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TRES DÍAS


In our time together this summer, I look forward to digging into the weeds of this work: looking at specific challenges, ritual moments, and the musical forms, texts, and tunes that might best support them. I look forward also to sharing new and familiar music from a comprehensive resource of music for the bilingual Triduum I have been working on for many years that is due out early in the new year called Gloriosi: Music of the Paschal Triduum / Música del Triduo Pascual. I want to share here three of the larger lessons I have learned while doing this work that have shaped how I approach it.


1. Te work of preparing an intercultural Triduum must begin long before we choose the entrance hymn for Holy Tursday. Early in my ministry in diverse communities, I often found myself plunging headfirst into the practicalities of preparing the most complex and intricate liturgies of the liturgical year without nurturing the relationships that are the foundation from


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which such preparation should flow. As Mark Francis and Rufino Zaragoza have written so poignantly in their reflection on liturgy in a culturally diverse community, “No liturgy, however welcoming and participatory, can substitute for a truly intercultural approach to pastoral care in the parish at large . . . If the only time the various members of a diverse parish community come together is at worship, these celebrations run the risk of being disconnected and artificial because they fail to reflect the life of the community.”2


In my own ministry I have learned that the most meaningful steps toward preparing an intercultural Triduum must begin with slow and deliberate pastoral work before turning toward distinctly musical and liturgical matters. Such work is found in a deeper attentiveness to relationships built on mutuality, reciprocity, and trust—work that must begin outside the liturgies of the Triduum, outside even the meetings in


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