My Thoughts on the Guitar Mass

I have still failed to find anything in the documents of the Second Vatican Council where it said to replace the organ with the guitar.

27 Responses to My Thoughts on the Guitar Mass

  1. Donald R. McClarey says:

    Guitar Mass. Ah the unspeakable horrors that simple phrase contains!

  2. Art Deco says:

    If they made use of instrumental pieces by Segovia at various points, that would not be offensive. Why not ditch the organ and just have plainchant?

  3. Zach says:

    Of course, there is no place in the documents of Vatican II where they specify that the organ should be replaced with the guitar. There is also no place where they specify the organ is the only acceptable liturgical instrument.

    In fact, quite the opposite is the case.

    112. 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.

    Holy Scripture, indeed, has bestowed praise upon sacred song [42], and the same may be said of the fathers of the Church and of the Roman pontiffs who in recent times, led by St. Pius X, have explained more precisely the ministerial function supplied by sacred music in the service of the Lord.

    Therefore sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action, whether it adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites. But the Church approves of all forms of true art having the needed qualities, and admits them into divine worship.

    The argument is or has been made by liturgical reformers that this is grounds for the legitimacy of guitars and other instruments. And by the manifest practice of Benedict XVI, guitars and other instruments are licit for use in the Holy Mass if they are incorporated in a solemn, dignified and reverent manner that is consistent with the Traditional Beauty of the Mass.

    I say this as someone who greatly prefers traditional styles of liturgical music; modern music is too busy, too self-centered, and too indulgent. Often times the words of liturgical music promote misunderstandings or at worst even bits of heresy.

    I lament the death of beauty and the sense of the numinous that used to be the Catholic Church’s bread and butter. But this is not an excuse to suggest everything that happened in liturgical reforms is somehow illicit. Following Father Corapi and many others, we should not reject the reforms of Vatican II but embrace what they actually are as recorded in the documents that were actually written, for these documents profess the true “Spirit of Vatican II”, which is nothing but the Catholic spirit of repentance and reform writ large.

  4. Mike Petrik says:

    I think you misunderstand. The statement that “I have still failed to find anything in the documents of the Second Vatican Council where it said to replace the organ with the guitar” is simply in response to the common assertion that the introduction of guitar masses was required by Vatican II. I don’t think anyone is even suggesting that guitar masses are illicit; just that the music is almost always insipid and fails the test you quote above. Yes, there are people who like the music, just as there are people who to this day don’t get why Bluto violently interrupted the Riddle Song.

  5. Mike Petrik says:

    Personally, I think Michael Iafrate would have been justified in socking Belushi in the nose.

  6. Zach says:

    Hi Mike,

    Fair enough, I didn’t see in this post the assertion that “the introduction of guitar masses was required by Vatican II”. I also didn’t know anyone thought this. What a silly idea!

  7. Alice Ramirez says:

    I never used to hate guitar music, or guitars, until I turned Catholic back in 2000 and endured the happy-clappy-crappy guitar masses with the uber-banal schlock “music” that seriously infests too many Catholic masses in Mahoneyland. (Far more offensive are the schlockmeister guitar cantors who also shake rattles during the “Gloria” or elsewhere in the Mass, or plink background noise during the consecration as if they think their semi-skilled “guitar stylings” somehow add something worthwhile. to the Sacrifice of our Lord Made Present.) Too many masses I suffered through down there had the musical trashiness of that Animal House scene. Thank God there were Byzantine Catholic parishes down there where I could worship without being musically tortured. I wish had discovered THAT option sooner!

    I totally cheer the Belushi character. In fact, back when I still lived in LA before moving to a city where I can now attend the Glorious Mass of the Ages every week, I used to spend much of Mass fantasizing piling ALL the guitars in the world in a huge heap then watching as a herd of bull elephants in rut galloped over them, reducing all to a smoking pile of splinters. Somewhere in the fantasy was the additional one that all plans and diagrams for making new guitars would also be destroyed.

  8. Donald R. McClarey says:

    Bravo Alice!

  9. T. Shaw says:

    Alice Ramirez: Could not have said it better.

    The road to hell is paved with good intentions.

  10. Gary L. Good says:

    As a traveler who has attended masses in a variety of locations, it is interesting to me when I see the multi-varied approaches. I am not sure I have seen the situation that Alice describes. Mostly, I see a singular guitar that is played quietly as background music to the piano/organ/keyboard and the vocalists.
    Is the “guitar mass” something more?
    If it is, then I would have to definitely have to agree with the chorus here that denounces said guitar masses, especially if accompanied by clapping and other carousing.
    If it is my experience, then I am not sure of the issue.
    I would, however, hope that each church would announce a standard mass in addition to the guitar mass.
    My two cents…. 🙂
    TheWriter @

  11. Tito Edwards says:


    Nothing in the Second Vatican Council mandated the imposition of guitars in the Mass.

