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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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Corpus Christi Watershed

President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“The modern human being, wearied by the noisy and hectic life, through an attentive listening can find in church a restful peace which is the springboard for true prayer.”

— Dr. Joseph Lennards (1966)

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