Adam: My error. Dismissal 5 was the one in question.

Here is the Gloria from my Missa Brevis I. Cathedral of Most Precious Blood in Canada has been using this for a few years or so, and they have sent back a couple of suggestions which were incorporated, but I have never used it myself yet to truly test to see how it works.

It is quite flexible as you can use it as plainchant a cappella (melody alone), or melody with organ. In those forms I recommend it not be tied to the meter but truly performed as meterless chant.

If you are really daring, you can incorporate the SATB harmonies. Although this setting is contemporary, its melodic structure still finds its roots in GC.

If you are interested in the entire Mass, let me know.

Looks nice, Tom!

Mark M:

I wish I had waited a day before posting my adaptation of Gloria 8, because, as usual, I have had second thoughts. I revised my work today.

I restored the syllabic style to "peace to his" "worship you," "take away," etc., because in this segment of the three-part formula employed in this piece the composer treated the high D as an ornament, and the accent is fixed on C. I was wrong therefore, to have forged the C and D into a two-note neume to underline the verbal accents in these places.

I re-composed "we give you thanks" to place the accented syllable, "give," on the first D, where in this segment of the formula an accented syllable usually falls.

I also re-composed "Lord God, Lamb of God" to make the phrase more fluent and to place a stronger accent on "Lamb" than upon "God,"--which in this context seems appropriate.

The Latin version of this chant is a sixteenth-century composition and not a great one; and you can't make a silk purse out of a sow's ear. My English version is, however, slightly more regular in its treatment of accents than the Latin, and it "chatters" less. The octave skip before "Lord Jesus Christ" makes a bit more rhetorical sense than the identical skip before "Qui tollis..."

The defects of this English translation are widely recognized. John Boe, in his dissertation, "The Ordinary in English" shows how Winfred Douglas tightened up and improved both this Gloria and Credo 3 when he adapted them to English words. Douglas was, however, working with better translations.

My second effort is attached.

I love the Community Mass Gloria. It is not as hard to sing. In fact, at my old parish, when the organ died, we were able to sing it acapella (of course, it helps if you have a great cantor). I am hoping that the composer will be able to rework the new translation with that music.

Hi folks… I'm resuscitating an old thread, as I am wont to do on occasion… the last post was exactly a year ago today.

Is an organ accompaniment for the Poterack Gloria freely available anywhere? I know it's in the Adoremus hymnal, but I was curious if there's a PDF of that (or something similar) anywhere.

May I suggest some handbells if you have access. I love the way Paul Ford uses them in the CD of BFW. I think the John Lee setting would be much improved or maybe I should say more interesting with some bells.
But of course, by now, it's prolly pointless to learn anything new until we get the new translations in our hands.
Donna

Francis, great. I am so afraid the stuff in Ritualsong will just be the old things 'rejiggered' so to speak! LOL
Donna

For those using the Glory to God from John Lee's Congregational Mass (1970), here is a version I've prepared for the new texts.

Is there any chance that someone has (or could provide) a modern notation of Richard Rice's Gloria adapted from Psalm Tone I? I thought it sounded great at the first Mass of the Colloquium and would like to implement it at our parish. There is no chant at our parish (other than Jubilate Deo during Lent) and so there is no familiarity with the square notes (yet!).

Aristotle, are you sure that GIA wasn't going to rework this one themselves?