A Basic Guide to Composing a Setting for the

Mass
This document is intended as a brief introduction to writing new music for the Catholic liturgy,
providing stylistic guidelines as well as a breakdown of the structure of the Mass. Given the vast
musical repertoire of Catholic tradition, as well as centuries of aesthetic development, this document
can only be interpreted as a humble starting point. Those who are interested in composing for the
Catholic Mass are encouraged to explore the relevant Church documents and musical traditions
involved; access to such materials has increased markedly with the advance of the Internet.
In providing a guide for composing a Mass for liturgical use, the Foundation for Sacred Arts intends to
outline a starting-point firmly rooted in the tradition and aesthetic desires of the Church. In composing
for the Mass, it is important that any desire for artistic innovation and/or musical progress be rooted in
Church tradition as well as the very real spiritual needs of the liturgy. All liturgical music must be
subservient to the sacred texts, prayers, and the actions of the Mass. As such, we echo the American
Bishops Conference in saying that pastoral musicians should receive appropriate formation that is
based on their baptismal call to discipleship; that grounds them in a love for and knowledge of
Scripture, Catholic teaching, Liturgy, and music; and that equips them with the musical, liturgical, and
pastoral skills to serve the Church at prayer (1).
Since this specific document is intended as a guide for Category II of the International Sacred Music
Competition for Composers, composers should bear in mind the difference between Masses that have
been composed down through the centuries for liturgical use and those that were not intended for actual
liturgical use, but more as art pieces, or were not intended for regular liturgical use due to lengthiness
and complexity. The Mass settings we are specifically looking for in this particular competition are
settings that could be sung by congregations at parishes on a weekly basis. Hence, the length would be
dramatically shorter than the Masses with which we are familiar, such as Bachs Mass in B Minor,
Mozarts Requiem, or even Josquins briefer Missa Pange Lingua. The Gloria then, for instance, should
be roughly two to three minutes in length and the Sanctus (Holy, Holy) roughly 40 to 75 seconds in
length. Also, the difficulty should be within the common parishioners musical abilities. But within this
briefer, simpler, and singable genre, the composer should still strive for musical excellence.
While we know that some composers entering this competition will not themselves be Catholic, we ask
that composers considering writing for the Mass approach their task carefully and prayerfully, mindful
of Church tradition, while bringing the highest level of compositional craft to their work. In the words
of the Church, the musical tradition of the universal Church is a treasure of inestimable value, greater
even than that of any other art. The main reason for this pre-eminence is that, as sacred song united to
the words, it forms a necessary or integral part of the solemn liturgy (Sacrosanctum Concilium, 112).
A BRIEF WORD ON STYLES
While the Church is home to numerous artistic and musical styles, the Church has long held that
developments in Catholic liturgical music should be in continuity with the tradition of Gregorian Chant
and the developments that grew out of it. (Hymnody has also been accepted into the liturgy as well,
though in a secondary sense). This remains the case in our day. For instance, the Second Vatican
Council reaffirmed that Gregorian Chant has pride of place in the liturgy. Soon after Pope Benedict
XVIs ascending to the papacy, he addressed the needs of modern sacred music, saying: An authentic
updating of sacred music can take place only in the lineage of the great tradition of the past, of
Gregorian chant and sacred polyphony. Pope Pius X called it the supreme model for sacred music,
andJohn Paul II quoted Pope Pius X in saying, The more closely a composition for church approaches
in its movement, inspiration and savor the Gregorian form, the more sacred and liturgical it becomes;
and the more out of harmony it is with that supreme model, the less worthy it is of the temple (2).
We encourage composers to take the traditional masterworks as their great examples, letting their own
artistic ingenuity guide them into creating Mass settings which draw the congregation into the mystery
of the Mass and the depth of Catholic tradition. Once again, we encourage composers to heed the
words of Pope Pius X:
Sacred music should consequently possess, in the highest degree, the qualities proper to the liturgy, and
in particular, sanctity and goodness of form, which will spontaneously produce the final quality of
universality.
