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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.”

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Views from the Choir Loft

Are Hymns Boring?

Jeff Ostrowski · April 6, 2014

686 ORGANIST HE MAJORITY of parishes I’ve attended sing hymns like this:

1st Verse:   Congregation, choir, & organ

2nd Verse:   Congregation, choir, & organ

3rd Verse:   Congregation, choir, & organ

4th Verse:   Congregation, choir, & organ

5th Verse:   Congregation, choir, & organ

6th Verse:   Congregation, choir, & organ


By the fourth verse, I’m already asleep … so boring!   Here’s how I like to sing hymns:

1st Verse:   Treble voices only with soft organ registration

2nd Verse:   Entire congregation with louder organ registration

… organ interlude/improvisation

3rd Verse:   Men’s voices only with organ

4th Verse:   Entire congregation with even louder organ registration

… organ interlude/improvisation takes the hymn into a higher key

5th Verse:   Choir singing SATB harmony without organ accompaniment

6th Verse:   Entire congregation sings, men on the melody, women on a descant, while the organist plays a different harmonization with heavy chromaticism

By the way, Our Lady of the Atonement uses something similar, and it’s marvelous.

WHEN I WAS COMMISSIONED to compose accompaniments for strophic Gregorian hymns in the 2012 edition of the St. Michael Hymnal, I insisted on providing different harmonizations for each verse. After all, this has been “standard practice” for almost 100 years (at least when it comes to composers who really know what they’re doing). The editors were not able to include them all (since this would have made the book too large) but I made it part of our official agreement that a link would be included next to each piece, showing where they can download the full accompaniments, and the editors agreed. Here’s that link:

      * *  Organ accompaniments to Gregorian hymns in St. Michael’s Hymnal

Was this a big deal? If you look at the CRUX FIDELIS or the SALVE FESTA DIES, you’ll begin to understand why this task required many hours.

I provide a video demonstration here:

      * *  Video explanation of Gregorian accompaniments

One of the people involved with Watershed at that time asked, “Why are you giving away all your compositional secrets?” The answer is simple: Watershed has always been about doing whatever we can to improve Church music. That is why, for instance, we made all 3,000 pages of the NOH available (here) for free download in 2008.

In the end, “variety” is the name of the game. Here are some articles which explain the importance of variety in Catholic liturgical music:

      * *  The G.I.R.M. Mentions “Hymnus” Only Once

      * *  A Simple Plan To Improve Music At Mass

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

Filed Under: Articles Tagged With: Hymns Replacing Propers, Parish Book of Chant Organ Accompaniments Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we forget that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.”

— SACRAMENTUM CARITATIS

Recent Posts

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  • How do you pronounce this word in Latin?
  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

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