• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

We’re a 501(c)3 public charity established in 2006. We have no endowment, no major donors, no savings, and run no advertisements. We exist solely by the generosity of small donors.

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Voice Leading Matters

Jeff Ostrowski · December 9, 2010

S EVIDENCE THAT Gregorian accompaniment is a legitimate part of our Catholic musical tradition, Corpus Christi Watershed has posted more than 15,000 pages of chant accompaniments, which you can freely download at the Lalande Library Website. I have been advised to keep this article rather short, so I will (alas!) only be including a handful of examples. The opinions expressed below correspond to my own personal ideas about what a “standard” Gregorian accompaniment should be. In general, my perspective is the same as the Lemmens Institute, which produced the Nova Organi Harmonia. For more on this, please read the Preface to our new Chabanel Psalms Publication. I do not consider “improvised” harmonizations or those that use special registrations, as this would require a separate article.

Let’s start with an example by the legendary Gregorianist, Dr. Peter Wagner. He churned out literally thousands of pages of Gregorian accompaniments, but I have serious issues with his approach. The below (part of a melisma on the syllable “num” of Dominum) is a typical example:

Frankly, I think his accompaniment is just awful. The entire thing is basically just one, long, boring, root-position C chord. It doesn’t “go” anywhere, harmonically. Then, too, I don’t like how he uses an incomplete chord (marked as no. 1), something Wagner does constantly. This example also displays something I loathe in Gregorian accompaniments: it leaves a chord, then immediately returns to that same chord (marked as 2-3-4). When I see an accompaniment like this (which, by the way, he obviously liked, because he repeats it each time this melody occurs), I cannot help but wonder why he didn’t do something like this:

That was the first harmonization that popped into my head (which probably means I’ll hate it tomorrow morning). Granted, I’m not saying it’s perfect, but it uses structural changes of chords (in other words, it “goes” somewhere), uses a variety of different chords (to avoid ear fatigue), employs plenty of common tones, starts with a nice “walking” bass line (which, in Grad school, you have to call “stepwise,” just like you have to call a “pick up” note an “anacrusis”), and “consistent” harmonic rhythm (i.e. subtle chord changes at regular intervals).

Next is an example by Achille P. Bragers:

To me, the first half is decent. But in the second half:

(A) He “camps out” on a chord I dislike for a long time (blue bar). Were I to use such a chord, I certainly would not sit on it for such a long time.

(B) I find one spot in particular (red bar) quite “stagnant.” I would prefer some kind of motion or progression there.

(C) Just as Wagner did, he falls into the age-old trap (pink bar): he leaves a chord, then immediately returns to it. Some might argue that it’s not exactly the same chord, but my ear certainly hears it as (essentially) a root-position, D-Major chord.

Now for an excerpt by Rev. Fr. Michael Horn, O.S.B., a Gregorianist from the Monastery of Seckau. Of all the books we’ve added to the Lalande Library, his Kyriale accompaniment is certainly one of the rarest.

Marked by a red bar is a spot my composition teachers would say has a bad case of “Wanderitis.” His accompaniment simply wanders around. It doesn’t “go” anywhere (again, a common defect in so many Gregorian accompaniments).

This example, by Max Springer (a famous Gregorianist), has some really nice moments:

However, I find many places quite disturbing. For instance, at the red line, he employs a Dominant 7th chord (which is pretty much the chord you must avoid at all costs), and then adds insult to injury by resolving to an incomplete F Major chord. Mozart would be proud, but those of us who adhere to the “Lemmens school” cringe. Then, too, note how he leaves and then returns to the same exact chord three times in a row (marked by orange stars)!

This next example is very painful for me, as I’m forced to criticize the predecessor to the Nova Organi Harmonia:

It would seem the Desmet brothers and Depuydt still had a lot to learn. Their accompaniment is quite stagnant (purple bar). Then it suddenly harmonizes each note (red bar), just like they did in the nineteenth century!

We are offering a special, brand new collection of Gregorian accompaniments for Responsorial Psalms, wherein I’ve attempted to avoid every pitfall, presenting (hopefully) a true representation of the Lemmens school of accompaniment. If you value the resources offered by Corpus Christi Watershed, such as the Lalande Library, I would ask you to please send your friends to this link. Sales of books will help us continue our work for the Church.

Here is a typical example of a Chabanel Psalm. There are hundreds more like it in the 180 page organist book, and all feature: 100% modal purity, harmonizations that “go” somewhere, counterpoint appropriate to Gregorian accompaniments (i.e. contrary motion, correct voice leading, abundant common tones, and pedal tones in all voices), and numerous varied harmonizations of each Refrain that work well in any conceivable circumstance or acoustic. At all times, jarring chord changes are avoided.

By the way, the Chabanel Psalms don’t require organ accompaniment. Here’s an example of how they sound a cappella:

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —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

[on Latin] “No change in Mass: people have missals and can read. More vernacular can be useful in the Sacraments: Baptism, Confirmation, Extreme Unction, Matrimony.”

— Cardinal Spellman (one of the Vatican II fathers)

Recent Posts

  • Bugnini’s Statement (6 November 1966)
  • (Rehearsal Clips) • Sacred Music Symposium 2025
  • Hidden Gem: Ascendit Deus (Dalitz)
  • PDF Download • Soprano Descant — “Hail, Holy Queen Enthroned Above”
  • “Dom Jausions had a skilled hand. His transcriptions are masterpieces of neatness & precision.”

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up