    For more information click here:

  12. Guess you wouldn’t like the fact that I’ve played banjo in church, eh, Tito?

  13. Tito Edwards says:

    You are from West Virginia after all.


  14. Phillip says:

    I thought banjo masses were great when I was thirteen.

  15. Phillip, how many “banjo masses” have you attended? I’m from West Virginia and have attended zero “banjo masses.” When I played banjo at mass (which was once) it was in Toronto.

  16. R.C. says:


    I have yet to endure a guitar mass of a type comparable to the strumming doofus above. I have however witnessed many “contemporary music” masses with praise-band style accompaniment.

    My reaction to what I heard was, in essence: Why do Catholics have such a hard time putting together an ensemble of skillful players, singers, sound engineers, writers, and arrangers? Why must every parish ensemble have so many hacks and weak links?

    Too Many Hacks

    For that is really what I heard: A lack of skill. In some cases I heard one or two talented individuals, but they were undermined by the poor quality surrounding them. If it wasn’t that the other musicians in the ensemble were low on talent or practice, then it was the selection of music or poor sound reinforcement or both.

    Now the best worship leaders and worship bands and sound technicians and writers and arrangers among Evangelicals can, in fact, produce music worthy of a Mass. They don’t always: Sometimes they’re pretty atrocious, too. But the best ones — the type you find at the Evangelical churches known for having excellent music — can do it, and in fact do achieve it on a regular basis.

    But apparently the Catholic roster at even a very large and well-funded parish, such as the one where I attend Mass, is one or two persons deep when it comes to this skill set.

    This, I think, is one source of all the complaints from Catholics, and their predisposition to write off the entire genre of instrumentation as unfit for liturgical use. They think to themselves, “I’ve heard what a contemporary ensemble sounds like, and it’s rubbish.” What they’ve heard is rubbish: But it’s rubbish because it was mostly bad songs with mostly bad melodies and mostly bad chart, poorly arranged, played by beginner-level or intermediate-level musicians after insufficient rehearsal, and sung by mostly unskilled or unsuitable singers, badly miked, through a bad sound system, inexpertly mixed by some zero-experience kid or other, selected on the basis that he was the only one who volunteered for the job.

    Plus ça change, plus c’est la même chose…

    Now pipe organs were, to be perfectly precise, the original analog synthesizers. Organ music was the original synthesizer music, and its introduction a few hundred years back scandalized traditionalists. Those of us with an appreciation of good pipe organ music can look back on that time and wonder why the traditionalists of that era regarded it to be such a wild and unsuitable innovation.

    But the traditionalists’ arguments would have been greatly strengthened had the introduction of most Catholics to this kind of church music involved a player of low caliber on an instrument of low caliber played through low-quality pipes in a church building unsuited to the instrument. (Keep in mind many historic churches and cathedrals were build around a pipe organ; that is, the architectural layout was engineered specifically to make the organ sound good.)

    That is entirely comparable to what Catholic parishes are dealing with now. (If the excellence of Catholic worship music begins to increase, then I suppose in another few hundred years our descendants wonder what the traditionalists of our era were going on about.)

    The Numbers Game

    And then there is the problem of numbers and the mobility of Protestants between churches. Let us say that in a given parish’s geographical area, there are five hundred musicians capable of playing at the skill level needed…and there are twenty churches attempting contemporary-instrumentation music, one of which is the Catholic church.

    Now if one or two of those churches have particularly talented bandleaders, their quality of music will begin to go up. As a result of this, other musicians will want to attend that church: Not necessarily to play in the worship band, but because they have the ears of a skilled musician and it hurts their ears to sit in the pews at a church where the music is bad.

    Now amongst Protestant evangelicals folks really may attend a particular church for this reason and no other — in their view the theological differences between denominations are just the fruitless debates of navel-gazing theologians, so you might as well go to church at a place where your soul is, or at least your ears are, being fed. So once a few churches begin to have good music, their pews fill with skilled musicians, giving them a “deep bullpen” from which to draw…and the music keeps getting better and better.

    But notice that this process doesn’t touch the Catholic church. A Catholic musician can’t go elsewhere, and none of the Protestant musicians are likely to show up at the Catholic church unless they’re reading the Church Fathers and considering converting. The result? The “bullpen” for a given parish is as deep as whichever Catholics are within convenient driving distance of the building.

