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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Lesson 9: How to Pronounce Ecclesiastical Latin

Many Catholic choirmasters do not realize there are two ways to write hymns in Latin: (1) quality (which usually does not rhyme); (2) stress-accent (which usually rhymes). Rhythm by quality refers to the pattern of long and short vowels in Latin, and is sometimes referred to as a more “noble” or “aristocratic” way to construct a hymn. Rhythm by stress-accent ignores the long and short qualities and is only interested in the tonic accent, and is sometimes called a more “vulgar” form of poetry. For whatever reason, over a period of centuries, rhythm by stress-accent became the most common way to write Latin hymns. Fr. Matthew Britt (The Hymns of the Breviary & Missal, Pages 26-27) has this to say (emphasis mine):

The Romans learned their poetry, as they learned the other fine arts, from the Greeks . . . This poetry, it need scarcely be said, was strictly quantitative. But together with this classical poetry there co-existed, and that too from the beginning of Latin letters, a purely rhythmical poetry, a poetry of the people, in which the ballads and folk songs of the common people were written. The common people knew nothing of quantity with its artificial and arbitrary rules which the poets had made. Quantitative poetry was therefore the poetry of the educated; rhythmical or accentual poetry was the poetry of the common people. Now, the early hymns of the Church were likewise the songs of the people, and were necessarily written in a manner that would appeal to all the people and not merely to the cultured classes. This was effected by St. Ambrose and by the earlier writers of the Ambrosian school, by a compromise between the quantitative and the rhythmical principles. These writers made use of the simplest of all the lyric meters, the Iambic Dimeter, with its regular succession of short and long syllables; but they took care that the accents should in general fall on the long syllables. Their quantitative hymns can therefore be read rhythmically. In the composition of his hymns, St. Ambrose did not make use of any greater licenses than did Horace and his contemporaries. Later on, however, it is noticeable that less and less attention was paid to quantity and greater attention to accent which began to replace it. As early as the fifth century many hymn-writers employed the rhythmical principle only. This process continued until in the Middle Ages all sense of long and short syllables had vanished, and hymns were written in accentual, non-quantitative meters. In studying the hymns chronologically, it will be observed also that the growth of rhyme kept pace with the growth of accent.

During my entire life, I have only met three (3) priests who observed long and short syllables while speaking Latin. If the reader is curious about this, he can download this Guide to Pronunciation (PDF), but I don’t recommend doing so, since so few priests pronounce long and short syllables.

Here is way most Catholic priests pronounce Latin:

   Guide No. 1 (PDF) — Excerpted from Parish Book of Chant (CMAA, 2008)

   Guide No. 2 (PDF) — Excerpted from Mass & Vespers (Solesmes, 1957)

   Guide No. 3 (PDF) — Excerpted from ‘Proper’ of the Mass (Carlo Rossini, 1933)

   Guide No. 4 (PDF) — Excerpted from the Liber Usualis (Solesmes, 1961)

   Guide No. 5 (PDF) — Excerpted from A Textbook of Gregorian Chant (Dom Gregory Suñol, 1929)

   Guide No. 6 (PDF) — Excerpted from Basic Gregorian Chant (Sister Demetria, 1960)

   Guide No. 7 (PDF) — Excerpted from Chants of the Church (Solesmes, 1953)

   Guide No. 8 (PDF) — Excerpted from Gregorian Chants for Church and School (Goodchild, 1944)

   Guide No. 9 (PDF) — Excerpted from A New School of Gregorian Chant (Johner, 1925)

   Guide No. 10 (PDF) — Excerpted from Fundamentals of Gregorian chant (Heckenlively, 1950)

   47-Page Book (PDF) — Correct Pronunciation of Latin According to Roman Usage (De Angelis, 1937)

The Parish Book of Chant is probably the best. In particular, pay careful attention to the “common pitfalls” Americans fall into, like saying “inn” instead of “een” for the Latin word in. Or saying, “ih-mack-yoo-lah-tuh” instead of “ee-mah-coo-lah-tah” for the Latin word immaculáta. Or saying “Doe-mee-nay” instead of “Doh-mee-neh” for the Latin word Dómine.

That being said, these rules can be taken too far. I’ve served the Latin Mass for priests from all over the world: Australia, Austria, Germany, France, England, America, Mexico, Puerto Rico etc. However, it is rare to hear a priest say “cheh-lee” for the Latin word cæli. Most say “chay-lee,” and there’s no use losing sleep over this!

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Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“The argument moves from the existence of the thing to the correctness of the thing: what is, ought to be. Or, a popular variant: if a thing is, it doesn’t make any difference whether it ought to be—the correct response is to adjust, to learn to live with the thing.”

— ‘L. Brent Bozell, Jr.’

Recent Posts

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  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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