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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.”

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Views from the Choir Loft

Prepared to Receive: the Importance of Disposition

Andrew R. Motyka · November 5, 2014

COUPLE OF WEEKS AGO, we had a bad choir rehearsal. It was one of those rehearsals where even the literature that the choir knows inside and out sounds off. Anything we tried a cappella for more than a dozen bars started sagging in pitch, and the energy was just way down in the room. It was one of those rehearsals where even the singers were looking at one another, knowing that they didn’t sound as good as they usually do. What was happening? I realized that it was “one of those days” and spent the rest of the rehearsal helping them learn notes on upcoming pieces. I knew we could spend lots of time correcting intonation, breathing, and getting into shape on the pieces we were already working on, but it would be a grind. Some days are like that. And this one was entirely my fault.

What is the cause for a rehearsal like this? Sometimes it’s attendance issues. If all your first sopranos are out, it’s going to be a tough night. Sometimes it’s the weather, or the heat isn’t working, or you’re tired and cannot give the energy you need to give as a director. These can all contribute to a less-than-productive rehearsal. In my experience, however, most of the time these things can be corrected with a good, thorough warm-up.

I used to hate doing warm-ups with my choirs. Rehearsal time is a precious commodity, and any time spent warming them up is time that we’re not working on literature. What I’ve come to learn instead is that time spent warming up well is time that you won’t have to spend correcting vocal problems in every single piece you sing in the rest of rehearsal. Everyone (including the director) comes into the rehearsal with physical and mental baggage. Bad posture, improper breathing, and poor vocalization habits need to be broken down and intentionally reformed. Ten or fifteen minutes of warm-ups at the beginning of rehearsal will have a profound effect on the rest of the evening. The week after our train-wreck of a rehearsal mentioned above, I made it a point to have a thorough warm-up the following week. It was one of our best rehearsals, with almost entirely the same literature.

As I’ve mentioned before, disposition is important when receiving the sacraments. When you receive Holy Communion, as long as the Mass is valid, you are receiving the Body, Blood, Soul, and Divinity of Jesus. This is true for the traddiest of EF Masses as well as the elusive Clown Mass. You don’t add to or subtract from the grace provided grace based on the quality of celebration. However, our receptivity to that same grace poured out through the Eucharist is affected by our interior disposition, which is absolutely impacted by the quality and reverence of our celebration. Just as the recipient of God’s grace in the sacraments is edified much more by their interior disposition, including the way in which they celebrate the Mass, so is the choir is much better at singing the exact same literature for having warmed up.

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 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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President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

Impelled by the weightiest of reasons, we are fully determined to restore Latin to its position of honor, and to do all We can to promote its study and use. The employment of Latin has recently been contested in many quarters, and many are asking what the mind of the Apostolic See is in this matter. We have therefore decided to issue the timely directives contained in this document, so as to ensure that the ancient and uninterrupted use of Latin be maintained and, where necessary, restored.”

— Pope John XXIII (22 February 1962)

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  • Important Quote by a Church Musician

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