Saturday, December 27, 2014

Five Tips to Keep Your Voice Healthy.

keeping  your voice healthy will save you alot of mess and keep you on the right track of managing your voice. These are tip to help you manage your voice with the maximum assistance.
1.  Train your voice and body just like an athlete: Learn proper singing technique, don't overuse the voice, get plenty of rest, eat a balanced, healthy diet.  Singers are like vocal gymnasts who traverse their artistic range with apparent ease and flexibility. Gymnasts are extremely disciplined people who spend hours perfecting their craft and are much more likely than the general public to sustain an injury.  Professional singers carry some of these same risks and must maintain a disciplined practice schedule with intervals of rest and recovery to perform at an optimal level, regardless of genre.
2.  Let your voice shine.  Attempting to imitate someone else’s voice or singing style can require you to sing or do things outside of your comfortable physiologic range or current vocal skill level.  This could result in vocal injury.  Also remember that if you are imitating someone who is already famous, their millions have been made.  You want to be the next star that they hire, not just a copycat.
3.  Pace yourself.  When you are preparing for a show or audition season, you must pace yourself and your voice.  You would not think of trying to get all of your exercise in at the gym by going one day a week for 5 hours.  Rather, you should sing (and exercise) in smaller increments of time (30-45 minutes) each day, gradually building muscular skill and stamina.  As you improve, you should be able to increase the amount of time as well as the difficulty of vocal skill.
 4. Avoid phonotraumatic behaviors such as yelling, screaming, loud talking, singing too loudly.  When you increase your vocal loudness, your vocal folds bang together harder (much like clapping your hands really hard, loud, and fast).  After a period of doing this, your vocal folds begin to react to the impact by becoming swollen and red.  Long term phonotrauma can lead to vocal fold changes such as vocal fold nodules.
5.  Adequate hydration.  Be sure to drink plenty of non-caffeinated beverages throughout the day.  Although nothing you eat or drink gets onto the vocal folds, adequate oral hydration allows the mucus to act like a lubricant instead of glue.

Friday, December 26, 2014

Pope Francis homily for christmas eve 2014.

VATICAN CITY (Catholic Online) - "The people who walked in darkness haveseen a great light; those who dwelt in a land of deep darkness, on themhas light shined" (Is 9:1). "An angel of the Lord appeared to (theshepherds) and the glory of the Lord shone around them" (Lk 2:9). Thisis how the liturgy of this holy Christmas night presents to us the birthof the Saviour: as the light which pierces and dispels the deepestdarkness. The presence of the Lord in the midst of his people cancelsthe sorrow of defeat and the misery of slavery, and ushers in joy andhappiness.

We, too, in this blessed night, have come to the house of God. We havepassed through the darkness which envelops the earth, guided by theflame of faith which illuminates our steps, and enlivened by the hope offinding the "great light". By opening our hearts, we also cancontemplate the miracle of that child-sun who, arising from on high,illuminates the horizon.

The origin of the darkness which envelops the world is lost in the nightof the ages. Let us think back to that dark moment when the first crimeof humanity was committed, when the hand of Cain, blinded by envy,killed his brother Abel (cf. Gen 4:8). As a result, the unfolding of thecenturies has been marked by violence, wars, hatred and oppression.

But God, who placed a sense of expectation within man made in his imageand likeness, was waiting. He waited for so long that perhaps at acertain point it seemed he should have given up. But he could not giveup because he could not deny himself (cf. 2 Tim 2:13). Therefore hecontinued to wait patiently in the face of the corruption of man andpeoples.

Through the course of history, the light that shatters the darknessreveals to us that God is Father and that his patient fidelity isstronger than darkness and corruption. This is the message of Christmasnight. God does not know outbursts of anger or impatience; he is alwaysthere, like the father in the parable of the prodigal son, waiting tocatch from afar a glimpse of the lost son as he returns.

Isaiah's prophecy announces the rising of a great light which breaksthrough the night. This light is born in Bethlehem and is welcomed bythe loving arms of Mary, by the love of Joseph, by the wonder of theshepherds. When the angels announced the birth of the Redeemer to theshepherds, they did so with these words: "This will be a sign for you:you will find a baby wrapped in swaddling clothes and lying in a manger"(Lk 2:12).

