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Views from the Choir Loft

Responsorial Psalms & Gospel Acclamations

Guest Author · June 12, 2013

The following is a guest article by Royce Nickel.

HEN I BECAME music director at my last parish, I was distressed by some of the liturgical music I found in use. The Responsorial Psalm settings provided jazz chords to accompany the cantor’s verses, and the Gospel Acclamation was a jaunty little 6/8 melody that bore the name “Celtic Alleluia,” though in what way it was “Celtic” I never discovered.

Out of my distress was born the project of composing Responsorial Psalms in a rather different style. These ended up being posted at CCW’s Chabanel website, and some time later Jeffrey Ostrowski invited me to begin composing settings of the Gospel Acclamation for the Garnier Alleluias site as well.

Y GOAL WITH THE RESPONSORIAL PSALMS was to provide a melodic setting of the psalm refrain simple enough that it could be used by a congregation of quite modest musical ability. But at the same time, it had to sound sacred. It had to use the melodic language and idiom of the Church’s own tradition of sacred liturgical music, and it had to do this, though very simply, as beautifully as possible. This meant, first, that the rhythm of the Psalm refrain’s melody was not metrical but, as in Gregorian chant, non-metrical, articulating and elaborating on the speech rhythm of the text being sung. Second, the melody itself, and the organ accompaniment, would use the Church’s modes, exemplifying in typical ways the contours and habits of modal melody in each of the modes.

For the Psalm verses to be sung by the cantor I chose to employ the Gregorian psalm tones. It is true that the use of the ancient psalm tones for texts in English has been a matter of recent debate, some asserting that it is not possible to fit the cadences of the Gregorian tones, originally for singing Latin texts, to the somewhat different stress and accent patterns of the English. To me the arguments against using the ancient tones in English have always seemed overstated and not sufficiently grave to justify depriving ourselves of their sacred beauty. Indeed, it seems remarkable to me that Catholic musicians should debate the possibility of a form of psalmody that has in fact been practiced day in and day out for the last four centuries by the Anglicans.

OR THE ENTIRE CYCLE of Gospel Acclamations I am providing seven different Alleluia melodies, each set in a different mode. These are distributed over the Church year to mark the seasons, for example, a Mode II Alleluia for the Advent season, a Mode VII Alleluia for Christmas and Epiphany, Mode III for Lent, and so on. Keeping the same Alleluia melody for the whole season allows the congregation to become familiar with it and, as the seasons change, serves to mark the times of the Church year.

Whereas with the Responsorial Psalm settings I used the simpler formula of the Gregorian psalm tones that comes from the Daily Office, for the verses of the Gospel Acclamations I chose the more elaborate formula of the mass psalm tones. This decision was motivated by the reflection that, as the reading of the Holy Gospel is the high point of the entire Liturgy of the Word, a greater solemnity of style is appropriate.

Also, the beauty and glory of the mass psalm tones needs to be heard again as a vehicle for sacred text. It is true that the mass tones are traditionally used for the verses attached to the Introit and Communion chants of the Roman Gradual. Many parishes, however, simply do not yet have the musical resources to make use of those chants. Using the mass tones instead for the verse at the Gospel Acclamation is an adaptation rather than a novelty, in that it provides a way to highlight an important moment in the mass using the traditional musical language of the Church.

As a sample, here are this coming Sunday’s settings of the Responsorial Psalm and the Gospel Acclamation:

      * *  Responsorial Psalm for this Sunday

      * *  Gospel Acclamation for this Sunday

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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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —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

“Dom Pothier does not belong to the dim past, as the silence which surrounds his name would lead one to believe. Only a few years separate us from the time when—growing old and heavily burdened by trials—Dom Pothier was concentrating his ever keen attention on the study of manuscripts in the Belgian place of retreat where his community had found refuge. For he was the abbot; and there can be no doubt that the cross he wore during those days was a cross of sorrow, though he bore it with a smile.”

— Dom Ermin Vitry, OSB (31-OCT-1936)

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