WHEN
THE RESPONSORIAL PSALM IS SUNG
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fter
the second reading has been read, It is now the psalmist’s or cantor’s role to
come to the ambo and lead the responsorial Psalm.
However,
he/she will go to the ambo only when a silence of three good breaths has passed
following the conclusion to the First Reading.
If
the Psalm is led from a place other than at the ambo, e.g. by the entire choir,
still remove yourself to the side. This will avoid the impression of
ventriloquism.
Do
not initiate the Psalm by saying: “responsorial Psalm” or “the response to the
Psalm is” or both.
Instead,
announce the text of the refrain directly; e.g.: ‘Praise the Lord who heals the
broken-hearted’. Wait on the assembly to repeat this refrain, then sing the
lines clearly.
Join
in singing the refrain each time.
Make
your sung responses simple, clear, devoid of profanity. The chant form is a more acceptable way of singing the psalm, and not pop, rock, metal, or blues form. In choosing the appropriate tone for the psalm, ensure you understand deeply, the spiritual countenance of the palm. Some are of praise, some of lamentation, some complaint, some invocation, and some are in praise of wisdom or 'philosophical'.
The voice should be calm, nice, and easy. It is not the time to be operatic, or display vocal prowess in Handelian running-notes. Remember, it is the Holy Mass, not a carol concert show.
Your tune should not be
an adaptation of any secular music else it may take the people’s minds away from
the sacred words to the secular music. Just imagine a cantor borrowing tunes from
the music of Fela Kuti or of Rihanna, or of Shakira. The minds will definitely wander
away.
WHEN
THE RESPONSORIAL PSALM IS RECITED
If, regrettably, a psalmist or cantor is not available, the recitation of the responsorial Psalm will be led by you. This means that you will remain at the ambo following the First Reading.
If
the text of the responsorial Psalm runs overleaf, insert a finger under that
leaf, in order to make a smooth turnover, when necessary, and not disrupt the
flow of your speech.
Before
you begin the responsorial Psalm, allow a pause of three deep breaths to pass
after the conclusion to the First Reading.
This
silence ensures time for people to absorb and linger with the message of that
reading before moving to respond to it, by way of the responsorial Psalm. As
the assembly will get comfortable with such silence, it may be extended a short
while longer.
Now,
contrary to common practice, do not initiate the Psalm by saying: “responsorial
Psalm” or “the response to the Psalm is” or both.
Instead,
announce the text of the refrain directly; e.g.: ‘Praise the Lord who heals the
broken hearted’. Wait on the assembly to repeat this refrain. Do not join in
this refrain.
Next,
slowly proclaim the text of the first verse. Use a meditative pace of delivery.
Follow the text’s poetic rhythm. With your slow prayerful pace you wilL enable
the assembly to pray the Psalm.
After
this verse, engage the response of the assembly again, but only by looking to
them; i.e. cease the customary practice of saying: ‘response’!
Follow
the same procedure with subsequent verses.
Sometimes,
in weekday liturgies, the Psalm response is a longer, somewhat unfamiliar text.
Speak these refrains most distinctly and, on the rare occasion, you may need to
assist the assembly by joining their second response, but importantly, only
that second response.
When
the recitation of the responsorial Psalm has been completed, i.e. after the final
response of the assembly, it is time for the Second Reading to begin; but,
importantly, it will not begin just yet!
If
there is a second lector, he/she will come to the ambo instead of you. He/she
wilL take his/her place there after allowing a pause of three breaths to pass.
If, however, the Psalm was sung but there is no second lector, you will return to the ambo after you have allowed a pause of three breaths to pass.
If there is no psalmist or cantor nor any second lector, then, in fact, you are at this point already in place at the ambo.
That is the fact, but most choirister fails to abide by this most especially the use of secular tones
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