The "sign" is the humility of God taken to the extreme; it is the lovewith which, that night, he assumed our frailty, our suffering, ouranxieties, our desires and our limitations. The message that everyonewas expecting, that everyone was searching for in the depths of theirsouls, was none other than the tenderness of God: God who looks upon uswith eyes full of love, who accepts our poverty, God who is in love withour smallness.

On this holy night, while we contemplate the Infant Jesus just born andplaced in the manger, we are invited to reflect. How do we welcome thetenderness of God? Do I allow myself to be taken up by God, to beembraced by him, or do I prevent him from drawing close? "But I amsearching for the Lord" - we could respond. Nevertheless, what is mostimportant is not seeking him, but rather allowing him to find me andcaress me with tenderness. The question put to us simply by the Infant'spresence is: do I allow God to love me?

More so, do we have the courage to welcome with tenderness thedifficulties and problems of those who are near to us, or do we preferimpersonal solutions, perhaps effective but devoid of the warmth of theGospel? How much the world needs tenderness today!

The Christian response cannot be different from God's response to oursmallness. Life must be met with goodness, with meekness. When werealize that God is in love with our smallness, that he made himselfsmall in order to better encounter us, we cannot help but open ourhearts to him, and beseech him: "Lord, help me to be like you, give methe grace of tenderness in the most difficult circumstances of life,give me the grace of closeness in the face of every need, of meekness inevery conflict".

Dear brothers and sisters, on this holy night we contemplate theNativity scene: there "the people who walked in darkness have seen agreat light" (Is 9:1). People who were unassuming, open to receiving thegift of God, were the ones who saw this light. This light was not seen,however, by the arrogant, the proud, by those who made laws according totheir own personal measures, who were closed off to others. Let us lookto the crib and pray, asking the Blessed Mother: "O Mary, show usJesus!'"
---

My christmas message for choiristers

My Dear Friends,
Christmas songs synthesizes almost everything I’d like to say to you!
I think this Christmas we should thank God (or ask, if that’s the case) for our health and the strength he gives us to work and to be happy.
It’s simply our health that permits us to have the force to battle for “money in our pockets”, because that’s what gives us disposition to go after our objectives, to fight loyally for our interests, to transform our own and the people we love’s lives into much happier lives.
And that’s why, this end of year, I’m only asking for health for me, for you who are my friend, and for all those who are on this planet.
With more physical, moral and spiritual health we will all live with a lot more love in our hearts and everything will be a lot better.
With more physical and spiritual health, we could fight for a world with more justice, harmony and pacific, with no more wars and conflicts!

Merry Christmas and a HEALTHY New Year.

Sunday, December 21, 2014

Our choir file.

It is pitifully pitiful that most of our beloved choiristers do not own a well arranged arranged file. Sometimes, when they own a file, the manuscript is as rumbled as a second hand dress (Okrika) which was just opened from it bale. What of hymn book? It is as good as a dilapidated building whose some of the component has fallen away. Most hymn books starts from page 6 or 20, some however does not have center page or an end page. But be that as it may, we can turn can be more conscious of the way we handle our choral materials. If you ask me to recommend a way of really handling our choral materials I will tell choiristers to "treat holy things in holy way. What ways work for you when caring for your choral materials?

Saturday, December 20, 2014

Biography of the great ancestor Jude Nnam

Sir Jude “Ancestor” Nnam is without doubt the most prolific composer in Catholic Church in Africa, with thousands of original pieces and arrangements in several languages (English, Igbo, Hausa, Yoruba, Bini, Efik, Igala, Ibibio, Swahili, Ashanti, Zulu, Spanish, Esan, Kalabari, French and the latest, in Chinese to mention but a few) to his name.

Born on November 10, 1965 to the family of Chief Patrick Chukwu Nnam and Mrs. Felicia Nnam of Umunnaugwu, Amechi, Awkunanaw, Enugu South Local Government, Enugu State. He has certificates in music from the University of Nigeria, Nsukka and Trinity College of Music, London.

A man in love with originality, he has carved out a niche for himself with his strikingly unique melodies, filled with words that caress both the ear and the heart, and his evergreen contrapuntal harmonies that leave all and sundry wondering “What kind of man is this?”

He is a multi-instrumentalist with his unique style of accompaniment that has influenced the greater fraction of the organists in the Catholic Church in Nigeria and beyond.

A music director per excellence, he directed the “Papal Choir of a thousand voices” in Abuja during Saint Pope John Paul 11’s second visit to Nigeria, March 1998.

