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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

“Proper Of The Mass” (Ignatius Press) • Part 3 of 7

Veronica Brandt · April 18, 2015

for you my soul thirsts E SEE AN ENORMOUS CHASM between the musical tradition embodied in the official music of the Church and contemporary music which takes its place around the world. Perhaps the most stark contrast can be seen comparing This is the day that the Lord has made and the original chant Haec Dies. Which one gives a sense of the sacred?

A student of music learns not only to read music but also to write it down. When it comes time to buy school supplies I still see books of music manuscript paper alongside regular lined notebooks, so I know this must still happen. If the music you want is not written down already, a musician should be able to put something together. I still have handwritten pieces here and there in my music folders.

With computers we have music typesetting software available we can go beyond the photocopies and edit music producing clear editions to suit the occasion. With the internet we can share files to give a head start on such projects.

Benjamin Bloomfield’s gabc transcription tools are an amazing help towards typesetting psalm toned propers, though only the Readings Tool and the Hymn Transcriber have explicit English options. Combined with Gregobase and Illuminare’s Score Editor you have the ability to edit Gregorian chant scores to suit your choir.

Or you can find it all done for you, all in English, with about four different options for each piece, thanks to Fr. Weber’s book The Proper of the Mass for Sundays and Solemnities.

This article is part of a series on Fr. Weber’s Book of Propers:

Part 1 • Andrew Motyka

Part 2 • Richard Clark

Part 3 • Veronica Brandt

Part 4 • Fr. David Friel

Part 5 • Andrew Leung

Part 6 • Dr. Lucas Tappan

Part 7 • Jeff Ostrowski

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

Filed Under: Articles Tagged With: Propers Ignatius Press by Fr Samuel Weber Last Updated: January 1, 2020

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About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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President’s Corner

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    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
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“Even after 1600 A.D.—despite major changes in musical taste—the compositions of Father Cristóbal de Morales were reprinted at Venice. Indeed, and as late as 1619 A.D. one Venetian publisher found his magnificats still in sufficient demand to make a profitable commercial venture out of issuing a new transcribed version for equal voices.”

— Dr. Robert Murrell Stevenson (d. 2012)

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