The Little Catholic Book of Hymns 1 served as a guide for starting a choir. This second book focuses on developing the choir and director to reach higher levels. Expect more challenging music that will result in a noticeable difference in sound.
In this book, all music was intended to be sung without accompaniment, unlike Book 1, which included both a cappella and accompanied anthems and motets. However there are times when it may be better accompanied. Flexibility is crucial for singers to adjust pitch and when to sing unaccompanied, depending on the director's decisions and room acoustics.
The Little Catholic Book of Hymns is designed to help you develop your choir and director-to reach higher artistic levels.
Musical Challenges
You will notice that the music in this book is more challenging, offering a richer sound that you'll undoubtedly appreciate. As your choir improves, the organist may find fewer opportunities to play, since the pieces are arranged to be sung without accompaniment. Unlike Book 1, which included both a cappella and accompanied anthems and motets, all selections in this volume are intended for unaccompanied singing.
Flexibility and Rehearsal Practices for Singers
Singers must remain flexible not only in adjusting to pitch but also in knowing when to sing with or without accompaniment. Often, the acoustics of the room will influence the director's decision on this matter.
During rehearsals, active participation is essential. Sing as much as possible, and avoid side conversations or distractions when the director is explaining instructions. While it might seem efficient to sing through entire pieces, it is often more productive to pause and address challenging sections. Your director relies on your silence and attentive focus to make these adjustments effectively.
Performance Considerations
You may find yourself singing both before and after Mass, especially during prayer times. When the rosary is recited before Mass, coordinating with the leaders becomes especially important-this is crucial if you will be performing one of our beloved Ave Marias.
At the back of this book, you'll find detailed information about the music and its composers, along with a Latin Pronunciation Guide and English translations. We highly recommend highlighting the Latin words for each piece in this directory; this practice will help you memorize and internalize the meaning behind what you sing.
Enjoy the journey of elevating your musical expression!
Alleluia Al Vangelo - Andrea Gabrieli
Almighty and Everlasting God - Orlando Gibbons
Angelus Autem Domino - Felice Anerio
Assumpta Est Maria - Peter Phillips
Ave Maria - Robert Parsons
Ave Maria - Anton Bruckner
Ave Maria - William Byrd
Ave Maria - Giacomo Fogliano
Ave Maria - Francisco Guerrero
Beati Quorum Via - Charles Villiers Stanford
Cantate Domino - Hans Leo Hassler
Cantate Domino - Daniel Friderici
Cantate Domino - Giovanni Andrea Cima
Cantate Domino - Giovanni Croce
Cantate Domino - Wolfgang Amadeus Mozart
Crucifixus - Antonio Lotti
Crux Fidelis - King John IV of Portugal
Domine Deus - Antonio Vivaldi
Hear my prayer, O Lord - Henry Purcell
O Magnum Mysterium - Pedro de Cristo
O Magnum Mysterium - Tomas Luis de Victoria
Remember, Remember Not - Henry Purcell
Salve Regina - Sigismund Neukomm
Tantum Ergo - Kevin Allen
Tantum Ergo - Giovanni Palestrina
MASS - William Byrd
Kyrie
Gloria
Credo
Sanctus
Agnus Dei
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