A recent survey showed that no Sunday Mass ends in most part of Africa, without at least two of Jude Nnam’s numerous songs having been sung. Another earlier survey reported that Jude Nnam has about 75% of all songs in the Catholic Church in Nigeria to his name. Sir Jude Nnam can safely be said to be the greatest and highest composer of Catholic songs today. Recently, he is involved in efforts to bridge the canyon, created by ethnic and denominational divides, between choirs in Nigeria through musical activities of various sorts.

He is a well-traveled Composer cum Instrumentalist whose story cannot be told in one account. A master of human relations, he always leaves an indelible impression on whomever he comes across, a quality that endears him so closely to people’s hearts all over the world and makes one want to meet him more. Another very interesting thing is that anyone expects to see a grey haired old man whenever the meet Jude Nnam for the first time, but it always is fun to see the obvious amazement in people’s faces when a handsome young man flashes a charming smile and with his hands out stretched says “Good day, I am Jude Nnam”.

The Ancestor, a much deserved and well-earned name by which he is popularly known, is happily married with four angelic children.


Sunday, December 14, 2014

6 WAYS TO IMPROVE YOUR CHOIR PRACTICE.

Keeping your choir practice as fresh as possible can be challenging at times. Many of your choir members sacrifice their time after a long, hard day at work. They are looking for a well-planned rehearsal that is both challenging and rewarding. Following these simple suggestions will help you get the most out of every rehearsal.
How To Improve Your Choir Practice
Set a goal to work toward
The adage says “if you aim for nothing you will hit it every time.” Practicing without first knowing your expectations for your choir is a waste of everyone’s time. Clearly define your goals concerning what you expect your choir to accomplish during their practice. Consider choosing goals that involve tone, blend, rhythm accuracy, message, expression, and of a course deadline.
Present fresh music
One of the best ways to motivate your choir is by challenging them with fresh and exciting music. Over time using the “same old” music will dampen the enthusiasm of your choir. Attend music seminars, listen to recordings and join a choral club for new ideas.
Teach your choir
Do a lot of reading on ways to better your choir and teach them what you learn. From warm up exercises to diction, make the rehearsal worth the time they invest. If necessary, sign up for vocal lessons and you will have volumes to share with your choir. Your preparation is paramount.
Give the Lord some time
Do not be so immersed in the mechanics of singing that you forget to take time to explain the text of the song and its meaning. Your choir will sing with more feeling and enthusiasm when the message in the song is from the heart. Occasionally a short devotion by you or a choir member would be appropriate.
Be enthusiastic (keep it exciting)
Enthusiasm is contagious. Get your rest and be prepared for each choir practice. Your attitudes will set the pace for all to follow. Keep the rehearsal flowing. Don’t allow any one part or passage bog you down while others wait. Changing from song to song every 10-15 minutes is helpful. Remember, “variety is the spice of life.” Vary your chose of song so not to be singing always in 3/4 or in a melancholy style.
Start and end on time
It’s easy to delay starting choir practice while waiting for late arrivals. Choir members will make a greater effort to be on time if they know you will begin without them. Starting on time will convey to your choir members the message that their time is important to you. Ending on time will allow your choir to have a chance to fellowship with others before the service and feel a part of the congregation.
Adding these ideas to each choir practice will improve the time you spend with your choir.

3RD SUN OF ADVENT MASS SELECTION FOR ST JOHN'S CATHOLIC CATHEDRAL BAUCHI, ALL SAINT BLOCK ROSARY CHOIR

ENTRANCE: Behold Among Men (Lucien Deis)

LHM: Idoma Ondo Menini Alo

CREED: Do you believe

OFFERTORY: 1. Earthly Gift
            2. Kosisochukwu (Jude Nnam)

CONSECRATION: Father all powerful

HOLY: Nso Nso ( Semi Atuwanya)

LOG: Latin

PRE-COMMUNION: While Shephered watched (Tune by Winchester Old)

COMMUNION: Orinrinsonenyendu ( Semi Atuwanya)

DISMISAL: Sing with Joy (359)

Sing Praises!

Saturday, December 13, 2014

THE MAKING OF THE PIECE RHI GRACIA OSEMHA COMPOSED BY OBHIOWU ROLAND EHINON.

