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Views from the Choir Loft

Basic Steps To Improve Music At Your Parish — Part 2

Dr. Peter Kwasniewski · July 17, 2014

Y FIRST recommendation is: Sing the Propers of the Mass. The Roman Rite of Mass is very ancient, even more ancient in its roots than the various Byzantine liturgies, and it always maintained a fundamental structure and integrity that has never wavered―until the 1970s and after. This beautiful structure is articulated most basically by two elements: the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) and the “Propers” or antiphons proper to the day (Introit, Gradual, Alleluia, Offertory, and Communion). Since nowadays the Gradual is often replaced by the Responsorial Psalm and the Alleluia by the Gospel Acclamation, let us focus our attention on the other three, the Introit (or Entrance antiphon), the Offertory antiphon, and the Communion antiphon.

Now, it is certainly not possible in most cases to go from never using the Propers to using all of them in their full Gregorian versions―even though these versions are of tremendous beauty, and were expressly recommended by Vatican II. But what we can and must do is begin to chant the Propers in some simple way, so that they reclaim their important liturgical, devotional, and pedagogical role. They structure liturgical time and space in important ways; they nourish our devotion as they accompany the different actions of the Mass; they instruct the faithful by placing the Word of God in their ears, in their hearts, even on their lips.So, the #1 improvement is to choose a reliable book of Propers and simply begin to use them―and, at least initially, alongside whatever music is customarily used at those times. For example, have a cantor or the choir sing the Introit right before Mass begins, and then everyone sings the Entrance hymn; or one can start with an Entrance hymn and then, when the priest reaches the altar and incenses it, the cantor or choir sings the Introit. The same practice can be followed at the Offertory and at Communion time. This, all by itself, can have an amazing effect on the way the liturgy is perceived and experienced by the congregation. It begins to be perceived as the work of God, not the work of man; as a formal offering permeated with the Word of God.

There are plenty of good options now for singing the Propers in English: the Simple English Propers, Lumen Christi Missal, or Lumen Christi Simple Gradual by Adam Bartlett; the Lalemant Mass Propers by Jeff Ostrowski; the forthcoming Proper of the Mass by Fr. Samuel F. Weber, OSB. Moreover, the Responsorial Psalm and Gospel Acclamation can be reclaimed for Catholic tradition simply by singing them in a chant style; and again, one need only visit the Chabanel Psalms or Illuminare Publications, among others, to get the right music.

Without displacing a community’s hymns, without dropping the Latin bomb, without disrupting the flow of the liturgy, one can reintroduce the Propers of the Mass and, in this way, begin to reconnect the liturgy with its rich musical and textual heritage. This will be beneficial to the spiritual lives of Catholics, who are supposed to be steeped in the authentic liturgy of the Church.

Y SECOND RECOMMENDATION is: sing the Ordinary. When traveling, one frequently encounters two sorts of parishes: (1) the parish that never sings the Ordinary of the Mass, and (2) the parish that does sing it but with tunes and rhythms that are hardly worthy of the exalted words being sung or of their role in the unfolding liturgical action. The solution here, as above, is to “launch out into the deep” by starting to build up a repertoire of simple vernacular plainchant. Week by week, month by month, season by season, sing “Lord, have mercy” or “Glory to God,” sing “Holy, holy, holy” or “Lamb of God,” and yes, sing the Creed too!―but use beautiful chant settings that bring out the words as prayers rising up to God like clouds of incense, as expressions of sacred mysteries that we are unworthy to utter with our lips, as glimpses into the Heavenly Jerusalem. That is what the chant style of singing accomplishes, in its simple, humble, modest, and yet exultant way. Again, as with the Propers, this is not too difficult for an average community. What is required is a lot of repetition: start with one Mass setting and use it a lot, so that it becomes second nature; and if another setting will be learned, take advantage of a seasonal transition (e.g., the start of Advent or Lent or Eastertide).

Once again, resources are abundant. Every hymnal I’ve seen contains the ICEL Mass setting, but, in my opinion, there are many other chant Masses that are better―for instance, the ones found in the Lumen Christi Missal and Simple Gradual, various Mass settings by Jeff Ostrowski, two Masses by Aristotle Esguerra that were included in the Vatican II Hymnal, and settings available at the Church Music Association of America’s website, MusicaSacra.com.

To start singing the Propers of the Mass and the Ordinary of the Mass in English chant―even if one needs to take baby steps, starting with one of the antiphons or one particular part of the Ordinary―is already to take a tremendous step forward in the realization of the ideals of the Liturgical Movement, the Second Vatican Council, and both John Paul II and Benedict XVI.


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 Last Updated: March 1, 2025

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About Dr. Peter Kwasniewski

A graduate of Thomas Aquinas College (B.A. in Liberal Arts) and The Catholic University of America (M.A. and Ph.D. in Philosophy), Dr. Peter Kwasniewski is currently Professor at Wyoming Catholic College. He is also a published and performed composer, especially of sacred music.

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Corpus Christi Watershed

President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “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

Quick Thoughts

    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
    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

Random Quote

Pope Gelasius in his 9th Letter to the Bishops of Lucania condemned the evil practice which had been introduced of women serving the priest at the celebration of Mass. Since this abuse had spread to the Greeks, Innocent IV strictly forbade it in his letter to the Bishop of Tusculum: “Women should not dare to serve at the altar; they should be altogether refused this ministry.” We too have forbidden this practice in the same words in Our oft-repeated constitution “Etsi Pastoralis” (§6, #21)

— Pope Benedict XIV • Encyclical “Allatae Sunt” (26 July 1755)

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