Phased Repertoire

by Gary D. Penkala

In this midst of re-opening after the Covid-19 pandemic scare, musicians are left with a great deal of anxiety and uncertainty. How will we sing? How do we plan? State-wide regulations prompt a huge variety of diocesan and parish protocols for what's allowable and what's still forbidden. These run the gamut from a single vocalist with no congregational singing whatsoever to full congregational involvement in music.

While choirs are almost universally discouraged, at least one singer is generally allowed. What follows are a large number of CNP pieces that can work with one singer, with one singer and congregation, with two vocalists, or with three singers or a small ensemble. Note that many of the Phase 1 and Phase 2 pieces can also work with an ensemble.

Happy programming!

I. Phase 1: One Singer

• Alternatim Kyrie (Couperin)
  The Kyrie from François Couperin's Mass for the Parishes, set for organ alternating with schola.
   
• Aquinas: Two Eucharistic Texts (Brumby)
  Unison versions of O salutaris Hostia and Tantum ergo Sacramentum.
   
• Ave Regina cælorum (Shenk)
  This Marian solo/motet is written in Shenk's mildly chromatic style.
   
• Come Down, O Love Divine (Knight)
  A simplified version of an English cathedral-style anthem; optional descant.
   
• Emmanuel: An Advent Processional (Penkala)
  Sung verses of Psalm 80 punctuated by the refrain of the Advent chant Veni Emmanuel; handbells, wind chimes and non-tuned bells can be added.
   
• Fiat! And Word Made Flesh (Ramjit)
  Imagine a cloister … a solo voice … three tuned bells … a portative organ. Now you're ready for Fiat!
   
• For Love of Us (McManus/Stafford)
  Ideal for children's choir (the melody is easily learned), this piece could also be sung as a solo by a medium voice
   
• I Know That My Redeemer Lives (Penkala)
  The refrain is based on the chant In paradisum from the end of the Funeral Mass; verses from Psalm 116.
   
• O Jesus, My Savior (Campra/Clark)
  A charming melody is the star of this arrangement, and could be sung medium-voice soloist or by a unison choir; optional flute may be added.
   
• Mass Propers for the Liturgical Year (Penkala)
  These booklets offer an effective and utterly simple way for singers to actually chant the Propers of the Mass, with or without the congregation,
   
• Seven Processionals for the Roman Pilgrimage Basilicas (Penkala)
  This series of processionals is inspired by the Roman Pilgrimage Churches, each with appropriate texts in English, Italian and Latin.
   
• Vita mutator: Life Is Changed, Volume 1 (various)
  We've compiled a book of this quality music that will not only bring comfort and support to the mourners, but will also contribute to the authentic beauty of the Funeral Liturgy. Many of these pieces are also useful apart from Funeral Masses.
   
• When Christ Was Born of Mary Free (Greene)
  This piece sets a traditional Christmas text to a new, modal melody. The flexibility of the piece is apparent: it can be sung simply by unison voice(s) and organ, or it can be embellished (as the composer indicates and notates) by two added canonic voice parts and a handbell ostinato.
   
• You Will Not Be Strangers: Music for the Dismissal Rite (Hill)
  This ritual music is for the dismissal rite in the RCIA process. It is practical and useful, due to its well-crafted and singable melody and the thirteen verses, adapted from Ephesians.

II. Phase 2: Two Singers

• A Simple Processional (Owen)
  A setting of Tallis' melody as a 2-part canon, with obligato parts for 2 flutes (or other instruments), also in canon. Verses are taken from Psalm 150, using an original psalm tone.
   
• All Things Bright and Beautiful (Brannon)
  The tune Royal Oak is a remarkably animated melody. The two parts include a good amount of unison singing and are not difficult when they divide.
   
• Ave verum Corpus (Quick)
  Written for unison voices with a short middle section in two parts, the motet, in the Romantic style of Elgar and Fauré, could also be sung by a medium voice soloist or unison choir. There are ample dynamic indications that reinforce the Romantic nature of the music.
   
• Blessed Jesus, at Your Word (Lebedinsky)
  The text is a translation of a German chorale; the accompaniment is written specifically for organ with pedal, using consistent eighth note motion that keeps the Andante tempo moving pleasantly.
   
• Christ Is the Heavenly Food (Petrich)
  This useful, two-part anthem is a setting of a 20th century Communion text. Four stanzas of the hymn text are set, both canonically and as two-part homophony, using unison singing for emphasis. The music is melodic and the ranges for all singers are very manageable.
   