Before narrating the above topic, please kindly  download the PDF manuscript of Rhi Gracia Osemhan - Obhiowu Roland Ehinon.pdf


Rhi Gracia  Osemha is from Esan language in Edo state Nigeria which means "give us your grace". The piece was originally composed in 2011 by Obhiowu Roland Ehinon.

Before it was handwrittenly scripted in 2011, it has gone through a lot of scrutiny  but not taking note of the lyrical content of the piece as at 2011. If you are opportuned to have a copy of the 2011 manuscript, you will discover that the lyrics was partly Benin and partly Esan. The reason to this was that the composer is from Ekekhen in Igueben local government area in Edo state. though Ekekhen is at Esan, they speak Benin even till tomorrow. At the onset there was no guidiance to the lyrics of the song. But the note and chords was scrutinised consciously and unconsciously by choirister friends and they are

CHARLES IMUSE
"Roland! I love the style of your song but one thing is that the composition look so plain. Arrange it in such a way that the voice comes in at interval.

AYEMERE JERRY
If you do not know how to harnonise your song, bring different songs together, look at your soprano note and match it with the chords. I can ee you have problem blending your chords.

ABUMENRE RANDY (MY SUPERIOR)
He was always singing the songs and afterwards they both edit the notes.

EMMA AKOWE
He tells him what next to do

OSATARE IMAGUEZOGIE
Ehinon! we will practice this song at st cecilia Egbesan but  lets work on the chord. But after working on the chord, the song ended up be practiced at st Joseph Igueben.

THE EDITING OF THE LYRICS
The lyrics was edited at a personal studio rehearsal by. It was a comic because
Omokhegbe Itohan (alto), Ebhomwan Jennifer (soprano) and Ehimatiomwan Gladys (soprano) was making comic with the piece because of the 'O'. This o don ey too much. Abeg comot some inside.
Prince Kingsley Okoh (Also a composer) observed that the lyrics was partly Esan and Benin and started making necesary correction which gave it what you see in the piece.

LITURGICAL ABUSES IN QUESTION AND ANSWER By Congregation of divine worship

I heard that the Church recently released a new document dealing with liturgical abuses. What can you tell me about it?

The document is entitled Redemptionis Sacramentum (Latin, “The Sacrament of Redemption”). It was prepared by the Congregation for Divine Worship and the Discipline of the Sacraments at the request of Pope John Paul II, and it offers practical rules (norms) concerning how Mass is to be celebrated and how the Eucharist is to be treated. It focuses on liturgical abuses that have been occurring in recent years


How seriously does the Church take the liturgical abuse problem?

It is not possible to be silent about the abuses, even quite grave ones, against the nature of the liturgy and the sacraments as well as the tradition and the authority of the Church, which in our day not infrequently plague liturgical celebrations in one ecclesial environment or another. In some places the perpetration of liturgical abuses has become almost habitual, a fact that obviously cannot be allowed and must cease (4).

What does the Church say to those who have committed or turned a blind eye to abuses?

Let bishops, priests, and deacons, in the exercise of the sacred ministry, examine their consciences as regards the authenticity and fidelity of the actions they have performed in the name of Christ and the Church in the celebration of the sacred liturgy. Let each one of the sacred ministers ask himself, even with severity, whether he has respected the rights of the lay members of Christ’s faithful, who confidently entrust themselves and their children to him, relying on him to fulfill for the faithful those sacred functions that the Church intends to carry out in celebrating the sacred liturgy at Christ’s command. For each one should always remember that he is a servant of the sacred liturgy (186).

II. Regulating the Liturgy



Who has the authority to regulate the liturgy?

The regulation of the sacred liturgy depends solely on the authority of the Church, which rests specifically with the Apostolic See and, according to the norms of law, with the bishop (SC 22 §1).

Christ’s faithful have the right that ecclesiastical authority should fully and efficaciously regulate the sacred liturgy lest it should ever seem to be “anyone’s private property, whether of the celebrant or of the community in which the mysteries are celebrated” (14, 18, cf. EE 52).

May the bishop regulate the liturgy any way he wants? In particular, may he remove options that are in the Church’s liturgical books by forbidding priests or laypeople to exercise them?

It pertains to the diocesan bishop . . . “within the limits of his competence, to set forth liturgical norms in his diocese, by which all are bound.” Still, the bishop must take care not to allow the removal of that liberty foreseen by the norms of the liturgical books so that the celebration may be adapted in an intelligent manner to the Church building, or to the group of the faithful who are present, or to particular pastoral circumstances (21; cf. CIC 838 §4).

