Church of the Ascension and Saint Agnes: The Mass

TEN COMMANDMENTS OF CONGREGATIONAL SINGING

1. THOU SHALT SING!

2. THOU SHALT SING with all thy heart, with all thy soul and with all thy might.

3. THOU SHALT SING FEARLESSLY, striving to ignore the possible wondering glances of thy neighbors. Thou shalt know in thy heart that they would like to sing with thee, if they only had the nerve. Never lose faith that they will sing with thee if only thou do continue.

4. THOU SHALT SING JOYFULLY, as it is written by the prophet Isaiah: "Sing, O Heaven, be joyful, O Earth, and break forth into Singing, O mountains."

5. THOU SHALT SING REVERENTLY, for music is prayer.

6. THOU SHALT SING without hesitation, for though an individual may pray in a whisper or even in wordless silence, a congregation must sing.

7. THOU SHALT NOT RESIST new melodies, for we have been taught never to let our prayer become rigid. Seek to fulfill the words of the Psalmist: "Let us sing a new song unto the Lord."

8. THOU SHALT NEVER MUMBLE but sing out loud. Never be deterred by an occasional mistake.

9. THOU SHALT NOT HESITATE to sing with the choir for they fervently want you to join with them.

10. THOU SHALT NEVER FORGET the words of the Psalmist: "I will sing unto the Lord as long as I live." True and certain it is that God loves us when we work, but He loves us all the more when we sing.

— with thanks to Hazzan Devin M. Goldenberg of Congregation Beth Israel, Worcester, MA

AND SOME OTHER GOOD IDEAS:

11. THOU SHALT FOLLOW THE LEAD of the organ and choir and try to sing on pitch.

12. THOU SHALT SING WITH other worshippers, trying not to sing faster or slower or louder than the choir, organ, and everyone else.

Hymn Singing

By Haig Mardirosian

A robust culture of congregational song is a hallmark of Christian worship. Present day Christianity, especially in the English-speaking world, is notable for the shared tradition of hymnody. In a pluralistic age, that comprises a remarkable witness to the oneness of the Church. Hymns, even within the stylistically circumscribed practice of our Parish, come from every corner of the Church's history. They derive from plainsong, from secular folk melodies, from pre and post-Reformation vernacular devotional song. Hymns have roots as far back as the middle ages, and continue to be composed today.

Nothing indicates the health of a parish better than the vigour of its communal worship as manifested in the singing of the whole community. Here are some reminders on being a better performer in the pews.

Sit with your friends.
Singing in a large church such as ours can be a lonely experience unless we support each other. Please consider sitting in the middle nave rather than the side aisles. By gathering with our family and friends we not only support our singing, but transform a large and empty room into a smaller and fuller place. Sitting closer together also welcomes visitors more warmly

Follow the organ when singing hymns.
The organ is the traditional leading voice for congregational song. Unlike the practice in some places, namely Roman Catholic and Evangelical churches, our cantors do not function primarily in the capacity of "facilitators of song." They do not stand before us and beckon us to sing. While our cantors do sing everything that we sing in the pews, their primary contribution is that of the "psalmist," singing the verses of the minor proper in the absence of the choir.

Observe our custom on part singing.
Where hymns are reproduced in parts, the invitation to sing them in parts if you wish is implicit. However, with some exceptions, our custom is to sing the opening and final verses in unison. Notice, when the choir returns from its holiday, that they observe this practice as well.

The liturgical place and priority of hymns cannot be overestimated. Hymn singing is not an excuse for hearing "old favourite" music in church. Hymns, like the minor proper, and choral anthems and motets, are integral pieces of the liturgical mosaic. Each is a text that accompanies or reflects on rite. While we omit nothing, thereby singing propers, motets and hymns (as in the case of the offertory or the communion, or both a hymn and an introit at the entrance) mostly in the interests of filling the time required for deliberate and solemn liturgical ceremony, any one of the texts bears liturgical significance and completeness. So, just as the voices of the schola chant the text of the minor proper, the choir sings an anthem or motet, we all sing the hymn. All these three carry their own important liturgical weight.

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1217 MASSACHUSETTS AVE NW
Washington, DC 20005-5301

RECTOR
The Rev. Fr. Lane Davenport

PARISH OFFICE
Telephone: 202.347.8161
Facsimile : 202.347.8036

SUNDAY SERVICE SCHEDULE
Matins                          7:35 am
Low Mass                     8:00 am
High Mass                   10:00 am
Low Mass                    12:30 pm
Child care during High Mass

DAILY SERVICE SCHEDULE
Monday through Saturday

INTENTIONS OF THE MASS
Kalendar
LEARN MORE ABOUT THE MASS
Order of the Mass
Freeze-Frame Mass

PROPERS OF THE MASS
Propers
Lector assignments

HYMNS
Hymn singing

ORABO SPIRITU ORABO ET MENTE : PSALLAM SPIRITU PSALLAM ET MENTE

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Hymn Singing

By Haig Mardirosian

A robust culture of congregational song is a hallmark of Christian worship. Present day Christianity, especially in the English-speaking world, is notable for the shared tradition of hymnody. In a pluralistic age, that comprises a remarkable witness to the oneness of the Church. Hymns, even within the stylistically circumscribed practice of our Parish, come from every corner of the Church's history. They derive from plainsong, from secular folk melodies, from pre and post-Reformation vernacular devotional song. Hymns have roots as far back as the middle ages, and continue to be composed today.

Nothing indicates the health of a parish better than the vigour of its communal worship as manifested in the singing of the whole community. Here are some reminders on being a better performer in the pews.

Sit with your friends.
Singing in a large church such as ours can be a lonely experience unless we support each other. Please consider sitting in the middle nave rather than the side aisles. By gathering with our family and friends we not only support our singing, but transform a large and empty room into a smaller and fuller place. Sitting closer together also welcomes visitors more warmly

Follow the organ when singing hymns.
The organ is the traditional leading voice for congregational song. Unlike the practice in some places, namely Roman Catholic and Evangelical churches, our cantors do not function primarily in the capacity of "facilitators of song." They do not stand before us and beckon us to sing. While our cantors do sing everything that we sing in the pews, their primary contribution is that of the "psalmist," singing the verses of the minor proper in the absence of the choir.

Observe our custom on part singing.
Where hymns are reproduced in parts, the invitation to sing them in parts if you wish is implicit. However, with some exceptions, our custom is to sing the opening and final verses in unison. Notice, when the choir returns from its holiday, that they observe this practice as well.

The liturgical place and priority of hymns cannot be overestimated. Hymn singing is not an excuse for hearing "old favourite" music in church. Hymns, like the minor proper, and choral anthems and motets, are integral pieces of the liturgical mosaic. Each is a text that accompanies or reflects on rite. While we omit nothing, thereby singing propers, motets and hymns (as in the case of the offertory or the communion, or both a hymn and an introit at the entrance) mostly in the interests of filling the time required for deliberate and solemn liturgical ceremony, any one of the texts bears liturgical significance and completeness. So, just as the voices of the schola chant the text of the minor proper, the choir sings an anthem or motet, we all sing the hymn. All these three carry their own important liturgical weight.

ORABO SPIRITU ORABO ET MENTE : PSALLAM SPIRITU PSALLAM ET MENTE