director must select songs for the Mass in advance and new ones (songs) must be thoroughly taught, practiced or rehearsed at different occasions with sufficient time.

          In the case of instrumentalist e.g. organists, guitarists, drummers, trumpeters, and others, they must first learn the songs alone before formal presentation; however, this will not be in isolation of the full choir.

          Rehearsal or practice time is not for noise making and argument. It is period of spiritual, mental and physical preparation to enable you lead the congregation spiritually in songs.

3.3.     Organization: There should be effective organization within the choir as a body. The choir should always liaise with the Parish Priest for direction, instruction, discussion and suggestions for the common good of the parishioners.

          There should be good working relationship between the choir members, music director, choirmaster, members of the executive, instrumentalists, soloists and other related ranks within the choir. The relation should be purely cordial and spiritual. Respect is highly recommended.

3.4.     Zeal:       The leaders of the choir must always do their possible best to instill the spirit of zealousness in members to enable them achieve the goal by which the choir was established. The music director or choirmaster must always live above board in spirit and music. He must find ways of improving rapidly in music knowledge and has responsibility to teach and motivate members to follow suit. He must be down to earth in his service. Highly disciplined to enable him instill discipline in members.

3.5.  Introduction of Songs at the Mass:

There are periods some choir spend long time, about two minutes to start songs. It is wrong to break the smooth flow of the celebration. The choir must always be ready with selected songs and right keys at the tip of their fingers – the organist or instrumentalists must be ready at all times too.

When the priest chants any songs, no second should be wasted in response, if the keys are too high or low, the organist or choirmaster whistles the right key in very short notes then the choir takes off. Do not keep the congregation waiting more than necessary, it disorganizes them and they do not feel happy about it. Do not break the smooth flow of the worship that participants keep waiting unnecessary. The celebration should be lively and smooth from the beginning to the end.

3.6.  Instrumentation:

Do not play too loud that the sound of instruments covers the voices. Do not forget that the voice has the message; it must at all times be on top of the instrumentation. 

3.7.  Choir/Congregation:

        The choir must try at all times to select good and simple songs that will not be difficult for the congregation to join.

        Active participant of the audience in the mass often depends on the type of songs selected.

3.9.  Teaching the Congregation:

        Music directors, song leaders or choirmasters could create time before the mass or at any other convenient time to teach the parishioners new hymns or songs. This enhances their participation in the mass. It makes you have a powerful singing community or congregation.

3.10.   Selections:

A.                  The Beginning of the Mass

At the beginning of celebration of Holy Eucharist, the choir master should have foresight and focus ‘mentally and spiritually’ to enable him select some powerful spiritual hymns of invitation that will set the congregation in the right mood for worship. It is not every hymn of invitation that inspires, despite the fact that some part of it may be scriptural.

Proper care must be taken when selecting hymns, because from experience, it has been shown that inspired hymns help in raising the mood of worship and many times it enable the priest perform his duty smoothly and (spiritually). These in turn, increase participation of the congregation during the Mass and their number swells.

The choirmaster and organist should be able to know the right key and tempo for any hymn to be presented by the choir, e.g. introit, I confess, Lord have mercy and Gloria.

The choir should always select those songs that can touch the hearts of participants, which can also help them be in the right frame of mind to sing along and have serious reflection in the meaning of the songs, e.g. singing ‘I confess’, the choir and the song should be able to convince the participants that they are sinners and ready to amend or repent.

The above statement is applicable to other Eucharistic songs, like the responsorial psalm, acclamation, the creed, the general intercession etc. If it is song of praise, it should spur people into spiritual reverence and praise.

It is to affirm the priest’s prayer or chant, it should be done with the whole heart, mind and in faith.

B.                            Offertory

There are times you hear songs of consolation, deliverance, intercession and supplication during the offertory. If properly looked into, it could be the choirmaster’s ignorance or just the choice of the choirmaster, simply because those songs or hymns are dear to him.

The choir should be able to songs that can touch and move people into action with happiness to offer something to their creator.

Songs that will make people look as dead in worship are ruled out. Sing powerful spiritual songs that are generally known for everybody to join. Make sure the songs have ‘touching melody’ and strong rhythm. It should always be hymns of thanksgiving and praise or short and simple choruses if possible.

C.                             Holy Communion

Songs to be selected should relate to the Holy Communion. Some of the songs could tell you the disadvantages of receiving unworthily. This helps you to have recollection personally whether you are in a state of grace.

In some occasions, there are priests who recommend songs of “praise and deliverance” That is the priest’s choice may be for some reasons.

D.                  Dismissal:

Hymns of thanksgiving are appropriate. But you should sing those ones that will spur interest in participants to want to participate with eagerness next time.