Catholic Hymn Book

[Dallas Themshirts]

Thisis a list of original Roman Catholic hymns. The list does not contain hymns originating from other Christian traditions despite occasional usage in Roman Catholic churches. The list has hymns in Latin and English.

The volume of Catholic hymns that have been produced is massive. There are songs for every occasion and mood, many songs that are perfect for praise and worship opportunities. There are the slow ones, the fast ones, and the in-between ones.

It also hits me hard because I know the freedom that comes from following Him with my whole life. Yet somehow I am stubborn again and again and forget what that looks like. This pilgrim has a lot to learn.

There are a lot of versions that are made of this song, and a lot of really good versions. If you ever do this as a choir at your parish, find the one that works best for your choir, and then revel in the glory of the song after that!

It is incredible how much we can learn from the Mother of God if we really listen and reflect on her life and who she really embodies. The role she can play in our lives it most definitely life-changing. It is her goal to bring us ever closer to her precious Son, Jesus.

Oh. My. Word. This is the one song as a teenager I would get so excited to sing, and it is no different now. Appropriate and loved for weddings and regular Masses alike, I never get tired of this song.

And just to clarify, I love two versions of this hymn. The first version is the one written by Rosania and the other written by Hurd (I will include both versions on my YouTube playlist). Both lovely settings for a soloist or a choir. I prefer the choir versions, myself.

Primarily used during Lenten season, this hymn has such a haunting and reflective quality about it. The words depict this sorrowful conversation of the feelings of Jesus and Mary on his journey towards the Cross. So beautiful and reverent.

If you look closely at the music in this, you notice it is not written in regular measures, but rather as a free-form Gregorian Chant. Chant is incredibly beautiful for reflection and pure singing. If you sing the Latin version, it brings an air of mystery to the text.

Around here, we sing it in English, which is still very beautiful. It can be sung slow or a bit faster, depending on skill level and preference. I prefer to to a mix of fast and slow, or to let the spirit move the motions and words of the song. This is most definitely a Spirit-led song.

My all time favorite Lenten hymn, with a hauntingly stunning melody and refrain. This piece sounds fantastic as a solo or with a choir, but most definitely during Good Friday. This hymn is also of African-American origin, with some gospel style qualities. No wonder I love it so much.

Another African-American sourced hymn, the repetitive quality of this song is lovely. There is something amazing to me about repeating important words. Plus, it makes it easy to memorize and for the congregation to follow along.

This Taize hymn is written in four part harmony, which I always appreciate. The art of choral singing is sometimes lost in churches where the singers are few. I know because I am part of a parish like that.

In any respect, I like this song because it outlines all the ways in which Jesus is referred to, i.e. The Lamb, The Word, First and Last, the Cornerstone, The bread of heaven, the vine. Jesus truly is our all and this song explains just how many ways that is true.

Any song that mentions the Beautitudes is a treasure. This Catholic hymn is no different. The only thing that is difficult about this song is the range. It is very difficult for many singers to stretch that far that quickly on the refrain. Another difficulty is navigating the verses, as some tend to just focus on the big notes and ignore the little ones, which are meant for the verse the second time around.

The cool thing is about all of these hymns, there are so many different ways to play and sing them. You could use the piano, organ, guitar, and all create a different vibe for each version. Choirs could be used, soloists, or just one person leading the congregation.

Thank you for your concern. I am sure that those who are aware of the ban will disregard my choices, as my Archdiocese has not banned these composers as of yet. I am aware of some of these happenings, and all here have the choice to go to heaven, and I am not going to judge the hearts of such composers who have been banned/accused/found guilty,etc.

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In March of 2018 as the Feast of St. Joseph approached, I looked through our parish hymnal and was disappointed by the lack of devotional hymns to St. Joseph. So, I set about to gather as many hymns as I could from my collection of Catholic hymnals.

Over the course of three years, I surveyed over one hundred Catholic hymnals and found over eighty hymns to St. Joseph. The hymnals in the survey included those from England, Ireland, and America from the late 19th and early 20th century period. From there, I set out to identify the melodies of these hymns and I have put together fourteen of the most widely used Catholic hymns to St. Joseph and the melodies. These hymns were sung by Catholic Choirs and in Catholic Schools since the 1840s.

