Views from the Choir Loft

Teaching Polyphony To Singers Who Can’t Read Music

Jeff Ostrowski · February 10, 2015

HEN I SANG in college, the thing we hated most was solfège. We would plead with the director to “let us sing the words.” As a choirmaster, I’ve come to appreciate the great benefits of solfège.

Do some of your singers struggle when it comes to reading music? No problem! Use solfège.

You can observe how it works below. The bass recording has a little distortion—because of an error I made—and I apologize for this, but you’ll get the idea:

Video (Sopr) • Mp3 (Sopr)
Video (Alto) • Mp3 (Alto)
Video (Tenr) • Mp3 (Tenr)
Video (Bass) • Mp3 (Bass)

I plead with you: before listening to the polyphony, please become familiar with the Gregorian version. Only by knowing this melody will you be able to properly understand the beauty of Palestrina’s setting. To experience another section of Palestrina’s Vexilla Regis, click here.

Here is the score for the “Arbor decora et fulgida” by Palestrina:

* * PDF Download • Palestrina “Arbor Decora” (Polyphony Score)

Once the singers master their lines, they should practice against the equal voice recording or this equal voice video:

About Jeff Ostrowski

A theorist, organist, and conductor, Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004), and did graduate work in Musicology. He serves as choirmaster for the new FSSP parish in Los Angeles, where he resides with his wife and children.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski