• 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
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • 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
    • Feasts Website
  • 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

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

Subscribe

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

* indicates required

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.

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ with regard to 1960s switch to vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

«In the same quarter where he was crucified there was a garden.» (John 19:41) — The word “garden” hinted at Eden and the fall of man, as it also suggested through its flowers in the springtime the Resurrection from the dead.

— Fulton J. Sheen

Recent Posts

  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough

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.