Doxology

Long dedicated to serving and uniting worshipers of all ages, Ken Canedo has always composed music in a variety of styles. So Doxology-like the Church itself-embraces both old and new, traditional and modern. Designed for liturgies throughout Easter and Ordinary Time, this collection serves the diversity of generations that comprise the Church today. Here are Ken''s musical notes from four Doxology songs appropriate for use in Lent/Easter celebrations.

Palm Sunday: Jesus Christ Is Lord

One of the earliest known hymns of the Christian community is found in Philippians 2:6-11. Also known as The Christ Hymn by biblical scholars, this passage is prayed weekly in the Liturgy of the Hours. It serves as the second reading for Palm Sunday of the Lord''s Passion, underscoring Jesus'' passion, death and resurrection within the context of God''s overall plan for salvation.

The refrain, Jesus Christ is Lord, is the climax of Saint Pauls rendering of this hymn. This setting was composed for the assembly to own the four words, and they can easily sing it from memory with great devotion. The verses may be sung by a soloist or choir, but the assembly may eventually want to sing them as well.

Instrumentalists should take care not to rush the song. Play it prayerfully and with respect for the natural rhythm of the powerful words. The crescendo-dimuendo dynamics of the refrain are important. As an optional ending after the final verse, sing the refrain several times in harmony. I recommend building its intensity and then softening to an a capella finish.

On Palm Sunday the singing of Jesus Christ Is Lord would be most appropriate at the Preparation of the Gifts as a reflection on the Passion just proclaimed. It would also fit in well on Good Friday during the Veneration of the Cross.

Easter Season: O Triune God

Ye Sons and Daughters, a favorite Easter hymn with medieval roots, is also known as O FILII ET FILIAE. This arrangements text was written by Benedictine Sister Genevieve Glen, the noted Catholic lyricist. Her words are marvelous expression of praise for the wonder and mystery of the Most Holy Trinity, appropriate for Trinity Sunday and throughout Ordinary Time. Those who enjoy the contemporary jazz sound might want to use this arrangement with the original Ye Sons and Daughters lyrics during the Easter season.

I love jazz and on the Doxology recording we utilized a jazz combo. While not all church ensembles would be able to produce this sound, please consider the octavos piano arrangement as a liturgical taste of jazz, in the spirit of Ernest Sands classic Sing of the Lords Goodness.

Easter Season: Let All the EarthThis songs refrain is drawn verbatim from the Entrance Antiphon for the Third Sunday of Easter, making it appropriate for use throughout the Easter season and during Ordinary Time. Utilizing the classic Catholic guitar strum, the songs joyful melody sings in praise of Gods marvelous love.

The simple choral arrangement is most effective when presented in layers. As always, begin the song in unison, bringing in the basic harmonies after the first verse. The descant is best utilized after the second and third verses.

Although not printed in the choral octavo, parts for flute and trumpet are available. These instruments will add to the solemnity and elation of the Easter season.

Pentecost: Lord, Send Out Your Spirit

Psalm 104 is the prescribed Responsorial Psalm for Pentecost, and this gospel-style setting utilizes the verbatim Lectionary text. The song is also useful for Confirmation and for any celebration of the Holy Spirit.

Some musicologists refer to the motif of this song as the Baptist River style, a uniquely American approach to hymn interpretation that relies on a pronounced chorded piano, a basic I-IV-V chord structure (in this case, I-vi-IV-V, with passing chords), a strict 3/4 tempo that utilizes occasional sudden stops, and an inspiring gospel singer on the verses, with choral support. If you can utilize all these elements in your ensemble, great! But this song can also be presented simply. The important thing is to let the melody and the text soar.

Because it is a Responsorial Psalm, a cantor will ideally intone the first refrain and sing solo on the verses. In keeping with the spirit of the gospel motif, the cantor should feel free to interpret the melody beyond what is indicated in the printed notation. The recording gives one example of this style of vocal improvisation. Choral support on the third verse will help bring the song to an inspiring finish.