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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

Improvising – and Praying – on the Propers

Richard J. Clark · January 10, 2014

N RECENT YEARS, I HAVE ADOPTED THE HABIT of improvising on the propers when appropriate and applicable. Most often, this may be at a mass without choir, or perhaps one of the “off-peak” masses. This also comes in the form of the occasional prelude improvisation, usually on the Introit. In doing so, one can never be reminded enough of these words from the Second Vatican Council:

“In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things.” (Sacrosanctum Concilium, 120),

Coupled with the above phrase must be the following:

“Therefore sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action…” (Sacrosanctum Concillium § 112)

When one can print the text in a worship aid, the prayerful connection is easily made. However, when this is not the case, what purpose does it serve, and why persist in doing it? The answer is more closely related to the interior prayer life of the organist. Not only is a melody the subject of improvisation, but also the text must be in the heart of the improviser throughout!

To make a habit of carrying these texts in one’s heart on a regular basis can only be helpful to the prayer life of the organist. But what does this accomplish for anyone else? What does this accomplish liturgically? Well, a few things. First of all, a must read is Part Four of Dr. William Mahrt’s “The Musical Shape of the Liturgy: The Function of the Organ.” Dr. Marhrt points out the ancient common practice:

“The prescription found in medieval liturgical books that a melody which is to be carried by the organ is cantabitur in organis (it shall be sung upon the organ), or even dicetur in organis (it shall be said on the organ), and it acknowledges this function of implicitly bearing the text.”

However, this applies to well-known sacred melodies that a listener would easily recognize. The most common example are masses sung in alternatum with the organ. It is clearly understood what the text is whether sung or played.

But what about melodies that are unfamiliar, especially in a present-day context? Consider too, that the heart of improvisation is elaboration. Then what? Does anyone have any idea what we are doing? Is it important? Very few Offertory melodies are being whistled on the way out the door.

In such cases, one would not argue that the organ is speaking the text in the sense of ”dicetur in organis” (it shall be said on the organ). Rather, the music must serve to the heart of prayer in of itself, as well as serve the ongoing liturgical action, which improvisation tends to do fairly well.

CLOSE FRIEND, A PRIEST once told me years ago something I’ve never forgotten. “The people don’t need to know what it is to understand it.” In other words, they will understand the prayer interiorly if not in words. Since hearing that, I have always thought it important to play and pray music related to a relevant text. This is not an excuse for laziness and to not provide texts in worship aids. But in times when texts are not readily available, or even if they are, the liturgical understanding is not present, one relies on faith that what the musician prays edifies and transports those with open ears open to prayer.

Another friend recently wrote to me, “I don’t think that the average Catholic has a conscious appreciation of our need for sacred mystery.” However, I believe that there might be a subconscious hunger for the sacred mysteries. While this may sound silly to some of us, it is worth the reminder to never be afraid of expressing mystery. Improvisation does this quite well as it unleashes the spirit. Coupled with Gregorian Chant, improvisation gives further voice to the sacred. Do not be afraid of the mystery!

ERE I OFFER TWO somewhat random examples from the twenty-third Sunday in Ordinary Time. While crude videos, they were recorded during mass, hopefully retaining the continuity of the liturgical action. In somewhat of a colorful French, yet modal language, I hope my limited improvisational skills assist in prayer.

Hopefully, if we make a habit of keeping the prayers of the propers in our hearts, we will ourselves become converted and transformed in the ways we most need. This in turn may assist in all the other work that we must do.

There is power in improvisation and in prayer.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Improvisation, Pipe Organ, Propers Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

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

“In older times we referred to humans as the human race, but according to this foundation we are being classed with the animals on the farm, the cow, the horse, the mule […] According to this foundation, I have no right to be born, for I am the youngest of 16 children, and God bless my mother for every one of them!”

— Archbishop Schrembs (d. 1945) vs. a foundation promoting artificial contraception

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