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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

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    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

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

“As late as 1834, British society had many restrictions on any person not adhering to the Anglican church. For example, Roman Catholics could not attend a university, serve on a city council, be a member of Parliament, serve in the armed forces, or even serve on a jury.”

— Regarding the Church of Henry VIII

Recent Posts

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  • Boston Auxiliary Bishop: “In offering the Traditional Mass for the first time, after removing the vestments, I knelt in the back pew and wept.”

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