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CanticaNOVA Publications

Music Suggestions
Thirty-first Sunday in Ordinary Time (B)

Liturgical Music

Official texts

Other liturgical music


  • As a Chalice Cast of Gold (CH #443)
  • Beloved, Let Us Love (WIII #601)
  • Joyful, Joyful, We Adore Thee (CH #581, HPSC #203, WIII #525, SMH #386, EH #281)
  • Love Consecrated the Humblest Act (PMB #144)
  • Love Divine, All Loves Excelling (ICEL #152, WIII #588, AH #470, CH #454, CHB #242, SMH #409, EH #479)
  • Not for Tongues of Heaven's Angels (WIII #589, SMH #427)
  • O Jesus, King Most Wonderful (CH #534, SMH #451)
  • Sing Praise to God Who Reigns Above (WIII #528, ICEL #246, HPSC #301, HH #203, SMH #527)
  • The Stars Declare His Glory (WIII #506)
  • This Is My Commandment (WIII #603, CH #473)
  • Those Who Love and Those Who Labor (CH #481, WIII #632)
AH = The Adoremus Hymnal, Ignatius Press
CBW = Catholic Book of Worship II / Canadian Conference of Catholic Bishops
CD = Cantate Domino / Hymnal Supplement, GIA Publications, Inc.
CH = The Collegeville Hymnal, The Liturgical Press
CHB = The Catholic Hymn Book [London Oratory], Gracewing Publishers
EH = The Hymnal 1940 (Episcopal), used by many Anglican Use Roman Catholic parishes
HH = Hymnal of the Hours, GIA Publications, Inc.
HPSC = Hymns, Psalms & Spiritual Canticles, out of print but excellent
ICEL = ICEL Resource Collection, GIA Publications, Inc.
PMB = People's Mass Book, World Library Publications, Inc.
SMH = The Saint Michael Hymnal, 3rd Edition, Saint Boniface Church, Lafayette IN
WIII = Worship, 3rd Edition, GIA Publications, Inc.

Choral Music

  • Complete Thy Work, O Lord (Calvert Shenk)
  • Exaudi Domine (G.P. Cima)
  • For Love of Us (Lisa Stafford/Stephen McManus)
  • I Have Set God Alway before Me (John Goldwin)
  • I Set the Lord Still in My Sight (John Arnold)
  • I Strive Each Action to Approve (Charles William Hempel)
  • Let All the Just to God with Joy (Hugh Bond)
  • Misericordia Domini (G.O. Pitoni)
  • O Lord, How Manifold Are Thy Works (Joseph Barnby)
  • Rejoice in the Lord, O Ye Righteous (John Wainwright)
  • Remember Your Love for Me, O God (Eugene Englert)
  • This Is My Command to You / canon [PMB #729]
  • Ubi caritas (Gregorian chant) from Booklet of Chant, Volume 3 [or Liber usualis p.664, WIII #598, AH #390, ICEL #60]
  • Ubi caritas Maurice Duruflé)
  • You Shall Love the Lord Your God (Eugene Englert) [World Library Publications]

Organ Music

  • Cantabile (Charles-Marie Widor)
  • Concerto for Organ and Strings (Michael Starke)
  • Fugue II (Felix Mendelssohn)
  • Intonation and Canzona in d minor (Michael Starke)
  • Prelude and Fugue in B-flat Major (J.S. Bach)
  • Prelude on Hyfrydol (Healey Willan, Paul Manz, Ralph Vaughan Williams)
  • Prelude on Mit freuden zart (William Ross, Charles Ore)
  • Tuba Tune in D Major (C.S Lang)

Liturgical Hints & Ideas

During Ordinary Time in Year B we will highlight passages from the new General Instruction on the Roman Missal (GIRM) that pertain to music during the liturgy. The GIRM contains rubrics and instructions (some of them new) for the celebration of the Mass. The first section below is a direct quote from the English translation of the document. The second section is a commentary on the passage.

The Arrangement and Ornamentation of the Church for the Celebration of the Eucharist (GIRM #294, 312)

The faithful and the schola cantorum (choir) shall have a place that facilitates their active participation.

The schola cantorum (choir) should be so positioned with respect to the arrangement of each church that its nature may be clearly evident, namely, as part of the assembled community of the faithful undertaking a specific function. The positioning should also help the choir to exercise this function more easily and allow each choir member full sacramental participation in the Mass in a convenient manner.

Commentary: There is a certain tension here. The choir is a part of the assembly — must it sit with the assembly? The choir's position should assist the exercise of its duties — must it be in a loft? In a standard rectangular church with a loft, the choir does best musically to sing from there. I've seen contemporary churches with the choir at the front facing the same way as the congregation — this may be highly symbolic, but it devastates the practical functioning of the choir.

I think the choir is not meant so much to be a visual symbol as it is to be an aural symbol. Placement should maximize that principle. Use lofts, if you have them. If not, be sure the choir can function musically from its position. Too much late-twentieth-century church architecture overemphasized the choir's visual "solidarity" with the congregation, leaving the group musically handicapped.

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