Does the bishop have an obligation to take action to prevent liturgical abuses?

It is the right of the Christian people themselves that their diocesan bishop should take care to prevent the occurrence of abuses in ecclesiastical discipline, especially as regards the ministry of the word, the celebration of the sacraments and sacramentals, the worship of God, and devotion to the saints (24).

Do bishops or bishops’ conferences have the authority to authorize experimentation with the liturgy within their own area?

As early as the year 1970, the Apostolic See announced the cessation of all experimentation as regards the celebration of Holy Mass and reiterated the same in 1988. Accordingly, individual bishops and their conferences do not have the faculty to permit experimentation with liturgical texts or the other matters that are prescribed in the liturgical books. In order to carry out experimentation of this kind in the future, the permission of the Congregation for Divine Worship and the Discipline of the Sacraments is required. It must be in writing, and it is to be requested by the conference of bishops. In fact, it will not be granted without serious reason. As regards projects of inculturation in liturgical matters, the particular norms that have been established are strictly and comprehensively to be observed (27).

Someone has been showing me a document that was drafted by a committee of the conference of bishops, but as far as I can tell it was never voted on by the full body or approved by the Holy See. What authority does it have?

All liturgical norms that a conference of bishops will have established for its territory in accordance with the law are to be submitted to the Congregation for Divine Worship and the Discipline of the Sacraments for the recognitio [approval], without which they lack any binding force (28).

III. The Laity’s Participation at Mass



My parish liturgy director makes a big deal over “the active and conscious participation” of the faithful in the liturgy, by which she seems to mean that we should be doing something more than paying attention, singing, and saying the responses as we worship at Mass. How does the Church understand the participation of the laity?

From the fact that the liturgical celebration obviously entails activity, it does not follow that everyone must necessarily have something concrete to do beyond the actions and gestures, as if a certain specific liturgical ministry must necessarily be given to the individuals to be carried out by them. Instead, catechetical instruction should strive diligently to correct those widespread superficial notions and practices often seen in recent years in this regard, and ever to instill anew in all of Christ’s faithful that sense of deep wonder before the greatness of the mystery of faith that is the Eucharist (40).

Can just any lay person serve a special role at Mass? Sometimes at my parish there have been people lectoring or serving in other roles who are in irregular marital situations or who openly advocate positions contrary to the Church’s moral doctrine.

The lay Christian faithful called to give assistance at liturgical celebrations should be well instructed and must be those whose Christian life, morals, and fidelity to the Church’s magisterium recommend them. It is fitting that such a one should have received a liturgical formation in accordance with his or her age, condition, state of life, and religious culture. No one should be selected whose designation could cause consternation for the faithful (46).

Since adult men can be instituted as acolytes, should the traditional custom of having altar boys be maintained?

It is altogether laudable to maintain the noble custom by which boys or youths, customarily termed servers, provide service of the altar after the manner of acolytes, and receive catechesis regarding their function in accordance with their power of comprehension. Nor should it be forgotten that a great number of sacred ministers over the course of the centuries have come from among boys such as these (47).

I know that under canon law only men can be instituted as acolytes (cf. CIC 230 §1), but can girls and women serve at the altar without being instituted as acolytes?

Girls or women may also be admitted to this service of the altar, at the discretion of the diocesan bishop and in observance of the established norms (47).

IV. The Proper Celebration of Mass



1. The Matter of the Most Holy Eucharist

My parish occasionally uses bread at Mass that seems to have an unusual texture. What kind of bread is allowed?

The bread used in the celebration of the most holy eucharistic sacrifice must be unleavened, purely of wheat, and recently made so that there is no danger of decomposition (48).

What if other ingredients are used? Or if only a small amount are included, so that the material would still be considered bread in the opinion of most people?

Bread made from another substance, even if it is grain, or if it is mixed with another substance different from wheat to such an extent that it would not commonly be considered wheat bread, does not constitute valid matter for confecting the sacrifice and the eucharistic sacrament (48).

What about seasonings in small quantities, like honey? I’ve seen newsletters thanking people for donating “honey for the hosts.” Also, can anybody make hosts for their parish?