• Come Down, O Love Divine (Knight)
  A simplified version of an English cathedral-style anthem; optional descant.
   
• Easter Psalm (Ledoux/Penkala)
  A perfect piece for a group of any size and any age. With text based on Psalm 118, it is joyful and energetic, simple yet powerful, with a refrain that is clearly inspired by the chant version of the Easter Sequence Victimae paschali laudes.
   
• Eight Liturgical Rounds (Morber)
  Eight rounds, on texts spanning the liturgical year. Each has a vocal descant, which can also be played on a C or B-flat instrument.
   
• From All That Dwell (Brumby)
  A perfect canon at the unison, ideally suited for children's voices. The text is the familiar paraphase of Psalm 117 by Issac Watts, "From all that dwell below the skies." The organ accompaniment adds interest, and does not slavishly double the voice parts.
   
• God Be in My Head (Brumby)
  A strict canon at the unison, with notes well within normal vocal ranges (middle C to top-space E-flat). The composer's skill at melody makes this a pleasure to sing.
   
• Hymn Trilogy I (McMurray)
  Three carols for the Christmas Cycle (Advent, Christmas, Epiphany); two for SAB and organ, one for two-part choir amd organ.
   
• Let My Prayer Come Up (Smith)
  The piece is in three sections; one can choose to sing just the two refrains, or add as many verses as needed between repetitions of the refain. A brief organ introduction and coda complete this most useful piece
   
• Love's Noble Purpose (Penkala)
  Drawn from two readings for the Wedding Mass [Tobit 8 & Song of Songs 8], Love's Noble Purpose is set as a dialogue between husband and wife. Text comes from Tobiah's beautiful prayer on his wedding night and a wife's imagery in relationship with her beloved
   
• Magnificat brevis (Penkala)
  This setting of the Magnificat text in Latin is scored for treble and bass voices. Refreshing in style, the Baroque influence is evident in frequent contrapuntal applications of themes, in echo passages between sections, and in straightforward harmonies and progressions.
   
• O salutaris hostia (Franck/Naples)
  César Franck wrote a lovely 2-part setting of the Latin text, O salutaris hostia, which is a stanza from the hymn by Saint Thomas Aquinas, Verbum supernum prodiens. Jon Naples has edited and arranged it (e.g. lowering the pitch a step) to make the motet more useful for most 2-part voices.
   
• O'er the Hill and O'er the Vale (Greene)
  J. William Greene has arranged his original carol tune (Tre reges) for unison or 2-part choir with organ or piano accompaniment. The composer incoporates great flexibility, as the piece can be sung in unison throughout, or with the addition of an easy second part.
   
• Prayer of Saint Francis (Penkala)
  Saint Francis' famous prayer, "Lord, make me an instrument of thy peace," is the text for this easy 2-part accompanied anthem. The phrases alternate between the voice parts, with the melody lines carefully and conveniently introduced. The organ accompaniment supports the voice parts throughout.
   
• Psalm 23: The Lord Is My Shepherd (McManus)
  The familiar, comforting words of Psalm 23 are set for two voice parts. The melody, with its delightful Irish lilt, is sung three times in order to set the full text. The first statement is unison, the second adds a soprano descant, and the third uses a different descant.
   
• Reges Tharsis (Taylor)
  This easy and effective motet is scored for two-part choir, a cappella. It can be sung by equal voices or mixed voices; the pitch can be raised one or two half steps, should the singers and conditions warrant.
   
• Sixteen Bicinios, Volume 1 (Bertalotti/Iróffy)
  Angelo Bertalotti (1666-1747), a musician of sound contrapuntal training, was responsible for the children's choir, and following a centuries-old tradition, wrote solfeggio exercises for his pupils. Liturgical texts in Latin are applied to the exercises, according to the characteristics of the respective melodies.
   
• Soul of Christ, Sanctify Me (Smith)
  This beautiful 16th century Communion prayer is set for two voices and organ, sometimes singing homophonically, sometimes in relaxed polyphony.
   
• The Lord's My Shepherd (Brumby)
  An easy, serviceable setting of Psalm 23 for 2-part equal voices, superbly written as a canon at the 4th. The accompaniment, playable on organ or piano, is easy; the right hand mostly doubles the voices, with the left hand (or pedal) adding a bass line.
   