    The Textual Issue

    I think there may also be another problem, and perhaps an insoluble one: Some of the musical parts of the Mass involve particular texts: The Gloria, the Kyrie, and so on.

    For these texts the Latin is generally well-metered and each line has the same number of syllables and the same pattern of stresses; it was written with the possibility of being set to music in mind. But the English translation of these texts is done for exactness without regard for syllable count, regular stress patterns, or any other attributes which govern lyrical suitability. And of course the grammar of Latin involves regular endings for words based on gender or tense or on whether a word is the subject or the object: Rhymes fall into place with the ease of a ripe apple falling from a tree. Not so in the English language, let alone text translated into English from other languages!

    Now don’t get me wrong: I don’t want people taking liberties with the words of the Mass: I want the real deal. I am just observing that it is difficult to set these parts of the Mass to music for the reasons stated above. Frankly it might be better to opt for the Latin text in those cases: It might lend itself more easily to musical arrangement.

    In The End

    In the end, I don’t know whether the Catholic Church will ever do contemporary-instrumentation worship music well, and if she doesn’t, perhaps she’s better off sticking to what she’s good at.

    But it’s a shame, because it lends false credibility to the notion that certain instruments are unsuited to worship of God. This is false: But certain things played on those instruments can be unsuitable, and certain ways of playing them can be unsuitable (most notably, playing them poorly).

    I hope instead that some movement for excellence in this area will begin to build in the Church, as it did with that crazy newfangled sci-fi sounding pipe organ centuries ago. I hope that centuries hence, the life of the Church will be thus enriched, as it was by the pipe organ.

    Of course, in the end, all instruments and voices will be stilled, and three things will remain: Faith, Hope, and Love, and we know which is greatest. But until then, there is room for the use of lesser gifts, and of those talents of which God makes us the stewards.

    Provided we use them well.

    A postscript: You may have noticed that throughout this post I have leaned on the terms which focus on instrumentation, such as “contemporary-instrumentation worship.” I do that because I am focusing on the appropriateness of electric guitar, folk acoustic guitar, synthesizer, and drums in worship music. I avoided the term “praise and worship music” because while all the music which falls under that heading uses the instruments listed above, not all of it is suitable for mass even when played well. This is part of what I meant about what passes for contemporary instrumentation music in parishes which attempt it: They select some truly awful numbers which probably embarrass even the Protestants who wrote them, and present this to the parishoners as “praise and worship music.”

  17. Joe Hargrave says:


    With due respect,

    The following statements of yours:

    “Now the best worship leaders and worship bands and sound technicians and writers and arrangers among Evangelicals can, in fact, produce music worthy of a Mass.”

    “the notion that certain instruments are unsuited to worship of God. This is false…”

    Are… questionable.

    The first statement, because I don’t see why an Evangelical with technical skill would understand what the Mass really is, or what sort of music is worthy of it.

    The second, because it actually has been set down in encyclicals what instruments are and are not acceptable at Mass. Of course no one cares to follow those instructions.

    My hope is that Benedict’s “reform of the reform” will put a stop to liturgical abuse, including musical abuse, and bring about the widespread reinstatement of Gregorian and polyphonic chant.

    I absolutely reject, and the Church has historically rejected, even a hint of musical relativism, the argument that one form is as good as any other provided that the “content” is somehow sacred. Forms can be profane in themselves, regardless of whether or not the words refer to saints or the most vulgar sex acts.

    To God, we are to offer up only the best. The historical distinction between sacred and profane music ought to be restored in full. I don’t object to a “Christian band” or whatever playing at a youth group meeting or some other event. But it has absolutely no place in Mass.

  18. R.C. says:

    Joe! Happy to see you. (Okay, to read you.)

    The bit in the encyclical (with which you answer the second of the two statements you’re debating) is something I’d read before, and I think I have not misunderstood the purpose and intent of it.

    But you’re correct to call me out on it, because I was thinking in the back of my head “the notion that the instruments I have in mind are unsuited to worship of God is false” but what came out of my fingers was “the notion that certain instruments are unsuited to worship of God…is false.”

    Not the same thing, and I should have been more careful! For certain instruments are so utterly inflexible in their sonic palette that they simply can’t generate the kind of sound needed at Mass. The harmonica, the kazoo: Instruments, to be sure, and instruments with a part to play in the soundscape of life, but, for Mass, c’mon.

    So, you got me. I said that wrong. I hold that what I was thinking was correct…but I botched it; I didn’t say what I was thinking with sufficient precision.