My collection of hymns to St. Joseph is now available on Amazon for purchase. This is my first-time publishing, and I am very excited! Each hymn has a melody and choir arrangement, a brief history of the hymns, and a short reflection.

The Dies Irae is the name of the traditional sequence (sung before the proclamation of the Gospel) during the Mass of All Souls Day and during a Requiem Mass. Many know it in more of a classical music context rather than a liturgical context because many composers have composed beautiful and haunting Mass parts for the Requiem Mass. For those who only attend the Ordinary Form of the Roman Mass, you may have never heard this haunting sequence of warning. I certainly did not hear it myself until I was in college or graduate school. My melancholic husband enjoys playing it year round for its magnificent intensity and its always timely reminder that we will all of us someday face the judgment seat of Christ. This past Sunday at Mass, I was informed by the priest that this sequence was actually originally used during Advent, and not exclusively for All Souls or a requiem, which I find fascinating. We usually view Advent as a season of joy and hope and anticipation of the coming of the infant Christ in the manger. It certainly is that! But the priest reminded us with gusto that this season is also very much about preparing for when Christ will come again in power and as a judging King. If his first coming was not what was expected (as a defenseless child), he has told us what to expect with his second coming and we ought to prepare ourselves for that day since we know not the time at which it will occur.

The sequence is credited to the hand of Thomas of Celano, a friend and fellow friar of St. Francis of Assisi, which would place the dating of this Latin hymn to at least the 1200s. There have been arguments for its earlier and later composition, but it is generally accepted to have been written by a Franciscan friar in the thirteenth century. It eventually found its way from Franciscan missals in Italy to the general Roman Missal from which it has been proclaimed during Advent and Requiem Masses for the last several centuries.

Kenzie Worthing has a Master of Arts in Theology from the Augustine Institute and works for a national Catholic apostolate. She lives in Omaha with her husband, where they attempt to live as liturgically as possible.

It's true: among the most popular songs used at Mass is "You Are Near" by Dan Schutte. And the opening address was changed from "Yahweh " to "O Lord." The switch doesn't interrupt the cadence, but if you've been singing it since 1971, it's understandable to stumble on the phrase. Other hymns were affected, but none as prominently as this one.

Although the name appears in Scripture as early as Genesis in passages composed by a writer called the Yahwist for this very reason, most contributors refrained from using the name until it's given to Moses as a special gift in Exodus. On that occasion, God says, "As God the Almighty (in Hebrew, El Shaddai] I appeared to Abraham, Isaac, and Jacob, but my name, YHWH, I did not make known to them." Later biblical personalities like Elijah [YHWH is my God] and Isaiah [YHWH is salvation] bear names that define their relationship to this God.

Sometime after the Babylonian exile, reverence for the divine name increases. Dead Sea scroll writers used different pens and ink to write the name in an archaic script. Eventually the name adonai in Hebrew, kyrios in Greek, LORD in English, would replace YHWH in the texts altogether. Taking Yashem (the Name) out of casual usage reminds us of the privilege we have in addressing our God.

At this point, Joncas said he was making his own guess as to what that hymn might be. "I was thinking of stuff about racial healing, and thinking, well, maybe he'll use 'We Shall Overcome,' or something like that, but I thought, no that might sound too divisive."

"Suddenly my phone started going off because a whole bunch of other people had started watching" Biden's remarks, Joncas said in a Nov. 9 phone interview with Catholic News Service from his quarters at the University of St. Thomas in St. Paul, Minnesota, where he is artist in residence and research fellow in Catholic studies.

Fr. Michael Joncas sits in front of his piano at his St. Paul, Minn., residence near the University of St. Thomas Nov. 9, 2020. President-elect Joe Biden quoted his well-known hymn "On Eagle's Wings" during his victory speech Nov. 7. (CNS photo/Dave Hrbacek, The Catholic Spirit)

In a tweet delivered shortly after Biden's speech, Joncas said, "To quote the president-elect, 'I was honored and humbled' to hear him quote 'On Eagle's Wings' as he set out his initial vision for the country. I pray that the song can serve in some way to help the healing of our nation."

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