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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

The Choir Director as Catechist

Andrew R. Motyka · April 3, 2013

he parish choir director wears many hats: conductor, organist, composer, (shudder) liturgist, teacher, singer, and yes, even catechist.

People join the parish choir for many different reasons. Many join for the same reason they sing with any choir: it is an opportunity to express themselves through music, to enjoy singing, and participate in musical fellowship with their peers. What sets the parish choir apart from your local community choir, though, it the liturgical and spiritual dimension. Church choirs (should) focus exclusively on liturgical music, music that participates in, highlights, and elevates the Mass. Liturgical music is, first and foremost, prayer. Singers participate in the parish choir because music has a religious connection for them, as well. It is a way in which they draw closer to God.

We choir directors need to keep that last reason in mind during our rehearsals and preparation. How often do we choose pieces of music while preparing for the liturgy and think, “Wow, this piece is just perfectly appropriate for the Feast of Saint Whomever,” but never explain to the choir just why the piece is chosen. Surely, some of them already understand, but for the most part, members of your choir have the same catechesis that the rest of the parish has, that is to say, not very much.

For example, this past Easter Vigil, our choir sang at Offertory a piece called Sing Ye to the Lord by Edward Bairstow. The first stanza reads:

Sing ye to the Lord
For He hath triumphed gloriously
Pharaoh’s chariots and his host
Hath He cast into the sea.

The rest of the piece shares its text with later verses that might be recognized from At the Lamb’s High Feast:

Mighty Victim from the sky,
Hell’s fierce pow’rs beneath Thee lie.
Thou hast conquered in the fight.
Thou hast brought us life and light.

Now no more can death appall,
Now no more the grave enthrall.
Thou hast opened paradise
And in Thee Thy saints shall rise.

You might get the connection between this piece and the Easter Vigil very quickly, but some won’t. The first and most obvious feature is that the first stanza it taken right from the Old Testament reading from Exodus at the Great Vigil, but it is better to take it deeper for your choir. I explained to mine that Easter Vigil has a special focus on baptism, and that’s what this piece is truly about. Just as the Lord led the Israelites through water, defeating slavery and death in the form of the Egyptians, so does the Lord Jesus lead His church through the waters of baptism, freeing us from slavery and death in the form of sin. I could see the eyes light up immediately. They simply never knew that. Sure, you might be repeating a fact that your choir already knows, but we can all stand to be reminded and refocused from time to time. This way of feeding your choir helps them worship better, and frankly, helps them to sing the music better, too.

The catechist-music-director needs to know his or her material well. It’s not enough to choose music because “it’s pretty,” and while using the Gradual or Missal propers is an ideal musical choice, it is no more helpful spiritually to the choir if they don’t understand why a particular text is chosen for a particular feast. Why, for the Fifth Sunday of Lent this year, is the Offertory Antiphon:

“I will praise you, O Lord, with my whole heart; deal bountifully with your servant, that I may live and observe your word; revive me according to your word, O Lord.” ?

Why, to me, that sounds like the song of praise that the woman caught in adultery would have sung to Jesus, who saved her life. Teach your choir that.

Singers join the church choir for the same reason they join any other church activity: because they are hungry for something. Use the music you sing as an opportunity to feed them, and listen as their song becomes even more beautiful because they understand it more fully.

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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

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 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

“I would hope there is a place [at Mass] for the avant-garde in the same way I think there has to be a place—and we have to be careful with this—a place for Jazz and a place for Evangelical and all of that. […] On theological grounds, I do think we need interaction with the culture at the level of high art or at the level of more commercial pop culture.”

— Fr. Anthony Ruff (22 June 2016)

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