It must be holy, and must, therefore, exclude all profanity not only in itself, but in the manner in which
it is presented by those who execute it.
It must be true art, for otherwise it will be impossible for it to exercise on the minds of those who listen
to it that efficacy which the Church aims at obtaining in admitting into her liturgy the art of musical
sounds.
But it must, at the same time, be universal in the sense that while every nation is permitted to admit into
its ecclesiastical compositions those special forms which may be said to constitute its native music, still
these forms must be subordinated in such a manner to the general characteristics of sacred music that
nobody of any nation may receive an impression other than good on hearing them (6).
The Structure and Text of the Mass
Note: a general familiarity with the structure and function of the Mass is assumed. This section is
intended as a simple reference guide and outline.
The Liturgy of the Word
PENITENTIAL RITE
V. Lord, have mercy.
R. Lord, have mercy.
V. Christ, have mercy.
R. Christ, have mercy.
V. Lord, have mercy.
 R. Lord, have mercy.
A verse/response structure is not a requirement.
GLORIA
The Gloria is sung or said on Sundays outside the Seasons of Advent and Lent, on solemnities and
feasts, and at special celebrations of a more solemn character(4).
The priest, or the cantor or choir, intones the Gloria. It is sung by all, by the people alternately with
the choir or cantor, or by the choir alone. If not sung, it is recited either by all together or by two parts
of the congregation in alternationThe addition of refrains to the Glory to God is permitted, provided
the refrains encourage congregational participationWhile through-composed settings of the Gloria
give clearest expression to the text, the addition of refrains is permitted, provided the refrains
encourage congregational participation. (5).
Composers are encouraged to provide through-composed settings of the Glory to God, reflecting the
free-form structure of the hymn. Compositions that incorporate a refrain are also acceptable but must
not unduly lengthen the hymn. Such a refrain should be drawn from the official text without addition
or alteration (see no. 6).
Glory to God in the highest,
and on earth peace to people of good will.
We praise you,
we bless you,
we adore you
we glorify you,
we give you thanks for your great glory,
Lord God, heavenly King,
O God, almighty Father.
Lord Jesus Christ, Only Begotten Son,
Lord God, Lamb of God, Son of the Father,
you take away the sins of the world,
have mercy on us;
you take away the sins of the world,
receive our prayer;
you are seated at the right hand of the Father,
have mercy on us.
For you alone are the Holy One,
you alone are the Lord,
you alone are the Most High,
Jesus Christ,
with the Holy Spirit,
in the glory of God the Father.
Amen.
GOSPEL ACCLAMATION
ALLELUIA*
The textual simplicity of the Gospel Acclamation provides rich opportunities for the truly creative
composer. As with all of the Mass text, however, this is an opportunity to aid the congregation in their
prayer, rather than display compositional facility or originality. In addition, the composer must provide
a chant tone or tones to accommodate Gospel verses for all Sundays, feast days, and solemnities.
Entrants, though, need only to furnish one Gospel verse in their submission.
THE LITURGY OF THE EUCHARIST
Holy, Holy
Holy, Holy, Holy Lord God of hosts.
Heaven and earth are full of your glory.
Hosanna in the highest.
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.
MEMORIAL ACCLAMATION
Composers must provide settings for all three versions. Note: the Christ has died option will not be
included in the new Missal.
A. We proclaim your death, O Lord,
and profess your Resurrection
until you come again.
B. When we eat this Bread and drink this Cup,
we proclaim your death, O Lord,
until you come again.
C. Save us, Savior of the world,
for by your Cross and Resurrection
you have set us free.
GREAT AMEN
AMEN
Lamb of God
Lamb of God, you take away the sins of the world,
have mercy on us.
Lamb of God, you take away the sins of the world,
have mercy on us.
Lamb of God, you take away the sins of the world,
grant us peace.