• Therefore We, before Him Bending (Morrison)
  Saint Thomas Aquinas penned the magnificent Eucharistic hymn, Pange lingua gloriosi for the new feast of Corpus Christi created in 1264 by Pope Urban IV. James Morrison has used the last two verses of this hymn, set to a Spanish plainsong melody, for this two-part anthem with organ accompaniment.
   
• This Is the Record of John (Gibbons/Domet)
  The original verse anthem, telling the story of Saint John the Baptist, was written by Orlando Gibbons in (1583-1625) for countertenor alternating with full SAATB chorus. David Domet has arranged this for 2-part mixed choir (occasionally 3-pt), bass soloist, violin and organ, making it much more practical
   
• Two Treble Motets (Porfiri)
  These two short treble motets are for unison choir, with occasional measures for SA. The texts set are: 1. Ave maris stella (Hail, Star of the Sea) and 2. Iesu dulcis memoria (The Sweet Thought of Jesus). Each has two verses with a closing Amen.
   
• Two-part Motets for Advent (Hamilton)
  Two famous Advent texts, one in English (Adam lay y-bounden), one in Latin (Rorate caeli), provide the foundation for these motets set by Gregory Hamilton for two-part choir, with organ accompaniment.
   
• Veni Creator Spiritus (Fry)
  In this setting of Veni Creator Spiritus we have a skillful two-part mixed arrangement of one of the most popular chants. Certainly appropriate for Pentecost Sunday and its vigil, this piece can also be used for Confirmation and Ordination liturgies, and any time as an invocation of the Spirit's aid.
   
• Vita mutator: Life Is Changed, Volume 1 (various)
  We've compiled a book of this quality music that will not only bring comfort and support to the mourners, but will also contribute to the authentic beauty of the Funeral Liturgy. Many of these pieces are also useful apart from Funeral Masses.
   
• We Gather Together (Greene)
  This anthem is a great way for the men to shine — the tenors sing the familiar hymn melody and the basses add an easy harmony. The organ part, which is similar in style to some of the hymn preludes by Paul Manz, supports the singers and adds some harmonies above them. Three stanzas are included, with a brief introduction and coda. The overall effect is one of peaceful, yet persistent, motion.

III. Phase 3: Small Ensembles

• Booklets of Chant (chant)
  To facilitate the use of chant in modern liturgies, we publish a series of inexpensive booklets of chant. Each booklet contains six to ten chants for a specific season of the liturgical year. All the chant is set to modern music notation. The text provided with the music is the original Latin and an English translation appears at the beginning of each piece.
   
• Canticle of Hannah (Penkala)
  The refrain is set for SAB voices. Sections 1 and 3, in energetic homophonic texture, contrast with the quieter, contrapuntal middle section. The organ accompaniment is supportive, but does not duplicate the vocal parts.
   
• Christmas Triptych (Jordahl)
  All three movements set hymn melodies in creative arrangements for SAB choir and organ. The first uses a chant melody; the second, two familiar Christmas tunes (sung simultaneously at the end); the third is a simple setting of a traditional Epiphany carol. With much unison singing and easy parts and ranges, Christmas Triptych is a practical work for even the smallest choir.
   
• Ego sum vitis vera (Corvaia)
  The motet is written for SAB voices and is mostly homophonic, with greater use of polyphony in the Alleluia section which ends the work
   
• Five Treble Motets (Kwasniewski )
  Three are set for SSA choir, one for SAA, and one for SSAA. They are meant to be accessible to amateur choirs for use in parish or chapel settings, and the provision of multiple verses or psalm verses enables them to be longer or shorter depending on liturgical needs.
   
• God of My Heart (Penkala)
  This SAB motet is easy to master, with appropriate ranges (soprano: middle C to F, alto: middle C to C, baritone: B to middle C). The organ accompaniment, supportive but not duplicating the voice parts, is the most demanding part of the motet.
   
• Grace Was Poured Out upon Thy Lips (Penkala)
  The texture is mainly homophonic, but does incorporate some melismas in the soprano and alto parts. The organ accompaniment is supportive, but does not duplicate the vocal parts. There are seven unison English verses plus a doxology, set to an original accompanied psalm tone in Meinrad style
   
• Graduale Romanum (chant)
  The Graduale Romanum is the Church's official book for the choir. All its chant is in square-note notation and forms an inexhaustable source of appropriate liturgical music, suitable for any size group.
   