It is a grave abuse to introduce other substances, such as fruit or sugar or honey, into the bread for confecting the Eucharist. Hosts should obviously be made by those who are not only distinguished by their integrity but also skilled in making them and furnished with suitable tools (48).

2. The Eucharistic Prayer

Sometimes a deacon or pastoral assistant or even the congregation itself is invited to say part of the Eucharistic Prayer. Is this permitted?

The proclamation of the Eucharistic Prayer, which by its very nature is the climax of the whole celebration, is proper to the priest by virtue of his ordination. It is therefore an abuse to proffer it in such a way that some parts of the Eucharistic Prayer are recited by a deacon, a lay minister, or by an individual member of the faithful, or by all members of the faithful together. The Eucharistic Prayer, then, is to be recited by the priest alone in full (52).

At my parish they occasionally play the organ or have the choir sing during part of the Eucharistic Prayer. Our parish liturgy director says this makes the people more involved so that they won’t be completely passive. Is she right?

While the priest proclaims the Eucharistic Prayer, “there should be no other prayers or singing, and the organ or other musical instruments should be silent,” except for the people’s acclamations that have been duly approved (53; cf. GIRM 32).

My priest breaks the host at the consecration when he says the words “On the night he was betrayed, Jesus took bread and broke it.” Is he allowed to do that?

In some places there has existed an abuse by which the priest breaks the host at the time of the consecration in the Holy Mass. This abuse is contrary to the tradition of the Church. It is reprobated and is to be corrected with haste (55).

3. The Other Parts of the Mass

I know that priests are permitted to adapt certain explanations that occur in the Mass (cf. GIRM 31), but my priest changes the wording of fixed texts in order to “keep the people paying attention,” he says. Is he allowed to do that?

The reprobated practice by which priests, deacons, or the faithful here and there alter or vary at will the texts of the sacred liturgy that they are charged to pronounce must cease. For in doing thus, they render the celebration of the sacred liturgy unstable and not infrequently distort the authentic meaning of the liturgy (59).

At a local monastery they sometimes have one of the nuns read the Gospel. What is the status of this?

Within the celebration of the sacred liturgy, the reading of the Gospel . . . is reserved by the Church’s tradition to an ordained minister. Thus it is not permitted for a layperson, even a religious, to proclaim the Gospel reading in the celebration of Holy Mass, nor in other cases in which the norms do not explicitly permit it (63).

Who is allowed to preach the homily?

The homily, which is given in the course of the celebration of Holy Mass and is a part of the liturgy itself, “should ordinarily be given by the priest celebrant himself. He may entrust it to a concelebrating priest or occasionally, according to circumstances, to a deacon, but never to a layperson. In particular cases and for a just cause, the homily may even be given by a bishop or a priest who is present at the celebration but cannot concelebrate” (64; cf. GIRM 66).

At my parish they have a seminarian who is doing his “pastoral year,” and they sometimes have him preach the homily “to practice for what he will have to do later.” Surely that is allowed.

The prohibition of the admission of laypersons to preach within the Mass applies also to seminarians, students of theological disciplines, and those who have assumed the function of those known as “pastoral assistants”; nor is there to be any exception for any other kind of layperson, or group, or community, or association (66).

Sometimes our parish has a layperson give a “faith talk” after or in place of the priest’s homily. Is this allowed?

If the need arises for the gathered faithful to be given instruction or testimony by a layperson in a Church concerning the Christian life, it is altogether preferable that this be done outside Mass. Nevertheless, for serious [Latin, “grave”] reasons it is permissible that this type of instruction or testimony be given after the priest has proclaimed the prayer after Communion. This should not become a regular practice, however. Furthermore, these instructions and testimony should not be of such a nature that they could be confused with the homily, nor is it permissible to dispense with the homily on their account (74).

Can laypeople ever preach in church, even if it is not a homily?

The homily, on account of its importance and its nature, is reserved to the priest or deacon during Mass. As regards other forms of preaching, if necessity demands it in particular circumstances, or if usefulness suggests it in special cases, lay members of Christ’s faithful may be allowed to preach in a church or in an oratory outside Mass in accordance with the norm of law. This may be done only on account of a scarcity of sacred ministers in certain places, in order to meet the need, and it may not be transformed from an exceptional measure into an ordinary practice, nor may it be understood as an authentic form of the advancement of the laity. All must remember besides that the faculty for giving such permission belongs to the local ordinary, and this as regards individual instances; this permission is not the competence of anyone else, even if they are priests or deacons (161).

