This is a through-composed setting of the Glória in excélsis according to the revised English translation produced by ICEL, which will appear in The Vatican II Hymnal published by Corpus Christi Watershed.
The plainsong melody, which was composed first, is predominantly stepwise with some third leaps, which should allow for a smoothly sung, text-centric declamation of the prayer. Further, the melody is sensitive not only to individual textual phrases but also the arcs that they create, with notable yet subtle melodic apexes in appropriate places. Those familiar with the hymnody of the Divine Office will be able to detect its influence here.
The keyboard accompaniment follows my understanding of both "old Solesmes" rhythmic conventions and chant harmonization as found in the Nova Organi Harmonia.
The composition is in the eighth mode, one that is different yet pleasing to ears accustomed to the world of major-minor tonality.
This is a setting of the Agnus Dei according to the English translation produced by ICEL, which will appear in The Vatican II Hymnal published by Corpus Christi Watershed.
The plainsong melody, which was composed first, is taken directly from the setting of the Gloria from this Mass --- specifically from the quasi-litanic invocations to Christ.
The keyboard accompaniment follows my understanding of both "old Solesmes" rhythmic conventions and chant harmonization as found in the Nova Organi Harmonia and, like the melody, takes harmonizations directly from the Gloria. This should assist beginning keyboard players with learning how to accompany gracefully.
The composition is in the eighth mode, one that is different yet pleasing to ears accustomed to the world of major-minor tonality. This Mass setting, furthermore, is meant to be used for weekday as well as Sunday and Holy Day Masses.
This is a setting of the Kyrie according to the English translation produced by ICEL, which will appear in The Vatican II Hymnal published by Corpus Christi Watershed. This edition includes a setting of the Greek texts, which are not included in the first edition of the Vatican II Hymnal. As this text is not altered from the previous ICEL translation, this setting may be used in a liturgical setting immediately.
The plainsong melody, which was composed first, is compact and can stand on its own without any keyboard accompaniment.
The keyboard accompaniment follows my understanding of both "old Solesmes" rhythmic conventions and chant harmonization as found in the Nova Organi Harmonia and, like the melody, takes harmonizations directly from the Gloria. This should assist beginning keyboard players with learning how to accompany gracefully.
The composition is in the eighth mode, one that is different yet pleasing to ears accustomed to the world of major-minor tonality. This Mass setting, furthermore, is meant to be used for weekday as well as Sunday and Holy Day Masses.
Please note that to use this setting for the Invocation Format ("Form C") of the Penitential Act, the keyboard, if used, should only accompany the people's parts.
Aris, this is beautiful. I hope to get a chance to use it in the future.
Because of your accompaniment to this Mass (which I view entirely positively!) I am going to spin-off a discussion that has been in my head for some time about chant accompaniment.
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