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Jesus said to them: “I have come into this world so that a sentence may fall upon it, that those who are blind should see, and those who see should become blind. If you were blind, you would not be guilty. It is because you protest, ‘We can see clearly,’ that you cannot be rid of your guilt.”

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Views from the Choir Loft

A Word About Hymns . . . OK, A Few Words!

Jeff Ostrowski · February 17, 2013

OR THOSE INTERESTED in my opinions, I have written a fair amount about Catholic hymnody here [url] and here [url]. But I expect I will never be “finished” talking about hymns. For the record, I love hymns. For years, I did not love hymns, but that was because I was not exposed to great hymns. Now that I think about it, I also wrote about hymns here [url]. I will try my best not to repeat what I have already said in the aforementioned articles, but (as you might expect) this could prove difficult. I have been known to criticize priests who preach long, rambling sermons relating to the congregation “everything they know”: but now the shoe is on the other foot, as I sit here trying to resist the temptation to tell “everything I know” about hymns … because it is all so interesting!

Augustus Edmonds Tozer (d. 1910) was an English organist who edited a famous Catholic Hymnal which he called (with great originality) “Catholic Church Hymnal.” I think it first appeared around 1905. As I have already implied (in those articles) most of the stuff that appeared in those early Catholic vernacular hymnals was pretty much … garbage. What is hilarious (to me, at least) is reading what Tozer says on the very first page of his Preface:

I have not included the proper plain-chant melodies to the translated Breviary hymns, believing them to be unsuitable when sung to words in the vernacular. I have, on the other hand, retained several more or less traditional tunes, absolutely valueless and without merit from a musical point of view, but which seem to have become a necessity if a book is to appeal— as I hope this one will— to the varied needs of various churches. [my emphasis]

I would have changed his word “several” to “a whole bunch,” and if you read my previous articles, or this one [url] (which I just remembered), you will see that Adrian Fortescue and many others agree with this notion.

I have recently been thinking about hymns quite a bit, since two days ago I released 800 pages of organ accompaniments for the Campion Missal [url]. A good portion of these pages are hymn harmonizations, and you can view both volumes here:

     *  Organ Accompaniments for the Campion Hymnal [url]

I am so glad that I included a lot of different harmonizations and transpositions for the hymns. There is no “perfect” accompaniment for a hymn. After all, there can be many beautiful and adequate harmonizations. What range is good? SATB range is different than congregational. If your cantor has a low voice, a lower accompaniment is good. If he has a higher voice, a higher version would be preferred. Some organists have a “transposer” button on their organs, but many do not. Some organists cannot play hymns with a difficult key signature. This also has an effect. Usually, D Major, C Major, B-flat Major, G Major, F Major, and E-flat Major are “safe” keys. What about a pedal line? Should that be included? What about descants? What about passing tones? Should those be included? Some organists (myself included) add these only for certain verses. When will the hymn be sung? In the morning, the range should be lower. At night, the range should be higher. By the way, “range” is not the same as “tessitura.” The acoustics of the Church have an impact. Furthermore, sometimes the organist can “build”: in other words, play two verses at a lower key, then improvise into a higher key for the final verse. There are hundreds more considerations, and this is why I am so glad our newest book includes different versions for many of the hymns. I believe that more than half of the hymns are given in more than one key.

P.S.  Some organists claim they can “transpose at sight.” However, I personally have only met a handful of organists who can do this. Sometimes organists say they can transpose at sight … until you ask them for a demonstration! Other organists claim they can transpose at sight … and when it comes time for them to do it, they slow the tempo WAY DOWN. I cannot transpose at sight, except for rather simple pieces. If you are an organist who can genuinely transpose at sight, please know you are special !!! My hat is off to you.

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 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).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 6th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 6th Sunday of Easter (25 May 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and propers for this Sunday are provided at the the feasts website.
    —Jeff Ostrowski
    “Gloria in Spanish” • Free Accompaniment
    Several people have requested an organ accompaniment for the GLORY TO GOD which prints the Spanish words directly above the chords. The Spanish adaptation—Gloria a Dios en el cielo—as printed in Roman Misal, tercera edición was adapted from the “Glória in excélsis” from Mass XV (DOMINATOR DEUS). I used to feel that it’s a pretty boring chant … until I heard it sung well by a men’s Schola Cantorum, which changed my view dramatically. This morning, I created this harmonization and dedicated it to my colleague, Corrinne May. You may download it for free. Please let me know if you enjoy it!
    —Jeff Ostrowski
    How Well Does ICEL Know Latin?
    This year, the Feast of Saints Peter and Paul (29 June 2025) will fall on a Sunday. It’s not necessary to be an eminent Latin scholar to be horrified by examples like this, which have been in place since 1970. For the last 55 years, anyone who’s attempted to correct such errors has been threatened with legal action. It is simply unbelievable that the (mandatory) texts of the Holy Mass began being sold for a profit in the 1970s. How much longer will this gruesome situation last?
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

They were not ashamed to lay their hands on Sedulius, on Prudentius, on St. Ambrose himself. Only in one or two cases does some sense of shame seem to have stopped their nefarious work. They left “Ave maris stella,” “Jam lucis orto sidere,” and St. Thomas Aquinas’s hymns alone (they would have made pretty work of “Sacris solemniis”). In 1629 their mangled remnants were published.

— Rev’d Adrian Knottesford Fortescue (25 March 1916)

Recent Posts

  • “Music List” • 6th Sunday of Easter (Year C)
  • “Can the Choir Sing Alone at Mass?” • Yes! And Here’s Why That Matters
  • “Gloria in Spanish” • Free Accompaniment
  • How Well Does ICEL Know Latin?
  • Nobody Cares About This! • 1887 Rheims-Cambrai Gradual included “Restored” Plainsong

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