Just what does the Church want the homily to consist of? My priest drones on and on, but you can’t tell how what he says is connected to the readings. Often his point never seems to amount to more than a general exhortation to be nice to others, a pious platitude, or an endorsement for his political ideas.

Particular care is to be taken so that the homily is firmly based upon the mysteries of salvation, expounding the mysteries of the faith and the norms of Christian life from the biblical readings and liturgical texts throughout the course of the liturgical year and providing commentary on the texts of the Ordinary or the Proper of the Mass, or of some other rite of the Church. It is clear that all interpretations of Sacred Scripture are to be referred back to Christ himself as the one upon whom the entire economy of salvation hinges, though this should be done in light of the specific context of the liturgical celebration.

In the homily to be given, care is to be taken so that the light of Christ may shine upon life’s events. Even so, this is to be done so as not to obscure the true and unadulterated word of God: for instance, treating only of politics or profane subjects, or drawing upon notions derived from contemporary pseudo-religious currents as a source (67).

All of the priests in my diocese seem to be lousy preachers, presumably because of the education they received in seminary. What can be done about this besides waiting for a new generation of priests?

The diocesan bishop must diligently oversee the preaching of the homily, also publishing norms and distributing guidelines and auxiliary tools to the sacred ministers, and promoting meetings and other projects for this purpose so that they may have the opportunity to consider the nature of the homily more precisely and find help in its preparation (68).

After the offering is collected, they put it all in one basket and place it on the altar. They also sometimes take up a collection of things besides money (e.g., cans of food for the poor). Should they do that?

In order to preserve the dignity of the sacred liturgy, in any event, the external offerings should be brought forward in an appropriate manner. Money, therefore, just as other contributions for the poor, should be placed in an appropriate place that should be away from the eucharistic table. Except for money and occasionally a minimal symbolic portion of other gifts, it is preferable that such offerings be made outside the celebration of Mass (70).

People cross the aisles to exchange the sign of peace, ushers go up and down the aisles extending it to people in each pew, and the priest seems to go romping all over the Church. Should this happen?

It is appropriate “that each one give the sign of peace only to those who are nearest and in a sober manner.” “The priest may give the sign of peace to the ministers but always remains within the sanctuary, so as not to disturb the celebration. He does likewise if for a just reason he wishes to extend the sign of peace to some few of the faithful” (72; cf. GIRM 82; IGMR 154).

IT COULD BE YOU.

A white man came from America, down to Nigeria. He lodged in a hotel.

At midnight when he was observing his quiet time , He began to hear musical instrument, that was coming from a nearby church, close to the hotel. But his attention was basically on the piano sound, which is also the keyboard.

He said in his mind.... "The person playing this keyboard is very good, I think I need to see him".

So it happens that, over there in America, the man has a studio, and his keyboardist has resigned. And he needs a new keyboardist. So he finds this great opportunity to pick the young man, who was playing that keyboard at the nearby church, close to the hotel where he lodged.

So right there in the church, the particular young man who was playing the keyboard, was been disturbed by his phone, one of his
friend was calling him . so before the white man could enter the church, the young man handed the keyboard over to another person and went to answer his call.

After the service, the white man met the pastor of the church and told him that he want to employ his keyboardist, and will take him over to America.

The pastor accepted and asked him which of the keyboardist. The white man replied and said that he want to employ the present person he met when he came in.

Soon after, he processed his papers, and took him over to America.

Note: The person playing the keyboard for the first time, was the person who was more qualified for the job. But when he went to answer a call, the grace was transferred to the second person who took over the keyboard.

When it's time for you to be promoted, I pray that your destiny and your promotion will not be transferred to Another. Yours will never pass u by. if u believe type a Amen to
claim.

SELECTED COMPOSERS OF ISE OLUWA by Prof Godwin Sadoh

SELECTED COMPOSERS OF ISE OLUWA

TKE Phillips: Ise Oluwa for Voices and piano/organ
Samuel Akpabot: Ise Oluwa for chorus and piano, Op.8, No. 1
Joshua Uzoigwe: Nigerian Dances for Chamber Orchestra, Movt. 2
_____________: Nigerian Dances (Piano Reduction), Movt. 2
Godwin Sadoh: Ise Oluwa for String Quartet
____________: Ise Oluwa for Violin and Piano (From Three Miniatures on Nigerian Folk Songs).
____________: Variations on Ise Oluwa (From Childhood Dreams for piano)
____________: Ise Oluwa for SATB and Piano.