• Graduale Simplex (chant)
  This includes simplified versions of texts for most Sundays of the liturgical year, as well as for major solemnities and feasts. These are easier chant melodies, less melismatic, but nonetheless notated in square-note format.
   
• Gregorian Missal (chant)
  The Gregorian Missal is a stream-lined but comprehensive version of the Church's official liturgical music book, the Graduale Romanum. The Missal, with English titles and rubrics, also has translations of all the chants, not meant for singing but simply for comprehension
   
• Hymn Trilogy I (McMurray)
  Three carols for the Christmas Cycle (Advent, Christmas, Epiphany); two for SAB and organ, one for two-part choir amd organ.
   
• Jesu dulcis memoria (Williams)
  Five verses of this hymn by Saint Bernard of Clairvaux (1090-1153) are set. The piece was commissioned for a church high school choir and is particularly well suited for these voices. The parts are not overly demanding and the effect is superb.
   
• O Lord, Thou Hast Searched Me (Nixone)
  A setting of Psalm 139 (verses 1-2, 4, 7-10, 23-24 ) for three equal voices (women or men). The composer has used homophonic texture and subtle counterpoint to highlight the text, a beautiful prayer of confidence in God's providence.
   
• Parish Book of Chant — Second Edition (chant)
  This second edition of The Parish Book of Chant, edited and typeset by Richard Rice. This book is a must for anyone who aspires to sing chant in the "average" Catholic parish. Very simple — that is, it's not intended for the Schola to sing the Propers
   
• Praise Ye the Lord: Psalm 150 (Nixon)
  This setting is for three-part voices. The a cappella texture allows for agile singing of the various phrases, whose short, recurring structure sounds rather like a litany.
   
• The Lord Is My Shepherd (DeCesare)
  The text of Psalm 23 adapted to the music of Giacomo Puccini, Sale ascende l'uman cantico. The anthem is best sung by three equal voices.
   
• The Proper of the Mass for Sundays and Solemnities (Weber)
  This book contains English chant settings for the Entrance and Communion Antiphons given in The Roman Missal 2010, as well as suggestions for the Offertory Antiphons, following the pattern of the Graduale Romanum 1974. Four or five levels of settings, from complex to very simple, are provided for each antiphon.
   
• Three Preludes for the Christmas Cycle (Farrell)
  These are organ works, but where the cantus firmus enters in each prelude, the composer has scored the part for optional unison choir.
   
• Tristis est anima mea (Martini/Angelini)
  This motet is part of our Treasury of Sacred Music Series, a collection of choral gems about which Vatican Council II was speaking in Sacrosanctam concilium: "The treasury of sacred music is to be preserved and cultivated with great care."
   
• Two Communion Antiphons (Fincham)
  The three-part mixed format is practical, and while the music is not overly difficult, it does explore counterpoint in an effective and appropriate way. Points of imitation, reminiscent of mid-Renaissance motets, offer a flavor of antiquity to these modern works.
   
• Two Three-Part Motets (Brumby)
  These motets may be performed a cappella, although an optional organ accompaniment [slightly different than the voice parts] is provided. The writing is wonderful — the voice parts almost sing themselves. It is also very practical, with the range of each voice approximately within an octave.
   
• Versets for Kyrie orbis factor (de la Tombelle/Penkala)
  The Versets are based on the Kyrie orbis factor from Missa XI for Sundays of the Year (Ordinary Time). There are four brief, contrapuntal versets, which alternate with the phrases of the chant, sung by a schola, accompanied or a cappella:
   
• Vita mutator: Life Is Changed, Volume 1 (various)
  We've compiled a book of this quality music that will not only bring comfort and support to the mourners, but will also contribute to the authentic beauty of the Funeral Liturgy. Many of these pieces are also useful apart from Funeral Masses.
   
• Wake, Awake (Robertson)
  Three verses of the great chorale Wake, Awake, for Night Is Flying are set for three-part choir accompanied only by two trumpets. The range and complexity of the instrumental parts also suggest players of above average capabilities. With great rhythmic freedom and contrapuntal skill, the composer has created a dramatic chorale fantasia for voices and instruments.
   
• When Christ Was Born of Mary Free (Greene)
  This piece sets a traditional Christmas text to a new, modal melody. The flexibility of the piece is apparent: it can be sung simply by unison children's choir and organ, or it can be embellished (as the composer indicates and notates) by two added canonic voice parts and a handbell ostinato.
   

The pieces above may be ordered on each product page or on this Order Form.

Article written 17 June 2020