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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

    Job Opening • $65,000 per year +
    A parish 15 minutes away from me is looking for a choir director and organist. The parish is filled with young families. When I began my career, I would have jumped at such an opportunity! Saint Patrick’s in Grand Haven has a job opening for a music director paying $65,000 per year including 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.” I lived in Kansas for 15 years, Texas for 10 years, and Los Angeles for 10 years. Michigan is the closest place I know to heaven!
    —Jeff Ostrowski
    “Reminder” — Month of November (2025)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski

Random Quote

“One can still have silence even during the Canon, since one is not obliged to recite the Canon audibly at all times. A quieter, less powerful tone of voice will always permit an opportunity for personal, silent prayer.”

— Joseph Cardinal Frings (25-jan-1968), patron of “Consociatio Internationalis Musicae Sacrae” (papal church music association)

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