St Cecilia: The patron saint of choiristers

The Story of Saint Cecilia
Saint Cecilia was the first martyr whose body remains incorruptible. She has been regarded as patroness of church music. No one is able to ascertain Saint Cecilia's actual birthday, but it is believed that she died in the year 177 A.D. According to church history, Cecilia was a maiden of noble birth. At an early age, she dedicated her life to God with a vow of chastity. But her family made her marry a young noble named Valerian.

Portrait of St. Cecilia
On her wedding day, she prayed to the Lord and asked Him to protect her virginity. History records, "The day on which the wedding was to be held arrived and while musical instruments were playing she was singing in her heart to God alone saying: Make my heart and my body pure that I may not be confounded". St. Cecilia's prayers were answered, and Valerian was willing to take her as his wife without forcing her to break her vow. Not only did he accept her vow of chastity, he and his brother Tiburtius both converted to Christianity and were baptized by Pope Urban I.
At that time, Christianity was still illegal in Rome. Both Valerian and his brother Tiburtius were soon discovered to be Christians and were martyred. Cecilia was discovered soon after that and met a similar fate. It required two attempts before her executioners could kill her. They first locked her inside the bathroom of her own home and tried to suffocate her by steam. When she emerged from the bath unharmed, she was then beheaded. The stroke of the axe failed to sever her head completely from her body, however, and she lingered on for three excruciating days. During that time, she saw to the disbursement of her assets to help the poor, and she donated her home to the ecclesiastical authorities to be used as a church.
It was believed that St. Cecilia was buried in the Catacomb of Callistus after she was martyred in 177 A.D. Seven centuries later, Pope Pascal I (817-824) built the Church of St. Cecilia in the Trastevere quarter of Rome and wished to transfer her relics there. At first, however, he could not find them and believed that they had been stolen. In a vision he saw St. St Cecilia Choir Ksua, who exhorted him to continue his search, as he had already been very near to her grave. He therefore renewed his quest; and soon the body of the martyr, draped in expensive gold brocade and with the cloths soaked in her blood at her feet, was actually found in the Catacomb of Prætextatus instead. Her relics, with those of Valerian (her husband), Tiburtius, and Maximus (a Rome officer), and Popes Urbanus and Lucius, were taken up by Pope Paschal I, and reburied under the high altar of St. Cecilia in Trastevere.
The next time anyone disturbed Cecilia's sleep was almost 800 years later. During the restoration of the church in the year 1599, Cardinal Sfondrato was involved in restoring the church and had initiated some excavations under the main altar, in the hope of finding the bodies of Cecilia and her male martyrs interred there by Paschal. On October 20, 1599, Sfondrato's workmen brought to light the marble coffin of the saint. In the presence of several witnesses, the cardinal himself opened the little cypress-wood inner coffin, revealing the saint's body still wrapped finding it still clothed in tissue of gold, lying modestly on its side, the neck wound covered with a golden amulet.
Pope Clement commissioned an elaborate silver coffin adorned with gold to contain Cecilia's cypress-wood coffin and a still larger marble one to hold them. Out of the respect for the saint, he refused to allow a more detailed examination of the martyr's remains.
The reappearance of the relics of St. Cecilia created a sensation in Rome. The enthusiasm of the crowds that thronged the basilica was so great that Cardinal Sfondrato was almost crushed to death. Pope Clement finally had to send in his Swiss Guards to restore order. On November 22, 1599, Clement came to the basilica to celebrate a Solemn High Mass in honor of the saint's feast-day. After the Mass Cecilia's body was re-interred beneath the high altar, in the same place where it had been found.
When the tomb of the saint opened in 1599, Stefano Maderno(1566-1636), who created the fountains in St Peter's Piazza, was then commissioned to sculpt what he saw. His inscription says: "Behold the body of the most holy virgin, Cecilia, whom I myself saw lying uncorrupt in her tomb. I have in this marble expressed for thee the same saint in the very same posture and body." She is shown lying on her right side with her head facing downwards and with a scarf over her hair. Both her arms are extended towards her knees and the fingers of the right hand are also extended. The body was found in the position represented by the sculptor.