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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

Thousands of Gospel Acclamations for Organ & Voice

Guest Author · July 8, 2013

What follows is a guest article by Mæstro Jon Naples.

BACKGROUND:

Y PARISH had just adopted the Vatican II hymnal as of Advent 2011. By the following Advent I was sending organ scores to Corpus Christi Watershed for the Garnier Alleluia site. Having the new hymnal provided our church with a unique asset as it is now the only book in our pews instead of the need for supplemental books and worship aids, etc. For the organist, cantor, and choir, the musical scores to the propers chants, responsorial psalms, mass parts, and hymns are just a few clicks away for easy download.

However, at that time I could not find published organ accompaniments for many of the Alleluia tunes found in the front of the book, including the Alleluia in honor of Father Chastellain which we use on Sunday. To that I had no choice but to start composing the organ parts to play on Sunday. Of course, a new verse tune had to be newly made for the cantor each week too.

Later, during the Colloquium of 2012 in Salt Lake City, I was surprised to discover that many of the downloadable scores, and even the varied versions of the new hymnal itself, were very recently composed and edited by so few people, mainly Mr. Jeff Ostrowski, the chief editor, and several other talented people who are working like mad to keep up the supply for a never-ending demand for new scores. Eventually I was offered the opportunity to help with a number of the Garnier tunes. Contributing scores gifted me with an opportunity to help out while it provided an outlet for my favorite hobby: music composition and arranging.


FOREGROUND:

N THE ARRANGEMENTS THEMSELVES, chant-like without time signatures, I try to provide a concise three or four-part accompaniment that works on the organ and keyboard through conventional part writing. The independent lines of music forming the harmony potentially makes them adaptable for an SAT, or SATB choir should such an option ever be desired. Although I do compose the verse tones, I am not the composer of most of the Alleluia tunes themselves. As I mentioned, they were in the front of the hymnal before I got to them.

For the verse tones, I first select and retain a few stock reciting tone formulas, and then add to, or “bend” them forming melodies to accommodate the differing texts each week towards what I would assert to be music’s vital function here: illuminate the gospel text through melody with enough musical friction to fire up the final Alleluia refrain. I am loathe to give a non-directive or tepid sounding musical setting of gospel text. For me, the art in music has always been that it can incise the listener’s understanding unawares, and drive home the message to move the heart as well as the mind. (As simple and brief as these settings are).

A sample may be found here:

      * *  Gospel Acclamation for 13th Sunday in Ordinary Time


THE REQUEST:

LTHOUGH I HAVE CONTRIBUTED NOW 500+ scores (many 1000’s of downloads), it is only now becoming clear that what lies ahead is to complete the three-year cycle. Therefore, if at all possible, please post feedback (specifics if possible) about my settings on the Garnier Alleluia downloads site so that I can try and retain what is working and discard or revise or at least not repeat what does not work. Such as, why the Alleluia in Honor of Father Martin Lawrence Jenco has not been used, to my knowledge at all, while other Alleluias I arrange seem to be in constant use. They include the Alleluias in honor of Frs. Bressani, Le Caron, Dablon, Chastellain, Vimont, Lalemant, Chaumonot, and Jenco.

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

    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

These prayers were not peculiar to Good Friday in the early ages (they were said on Spy Wednesday as late as the eighth century); their retention here, it is thought, was inspired by the idea that the Church should pray for all classes of men on the day that Christ died for all. Duchesne is of opinion that the “Oremus” now said in every Mass before the Offertory—which is not a prayer—remains to show where this old series of prayers was once said in all Masses.

— Catholic Encyclopedia (1909)

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