    So to say what I should have said: “The instruments of a praise band are capable of being played in such a way as to evoke the majesty, the sense of the numinous, the joy (quiet or exultant) called for at Mass; they are however also capable of being played with the style of a honky-tonk band; to play them in the latter fashion at Mass is execrable, but the instruments themselves are not intrinsically unsuited.”


    Before you answer that by saying, “Better, but I still have a problem with it…,” let me anticipate one possible objection: You might say, “Better, but there’s a difference between an instrument being capable of the right kind of sounds, and an instrument easily and naturally producing the right kinds of sounds.”

    Which is a reasonable objection, but not an insurmountable one. Consider the electric guitar: One can play horribly unsuitable stuff with this instrument, or wondrously suitable. But the same is true with the violin, especially when traveling under its alternative identity, as the fiddle. Trumpets have been used in worship since the psalms were written: But not, one hopes, using the stylistic flourishes that Maynard Ferguson adopted when playing the theme song to Hawaii Five-0, such as the “rip off release.”

    In short, these are issues which are surmountable through the use of well-written arrangements played by skilled musicians: Tell ’em what to play, and they won’t get creative and start popping and slapping their fretted electric bass when you turn your back. (And another benefit to the use of well-written charts is that it weeds out the less-trained musicians. Old joke: “Q: How do you make the guitar player in a high-school band be quiet? A: Put sheet music in front of him.”

    Regarding the other statement you questioned:

    I said, “Now the best worship leaders and worship bands and sound technicians and writers and arrangers among Evangelicals can, in fact, produce music worthy of a Mass.”

    You replied, “…I don’t see why an Evangelical with technical skill would understand what the Mass really is, or what sort of music is worthy of it.”

    Well, he probably wouldn’t, until he was in the Church!

    But that doesn’t mean he hasn’t already made that kind of music, in Evangelical worship services or elsewhere, at moments when his artist’s soul and/or the Holy Spirit directed him that something special and awe-inspiring is called for at this moment.

    My point was not that an Evangelical, comfortable in his utter unfamiliarity with the origins of the Bible or the Church Fathers or the doctrines which defined the Christian faith for the first three quarters of its history, already knew what was suited to a Mass when he probably has never attended one, unless he had a Catholic friend or family member who either got married or died.

    My point was that a sliver of the music produced by these talented musicians does rise to the level and character required at Mass, even though they themselves have never thought about it that way: They were just trying to produce really excellent, well-thought-out music with a particular character to it.

    As for Benedict’s reform of the reform, I’m all for it. And if that seems contrary to what I’ve written above, remember that I’m calling for excellence here. If the contemporary instrumentation can’t be used excellently, then it shouldn’t be used! (But I hold — have indeed witnessed — that it can, so naturally I hope that it will.)

  19. Joe Hargrave says:


    I wonder if there might be a possible conflation here of music that might not necessarily be offensive to God, and music that belongs at Mass.

    Lets take the guitar, electric or acoustic, or the trumpet. Now, I don’t deny the possibility that one can make music on these instruments that is not offensive to God and perhaps even worthy of Him.

    I’m still not sure if that rises to the level required to be worthy of the specific occasion of the Mass. Trumpets are loud. Guitars are romantic. Neither is appropriate to the occasion of the Mass, which is a sacrifice. So I would say these instruments are not capable of producing sounds suitable for the Mass.

    Mass is one, perhaps two hours out of the week. I see no good reason to insist that the traditional music be replaced.

    It would be better for no one to go to Mass ever again than to sully it with profanity, musical, visual or otherwise, so that people did show up. You can quote me on that. There are appropriate venues for profane or vulgar music, so no one ought to feel denied or discriminated against.

    On a tangent that has nothing to do with anything you’ve proposed, I must say:

    Sometimes the reason for musical innovation is subversive – to use the objective power of music to change hearts and minds on critical issues. The music industry knows nothing that the ancients and the Church have always known – that music does have power, it does and alter moods and thought patterns, that it is not mindless entertainment devoid of any psychological effects.

    That is why the Papacy has always taken liturgical music extremely seriously.

  20. Joe Hargrave says:

    “a sliver of the music produced by these talented musicians does rise to the level and character required at Mass”

    Eh… maybe a sliver.

  21. Tito Edwards says:

    maybe a sliver

    Now that’s a bit too optimistic for me, but a clock can be right twice a day.

  22. R.C. says:


    Fair enough; I think our experiences differ too widely for me to argue you to a different opinion on this (or you either, Tito!). And of course I wouldn’t want to argue you to a different aesthetic sense, only on the capacity of certain instruments to deliver the appropriate results.

    So really the only thing in your (Joe’s) last note I’ll challenge — no, challenge is the wrong word. The only thing that made me go, “Whaa?” with a befuddled look and a cocked eyebrow, was this: “Guitars are romantic.” Romantic?

