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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

Good Cop, Bad Cop

Richard J. Clark · September 26, 2014

N RECENT MONTHS, my young children have been obsessed with Legos and the movie. Like many shows or films made for children, they are designed to part a parent with their money; it’s all one big advertisement.

And it works. So recently, I’ve been roped into helping my children put together some rather intricate Lego designs that recreate scenes from the movie. With countless tiny pieces, it even tries the patience of an adult—at least it tried mine. I found myself strangely understanding why the dad in the movie—(a.k.a., “Lord Business”) wanted to use the “Kragle” on everything to keep all the millions of pieces in place.

Five-year-old boys are very rough with their toys. Now my son is playing with a toy comprised of hundreds of tiny, delicate pieces that took a couple of hours to put together. The pieces fall off everywhere, and he demands that it be put back together every few minutes. Where’s the crazy glue? (Yes, I went there in my mind.) I now understand Lord Business. Everything must be perfectly in place!

But behind the end result is where the true lesson is hidden. Children want so badly to discover certain things for themselves. While they may need a lot of direct help with something, the thing they try to do themselves (and sometimes fail) are the lessons that take the deepest root. Additionally, it is my presence with my children that makes the most difference, not simply the end result.

HAT TAKES LASTING ROOT in liturgy are the things we discover for ourselves, just as a child does. But this does not mean we do not teach and catechize. In fact, the importance of the liturgy demands it. But do we teach by demanding that everything be perfectly in its place, or do we lead by example and with our continued loving presence? If we do the latter, we might crack open a door for someone to discover something beautiful they did not realize before.

So, when there is deviation from the Roman Rite—whether knowingly or not—it is very tempting to use the “Bad Cop” approach, but it never works. In fact, it will cause damage. It must always be accompanied with the “Good”. Albeit with a bit of finesse, it is with a firm hand, at times we need to remind others of not only the particulars of the Roman Rite, but perhaps also the “why” behind it. This may not yield immediate results, but a firm (bad cop) but loving (good cop) approach will then yield lasting fruit.

ERHAPS THE MORE SUBTLE, yet effective approach in catechesis is demonstrated by Rembrandt’s The Return of the Prodigal Son. Henri Nouwen writes of the disparity of touch in the two hands the father places upon his son. One is firm; the other, gentle.

The father’s left hand touching the son’s shoulder is strong and muscular….That hand seems to not only touch, but, with its strength, also to hold….How different is the father’s right hand! This hand does not hold or grasp. It is refined, soft, and very tender…it wants to caress, to stroke, and to offer consolation and comfort. (Prodigal Son, pg. 111, Henri Nouwen)

The father’s approach is simultaneously firm and gentle. His hands offer direct guidance as well as safety. Ultimately, it is his presence that teaches. We are called to do the same.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(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

“Indeed, we may not hope for real Latin poetry any more, because Latin is now a dead language to all of us. However well a man may read, write, or even speak Latin now, it is always a foreign language to him, acquired artificially. It is no one’s mother tongue. Does a man ever write real poetry in an acquired language?”

— Rev’d Adrian Fortescue (d. 1923)

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