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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

Following the Leader

Andrew R. Motyka · April 24, 2013

NE OF THE MOST IMPORTANT things a director can do to promote good singing in the choir is to be a good singer and model for the group to follow. If the director cannot demonstrate competence with every aspect of a piece of music, he or she will not be able to inspire confidence on the part of the choir. How do you achieve this?

1) Use your choir warm-up as a springboard for the rest of your rehearsal.

Demonstrating good vocal technique begins with your warm-up. If your choir is improperly or insufficiently prepared to sing, the entire rest of the rehearsal will suffer. Don’t be afraid to spend a considerable amount of time getting your choir to transition from their speaking voices to their singing voices. It will save you rehearsal time in the long run, as it will affect pitch, breathing, and intonation. You can use a thousand words to explain to your choir how good breath support works, but showing them is much more effective.

2) Be able to sing every part of the music your choir is singing.

When you are teaching your choir a new piece of music, take the time to familiarize yourself ahead of time with each line of music. Not only will this save time when your choir asks for a reminder about notes or rhythms, but it will also offer proof of “singability” to your choir. If you’re a tenor and can sing the soprano line (even in falsetto), it will help your sopranos realize that they can do it, too. Even more importantly, intimacy with each voice’s part will help you to identify potential problems before you even begin the rehearsal.

3) If singing is not your strength, practice.

Most of us have a strength as a musician. It could be conducting, playing the organ or piano, composing, or singing. Last week, I wrote about the importance of practicing your composition skills. Singing is no different. You may be a great liturgist, a great organist, and a really nice guy or gal, but if you don’t view being a good singer as just important of a priority, you’re going to have a hard time inspiring your choir to make it their priority as well.

4) Demand responsibility from your choir.

In my experience, competence in 1-3 is very effective in leading a rehearsal. I would like to caution against a pitfall, though, and that is taking responsibility for good sound upon yourself. The choir needs to know that it is responsible for every sound that is coming out of it, and they cannot be lazy about their responsibility just because they have a good model. The trick is to use your demonstration to pass on good technique and musicianship.

We’ve all heard the statement, “Those who can, do. Those who can’t, teach.” Yet we all know that this makes no sense. Any teacher needs to be primarily an example for their students. When it comes to singing, if you want them to follow you, you need to be a leader.

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

    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

“The Lord’s Prayer, among the Greeks, is said by all the people; among us, by the priest alone.”

— Pope Saint Gregory the Great

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