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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

Hymnal of St Pius X

Veronica Brandt · March 15, 2014

Hymnal of St Pius X Dr Percy Jones’ Hymnal of St Pius X. LD AUSTRALIAN HYMNBOOKS are rather hard to find. I’m in awe of how many cheap old hymnbooks are available in America. We don’t seem to have the same volume of print runs here. I wrote a little while ago about the Living Parish Hymnbook from the 1960s, but today I have an earlier book in a similar vein.

Dr Percy Jones, choirmaster of St Patrick’s Cathedral in Melbourne, put together this hymnbook back in 1952. To quote from the foreword:

This Hymnal has been compiled and edited to make it possible to carry out the expressed wishes of the Church that congregational singing should be a constant ‘living proof of the Faith,’ whether in large cities or in small villages. In the first section, containing the Gregorian Chant for sung Masses, Benediction and other occasions, an attempt has been made to solve the difficulty of reading the notation peculiar to the Chant. By retaining the Chant notation (with modifications which clarify certain obscure groupings) but using the modern staff and key signature, the Editor hopes that the advantages of both will encourage singers and choir directors to undertake Gregorian Chant.

Above is an example of Dr Jones’ hybrid chant notation. Groups of ascending notes, like the podatus, are spread out horizontally to remove any doubt as to which note is sung first. The porrectus is changed into something like an inverted torculus. I do not have a copy of this book aimed at the congregation, but it is available at the National Library of Australia in screen resolution colour.

I bought a copy of the organ book in a thrift shop some years ago. I recognised the music from photocopies from around our piano at home. Then I found a worthy cause to donate it to, but scanned it first. It was one of my first attempts at scanning a book. In frustration I left the files to languish on a hard drive. Today I was moving files over into a new computer and had another look. They are still better for printing than those of the National Library of Australia, so I finished the job and now you can have a copy too:

      * *  Download the organ edition here.

Page 120 (hymn number 43, page 106 by the printed page numbers, ) has a hymn to St Patrick suitable for singing outside the Emerald Isle:

Patrick! from your kindling
      Lit on Slane’s green hill,
Faith’s pure fire undwindling,
      Burns, all deathless, still.
Drear days could not hinder
      Warm expanse of flame:
Travail gave new tinder,
      New flint, penal shame.

Patrick! from this firing
      Faith’s brave banners unfurled,
Borne by priests desiring,
      For Christ’s sake, the world;
Hearts throbbed to their warming,
      Hope glowed where they trod,
Exiles’ loss transforming,
      To great gain for God.

Patrick! from this glowing,
      Faith’s flame mounts and towers,
Knowledge full bestowing,
      Eire’s feast is ours!
Hear us then rejoicing,
      Rising young and strong:
Gratefully glad-voicing
      Prayerful praise in song.

(Australia’s Salute to St Patrick by George D. Walton)

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

Filed Under: Articles Tagged With: Hymnbooks Last Updated: January 1, 2020

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About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • “Ascension of the Lord”
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for the The Ascension of the Lord—“Festum Ascensionis Domini”—which is transferred to 17 May 2026 in our diocese. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (“Ascéndit Deus in jubilatióne”) is particularly beautiful and the ENTRANCE CHANT is simply splendid. As always, readers may go directly to the flourishing feasts website, where the complete Propria Missae may be downloaded free of charge.
    —Jeff Ostrowski
    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

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