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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

Tools for the Day

Andrew R. Motyka · January 22, 2014

AVE YOU EVER NOTICED that the Communion Antiphon, more than any other proper, tends to directly reflect back to the Gospel? It is most certainly true of the antiphon this weekend, which goes directly to Jesus’ call to Andrew and Peter.

On a side note, this weekend’s Gospel is why my namesake is included in the Roman Canon as a mandatory name, even though most of the other apostles are optional. Andrew holds a special place as the first apostle to be called. So there.

If you anything like I was several years ago, you are tired of the same half-dozen or so Communion hymns that show up in every hymnal. Since most parishes are not yet ready to move to the Gregorian Proper, why not give these a try? They are simple antiphons which do not require a worship aid to remember, follow the text of the proper, and are related by modality to the Gregorian chant of the Communio. The verses are set to the St. Meinrad Psalm Tones, which is another tool that every pastoral musician should be familiar with.

We should be always expanding our toolboxes with new ideas for implementing propers and furthering the solemnity of the liturgy. Increased solemnity in the liturgy should always be our goal, and the propers help with this much better than the newest song about gathering around the dinner table.

This past Christmas, I received one of the best compliments I’ve ever received. I was told that the music did a beautiful job fostering a spirit of prayer and keeping us there. That is the goal: to bring people to Jesus.

Come to think of it, every time Andrew appears in the Gospel, he is bringing someone to Jesus. We should do the same.

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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Corpus Christi Watershed

President’s Corner

    Job Opening • $65,000 per year +
    A parish 15 minutes away from me is looking for a choir director and organist. The parish is filled with young families. When I began my career, I would have jumped at such an opportunity! Saint Patrick’s in Grand Haven has a job opening for a music director paying $65,000 per year including benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” I lived in Kansas for 15 years, Texas for 10 years, and Los Angeles for 10 years. Michigan is the closest place I know to heaven!
    —Jeff Ostrowski
    “Reminder” — Month of November (2025)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski

Random Quote

It’s good that you are in the USA, otherwise who is going to—in the best sense—make music?

— Ignaz Friedman writing to Josef Hofmann (4 January 1940)

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