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Views from the Choir Loft

Basic Steps To Improve Music At Your Parish — Part 1

Andrew R. Motyka · July 16, 2014

WO WEEKS AGO, I was blessed to give a presentation at the annual CMAA Colloquium here in Indianapolis. My presentation was about slowly implementing the propers in the “average” parish. I will try to reproduce it sometime for a blog. For now, we here at Watershed are embarking on a similar project: what are some simple ways, some “first steps,” to improving music at the average parish level?

I think that, in order to have this conversation, we have to establish what that average parish looks like. It likely uses a mainstream hymnal, and all music selections are from the suggestions provided by those publishers. They may use hymns, “praise and worship” music, or other contemporary and traditional styles, but for the most part, the model is still the Four Hymn Sandwich. Propers are never done, and the large majority of the parish is not even aware of their existence apart from those short verses included in the missalette. Instrumentation ranges from piano to guitar, sometimes using the organ, but a capella music is never used.

NOW, AS CRITICAL AS THAT PICTURE LOOKS, I do not draw it in mockery or scorn; I draw it in realism. If we have an unrealistic view of what our parishes look like now, we have little chance of improving the liturgy to where it could be. So where does one begin? Let’s say I have been hired as the new music director of St. Everyman here. What do I do first?

IRST, we need to establish a rapport with the parishioners. Music reform doesn’t exist in a top-down model, and when you’re the new guy/gal, you don’t have a lot of capital to spend in implementing changes. Get to know the parishioners, and get to love them. When your guidance comes from a place of love, you will go much further, and they will trust you much more. Always respect people more than systems.

ECOND, and this cannot be stressed enough: go slowly. I know you see a bleak liturgical picture here, and your instinct is to change just about everything, but if you go too fast with the changes, you will lose everything. You may experience serious pushback, or worse yet, your pastor will. This is how good, talented people lose their jobs, and the person they hire after you will not be interested in moving forward. Be patient and keep your eye on the long game.

HIRD, on to the musical shifts. The very first thing you should do is start working on your pastor to intone the dialogues. These are not difficult, and there are numerous print and online resources to assist in learning to sing the Mass. The sung dialogues can be inserted right into the liturgy as described above, with no other changes. Get the people used to singing everything. Even keeping praise and worship in place, the reverence of the liturgy will be greatly improved simply by starting with a sung Sign of the Cross and Preface Dialogue.

OURTH (Jeff told us to focus on one thing, but I just can’t stop), the first actual change to the music should be at Communion. Begin singing responsorial-style psalmody during the Communion procession. It doesn’t matter whether they are propers, simple psalms, or even the singer-songwriter psalm settings so ubiquitous at the parish level. Get people used to hearing psalms as the proper music for the Mass. The hymnal isn’t the Church’s songbook; the Psalter is. Also, there is the practical matter that no one carries a hymnal to receive the Eucharist. If you use a simple antiphon response, people will be encouraged to sing even during that point of the Mass, as is the norm set forth in the GIRM (whether this is a good idea or not is a discussion for another time).

Good luck with your new parish! The above suggestions should take you no less than a year, unless you are being pushed by your pastor. Take your time and allow the new concepts to sink in before you move on to another one. Keep your eye on the prize and remember that it takes far longer to build something up than to tear it down. Start slowly and set in place improvements that will last.


7-part series:   “Basic Steps To Improve Music At Your Parish”

FIRST PART • Andrew Motyka

SECOND PART • Peter Kwasniewski

THIRD PART • Richard Clark

FOURTH PART • Veronica Brandt

FIFTH PART • Fr. David Friel

SIXTH PART • Jeff Ostrowski

SEVENTH PART • Aurelio Porfiri

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

Filed Under: Articles Tagged With: Basic Steps To Improve Parish Music, Simple Steps To Improve Parish Music Last Updated: March 1, 2025

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“I have, on the other hand, retained several more or less traditional tunes, absolutely valueless and without merit from a musical point of view, but which seem to have become a necessity if a book is to appeal—as I hope this one will—to the varied needs of various churches.”

— A. Edmonds Tozer (1905)

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

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