    Hmm. Okay, let me break this down. There are four basic kinds: Nylon-strung acoustic, steel-strung acoustic, hollow-body electric, and solid-body electric. All require amplification to be audible unless the church is a tiny one (Mass at my parish regularly has, I estimate, eight hundred in attendance). The least flexible is the nylon-strung, or classical. It sounds either (a.) almost just like a harp, (b.) Spanish, in the flamenco or true classical style a la Segovia, or (c.) 70’s singer-songwriter-esque, which I suppose comes across as “romantic.”

    Next comes the steel strung-acoustic, which sounds (a.-c.) like any of the nylon-strung options, (d.) like a harpsichord, arpeggiating with a high-end sparkle if a plectrum is used, (e.) like a richer rolling piano left-hand figure if played fingerstyle, as exhibited in some Irish music and Irish influenced tunes, and (f.) like the Indigo Girls, which is least appropriate.

    After that comes the hollow-body electric, which is best at the “jazzbox” sound, and beyond that can offer every sound that the solid-body electric can offer, but usually in an inferior way because it was designed to offer the jazzbox sound. All other sounds involve compromise.

    That leaves us with the solid-body electric, which sounds like…everything. Like a piano, like a single violin, like a cello, like a string quartet, like a harp, like a harpsichord. There is no instrument so flexible save an actual synthesizer. Buzzsaw distortion would be horribly unfit for Mass, but roll off the high end and use volume swells, and suddenly you have the sound of a cello, but with more control. Clean up the sound and turn on the echo/reverb, and the piano itself cannot roll high-octave arpeggios with such a combination of crystalline sparkle and quiet resonance, like wind chimes. And, sure, one could also make the thing sound like, oh, I don’t know, Keith Richards. But one can also make the church piano sound like Scott Joplin.

    Well. That’s enough. Time to dress and go to Mass. All this won’t change what I hear today, sadly. On with reform, to a godly end!

    (Postscript: I notice you say that trumpets are merely “loud.” I wonder if the size of the parish influences our respective judgments? As I said before, my parish has several hundred folks in even its 7AM Sunday Mass. But that’s not uncommon in the Atlanta area, where churches tend to have large numbers of congregants. I guess your parishes smaller?)

  23. THOMAS PATE says:

    what is wrong with traditional catholic music for mass? what is wrong with latin chant? why doesnt the choir stay in the choir loft? that noisy guitar music makes me sick.

  24. […] The General Instruction of the Roman Missal (GIRM) does not allow for guitars to be used in Mass. […]

  25. Tony says:

    I never cease to be amused by all the anal retentive, pharisaical prudes who, in their quest to “elevate” worhsip, do nothing more than reduce the discussion to the same banal patter you’d find at a wine tasting club.
    Jesus’ most harsh conndemnations were reserved for religious purists who effected religion without redemption…or rather, style over substance.
    The organ was banned from Christian worship for centuries because it was a pagan instrument viewed as being profane. The only reason it came into favor was that a bishop at some point was given an expensive one as a gift and decided he liked it.
    What we call “classical” music was widely condemned just a few hundred years ago as being profane and common.
    Stringed instruments have a far longer and more well-established role in our salvation history and liturgy than any other kind, perhaps except some wind and percussion instruments.
    I personally enjoy the organ when its played well, just as I enjoy guitar or ensemble when played well. Which instrument prevails is based entirely on how best to help people respond in thanks and praise to the pashcal mystery. There are some songs I love and would never play on guitar (Lift High The Cross), but there are many that the organ is too much for.
    The bottom line is that it does come down to skill and cultural relevance, and this is made clear in Church teaching, both worldwide and by the various bishops’ conferences.
    However, I had to laugh when I read “Sing to the Lord” the American Bishops’ document… it encouraged the use of the organ for “evangelization.” This is where the rubber meets the road. The aformentioned naval gazing prudes would be hard-pressed to drag their pipe organs out onto street corners among the poor and Godless who need to hear the Gospel.
    Christ himself tells us that the surest path to hell is to imitate the pharisees. Catholics are in greatest danger of this because we have such a well developed structure in our religion, theology, and liturgy. After nearly 35 years of being a Catholic liturgical musician (guitar) and with a Masters in Theology/Liturgy, I find pharisaism to be strongest in liturgical circles. It is the perfect place to be self-centered and in control but devoid of faith.

  26. Tito Edwards says:


    Thank you for your charitable and insightful comments.

    //sarcasm off.

  27. Tony says:

    Anytime! Thanks for your substantial, insightful reply!!// sarcasm off.

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