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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Important Resources for Liturgical Reform (6 of 7)

Andrew R. Motyka · August 13, 2014

ET’S SEE: CanticaNOVA, CPDL, the nearly-infinite number of resources offered here on CCW. All these have already been presented by my esteemed colleagues. I liked this “series” idea better when I could go first and take all the good ideas.

In seriousness, though, here are some good resources for the primary tools we each have at our disposal: cantor, choir, and organ.

An often overlooked resource for the parish choir is the Graduale Simplex. This book, which originally was published in 1967, has much simpler settings of chant propers than the Graduale Romanum. One challenge is that, since the first edition was released before we even had a revised order of Mass, it can be difficult to line up and use liturgically. Thankfully, we have several derivative works that make it more accessible in the average parish. First is Paul Ford’s By Flowing Waters. It is a relatively straightforward English adaptation of the chants found in the Simplex, with some accommodations to the tunes to more easily accept the English text. A second, more unknown resource is Aristotle Esguerra’s Choral Simplex, another English language setting, but in SATB harmony. Esguerra’s treatment of the melodies and adaptations for choir shows an elegance and a clear mind for choral singing. I strongly recommend it.

Since most parishes only have one “choir Mass” per weekend, resources for cantors can be helpful, too. I would be far too selfless if I didn’t mention these Communion Antiphons, and selflessness is something I can only aspire to. They are antiphons settings that are free, simple, free, congregational, accompanied, modal, complete, and free.

Lastly, I would like to call to attention a not-specifically-Catholic resource, but one I think needs to be known nonetheless. Just like CPDL (the Choral Public Domain Library) offers thousands of free choral scores online, IMSLP (the International Music Score Literacy Project) offers free choral AND instrumental scores. This is a great resource if you are an organ hack like me who needs to broaden your organ-literature horizons greatly. There are thousands of free scores, searchable by many criteria, including instrumentation, genre, solo type, etc. Care needs to be taken about whether or not each score is actually in the public domain in your country, however. Since IMSLP is based in Canada, where everything falls into the public domain in 50 years, there are some scores that are free on that website that are illegal to download in the US. Watch your dates and you’ll be fine. This is a pretty minor drawback considering the volume of usable scores on the site.

We directors are always on the lookout for free resources for our choirs and music programs in general. Hopefully you can find some use for these, as well as the others in this series.


7-part series:   “Important Resources for Liturgical Reform”

FIRST PART • Richard Clark

SECOND PART • Veronica Brandt

THIRD PART • Fr. David Friel

FOURTH PART • Jeff Ostrowski

FIFTH PART • Jon Naples

SIXTH PART • Andrew Motyka

SEVENTH PART • Peter Kwasniewski

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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President’s Corner

    PDF Download • “Sprinkling Rite”
    Liturgical reformers who gained power after Vatican II frequently caused great suffering to musicians. With the stroke of a pen, they sometimes make changes that would require thousands—or even millions—of man hours (work undertaken by composers and editors). The Sprinkling Rite during Eastertide is but one tiny example. The version given in that PDF document was the original melody for Roman Missal, Third Edition. Some still prefer that version. However, at the last moment, an “unknown hand” tinkered with a few notes in the antiphon. Those who examine the current edition can verify this with their own eyes.
    —Jeff Ostrowski
    ‘Sarum’ Good Friday?
    Plainsong of the Roman Rite has many variants—i.e. slight ‘variations’ or ‘alterations’ made to the ancient melodies. Variants often thrive in particular religious orders. Likewise, before Henry VIII broke away from the Catholic Church, Gregorian Chant variants were frequently associated with individual cathedrals in England: Hereford, Lincoln, Salisbury, and so forth. In the early 20th century, the (Anglican) organist at Westminster Abbey married “Let All Mortal Flesh Keep Silence” to this beautiful variant melody from England. Those who sing Gregorian Chant on Good Friday will recognize the melody. What do you think of this pairing?
    —Jeff Ostrowski
    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski

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Recent Posts

  • PDF Download • “Sprinkling Rite”
  • ‘Sarum’ Good Friday?
  • Gregorian Chant • The “Correct” Way of Singing ?
  • PDF Download • “Eb Organ Postlude”
  • Fulton J. Sheen • “24-Hour Catechism”

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