• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
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

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “Music List” • 22nd in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 31 August 2025, which is the 22nd 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 spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    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

Random Quote

“In case of urgent danger of life anyone may baptize, even a heretic or pagan. It is sufficient that he administer the essential matter and form and have the implicit intention of doing what Christ instituted. Naturally a Catholic must be preferred, if possible. A man is preferred to a woman; but anyone else to the parents.”

— Father Adrian Fortescue (1917)

Recent Posts

  • “Music List” • 22nd in Ordinary Time (Year C)
  • Brave Schola Director Posts ‘Live’ Recording
  • “Cracker Barrel & Catholicism” • Logos and Lessons
  • “Reform of the Reform” officially embraced by USCCB
  • “The Worm That Dieth Not”

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.