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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

Basic Steps To Improve Music At Your Parish — Part 7

Aurelio Porfiri · July 22, 2014

0319_cecilia-LG HAT WOULD BE REALLY necessary to build a good music program in a parish today? It is a secret, which in fact, is not so secret. Is it having a choir of 40 able to sing musical scales up and down? Maybe, but not essential. Indeed, in the case of the most disadvantaged parishes, even one good cantor can lead the congregation when there are not many forces available. So then, we need a fantastic organ with four manuals, and organists able to play fugues full of complexities? That would be nice, especially if one has a decent and well tuned instrument that can support good singing and can fill the moment where organ music is appropriate. But, also in this case not essential.

So what is the secret? Something smaller than an organ? Luxurious folders? Lavish choir cassocks? Gorgeous music stands? No, despite maybe all these things being important, they are not in the end essential. I said at the beginning that the secret of a good musical program in every parish is not so secret. I believe it is something quite simple that can be summarized in two words: good will. Yes, you just need good will, because even with the most simple elements you can have a dignified musical program if good will is there.

Good will in what way? Good will in following the Church teachings in accord with Church tradition. Good will in training the congregation in learning songs that are appropriate to the liturgy and not appropriate to the fancies of the pro-youth pastor (we may be against a corrupt idea of youthfulness). Good will to follow the liturgical year in all its richness. Good will to support the musicians so that their training may be more and more professional to meet the needs of the congregation in a more qualified manner. It is not money, power, fights…it is just and only good will. If there really is good will, there will be change in the unchangeable. Every parish will become a model in its own way, and the liturgical reform, in its essence and demands, will be happily fulfilled.


7-part series:   “Basic Steps To Improve Music At Your Parish”

FIRST PART • Andrew Motyka

SECOND PART • Peter Kwasniewski

THIRD PART • Richard Clark

FOURTH PART • Veronica Brandt

FIFTH PART • Fr. David Friel

SIXTH PART • Jeff Ostrowski

SEVENTH PART • Aurelio Porfiri

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

Filed Under: Articles Tagged With: Basic Steps To Improve Parish Music Last Updated: March 1, 2025

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About Aurelio Porfiri

Renowned as composer, conductor, theorist, author, pedagogue, and organist, Aurelio Porfiri has served the Church on multiple continents at the highest levels. Born and raised in Italy, he currently serves as Director of Choral Activities and Composer in Residence for Santa Rosa de Lima School (Macao, China).

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Corpus Christi Watershed

President’s Corner

    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski
    “To Cover Sin With Smooth Names”
    Monsignor Ronald Knox created several English translations of the PSALTER at the request of the Cardinal Archbishop of Westminster. Readers know that the third edition of the Saint Edmund Campion Missal uses a magnificent translation of the ROMAN CANON (and complete Ordo Missae) created in 1950 by Monsignor Knox. What’s interesting is that, when psalms are used as part of the Ordo Missae, he doesn’t simply copy and paste from his other translations. Consider the beautiful turn of phrase he adds to Psalm 140 (which the celebrant prays as he incenses crucifix, relics, and altar): “Lord, set a guard on my mouth, a barrier to fence in my lips, lest my heart turn to thoughts of evil, to cover sin with smooth names.” The 3rd edition of the CAMPION MISSAL is sleek; it fits easily in one’s hand. The print quality is beyond gorgeous. One must see it to believe it! You owe it to yourself—at a minimum—to examine these sample pages from the full-color section.
    —Jeff Ostrowski
    Heretical Hymns
    As a public service, perhaps a theologian ought to begin assembling a heretical hymns collection. A liturgical book—for funerals!—published by the Collegeville Press contains this monstrosity by someone named “Delores Dufner.” I can’t tell what the lyrics are trying to convey—can you? I detest ‘hymns’ with lines such the one she came up with: “Let the thirsty come and drink, Share My wine and bread.” Somehow, the publication was granted an IMPRIMATUR by Most Rev’d Jerome Hanus (bishop of Saint Cloud) on 16 August 1989. It’s a nice tune, but paired with a nasty text!
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    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. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“Abbat Pothier’s great accomplishment is having returned to the Catholic world—along with the traditional melody—the traditional way of performing it. The foundations laid by this providential man have been accepted by all those who practice Gregorian chant.”

— Dr. Peter Wagner (Commissionis Pontificiæ Gregorianæ Membrum)

Recent Posts

  • Funeral Music “Template” • For Families
  • “To Cover Sin With Smooth Names”
  • Heretical Hymns
  • Alphabetizing Hymn Titles Inside Hymnals • “Does This Make Any Sense?”
  • Fulton J. Sheen • “24-Hour Catechism”

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