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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

How Do I Get Them to Sing? Part 1 of 2

Andrew R. Motyka · March 6, 2013

t’s the question that I’ve heard the most, both explicitly and implicitly. For many music directors, getting their congregations to sing is the greatest challenge. Whether or not everything needs to be sung by the congregation is not the point of this entry. One of the primary means of lay engagement in the liturgy is congregational singing, and if your parish is one where nearly everyone remains silent, there is a problem somewhere. It is not always the fault of the music director; the liturgical culture of a parish is many-faceted. That said, here are some practical tips to get your congregation to sing out:

1. Sing worthy music. This may sound completely irrelevant, but it is, in my opinion, the number one reason that congregations don’t sing. People need to have something that is worth singing, and that means both a worthwhile text and melody. Trite and banal music and poetry does not edify anyone. If you want the people to sing, make it worth their effort. Give them real prayers and texts that are not sappy and embarassing to utter.
Make the music “singable.” The average person in the pew cannot sing complicated rhythms, syncopation, and exotic melodic leaps. Keep it simple and dignified. A good place to start is with the dialogues. If the priest intones the simple prayers of the Mass, the people respond, and it puts them “in gear” for sung prayer. When Mass begins, a sung Sign of the Cross gets everyone off on the right foot. I have never in my lifetime heard a congregation sing the Lord’s Prayer poorly.

2. Step away from the microphone. I almost listed this as Number 1. Other than music selection, overuse of the microphone is a fantastic way to discourage your parish from singing. You may (or may not) have a cantor with the most beautiful singing voice, but if he sings every single piece from the microphone, he will be the only singer. Even hundreds of parishioners can’t compete with one amplified voice, and they won’t even try. If the microphone is needed at all, save it for music that the cantor must sing alone, like the verses of the Responsorial Psalm or the Verse Before the Gospel. If you want the congregation to sing, just back away from the mic. Singing, whether in choir or in assembly, is an act of responsibility. The congregation needs to know that the music simply won’t happen unless they create it. At first will be a shock, and you may see a decrease in singing before it increases again, but the end result will be greater. Another reason to tell your cantor to back away is because congregational singing is already, by its nature, clunky and ponderous. As such, there can be only one leader of song, and it absolutely must be the organ. Speaking of which,

3. Use the organ rather than the piano. This is not an argument from tradition, though there are some good arguments there, too. Solely as a practical matter, the organ is an infinitely superior instrument in leading congregational singing. The broad and sustained sound from the organ will always lead song better than the attack-and-decay sound of a piano. Furthermore, the very mechanism by which the organ creates sound is the same mechanism that the human voice uses. The organ is an instrument much like the human voice and makes for a better song leader.

Next week, we will cover additional tips for getting your congregation to sing, from how the instrument is played to more tips on music choice.

CLICK HERE to read Part 2 of this article.

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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

[to the executioner] Sir Thomas More: “I forgive you right readily.” [gives him a coin] “Be not afraid of your office; you send me to God.” Archbishop Cranmer: “You’re very sure of that, Sir Thomas?” More: “He will not refuse one who is so blithe to go to him.” [kneeling, he places his head on the chopping block]

— From “A Man for All Seasons” (1960 play by Robert Bolt)

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