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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

Let This Holy Building Shake with Joy!

Richard J. Clark · April 10, 2015

HERE ARE TIMES when everything comes together. The congregation sings robustly, the celebrant is wonderful, and the choir sounds beautiful. That does not mean that everything was perfect, but it’s a sign that everyone is doing their job. It’s a sign of progress made when built upon previous hard work. It’s an example of full and active participation—participatio actuosa—participation that is richly external and internal.

How is this achieved? There is no one answer because it can only be achieved through teamwork. The priest cannot do it alone. Nor can the choir, or the congregation or any other ministers of the liturgy. Nor does it come about in a single instant.

Holy Week at St. Cecilia Parish in Boston was such an example. The congregation sang more loudly than I had ever heard in twenty-five years—which is saying a lot. Many times, the lines between choir and congregation were blurred. The faithful in the pews clearly took over at times as the “leader of song.”

There are many factors that contributed to this, but I will name a few:


1. THE INTENTIONALITY OF THE FAITHFUL

This includes not only the congregation but also the choir and all ministers of the liturgy. The faithful who come to worship are putting in a great deal of their own effort and energy. They listen intently. They respond intently. They pray passionately. They want to be there. They want to be nourished by the Word, by the liturgy.


2. THE MASS IS SUNG.

A priest who sings injects energy into liturgy. It is well-known that the best way to jumpstart congregational singing is to sing the dialogues—sing the mass. Singing the Presidential texts recto tono with a simple “Amen” response will go a long way to energize the liturgy while infusing greater reverence. (Reverence and energy are not mutually exclusive.)

Rev. James Flavin, the Episcopal Vicar of the Central Region in the Archdiocese of Boston, was the celebrant throughout Holy Week. His voice is not, shall we say…stellar…but he was clear, practiced, and confident. I would much prefer that he sing than not. As such, we ended up singing most of the mass (Ordinary Form). It was easier to list what was not sung.

Furthermore, unaccompanied music tends to illicit greater congregational response. With the unaccompanied dialogues, Missal Chants, and simple Gregorian melodies, new and ancient, this holy building shook with joy!


3. RUBRICS WERE FOLLOWED FAITHFULLY WITHOUT FEELING “STIFF”

The rubrics were followed faithfully, but without feeling stiff or forced in any way. It felt natural. And it should, if one is prepared and knows what is coming next. Secondly, musicians and ministers of the liturgy ere likewise prepared. It wasn’t perfect, but if a glitch arose, one can recover more quickly from it if prepared.

As I’ve written many times, following the rubrics is not the end, but the means. Following them opens the door for the Roman Rite to do what it is intended to do. It is not an obstacle, but an open pathway to “…the Glory of God and the edification and sanctification of the faithful.” (Tra le Sollecitudini, General principles §1)


4. PREPARATION OF THE CHOIR

Preparation time for choirs will vary for each choir’s needs and the demands placed upon it. We begin preparation at least a month prior to Holy Week, with significant rehearsals prior to certain liturgies. Doing so is akin to know knowing the rubrics. Learn the technical aspects of the music well, so that one may begin to infuse beautiful interpretation, emotion, and spirit. Know the technical aspects well, and a choir may better pray the words they are singing. Know the technical aspects well enough, that the music will sound natural—not stiff: Beautiful—not hesitant, Sacred—not mundane, Universal—not muddled.

Confidence with as much of the technical details of the music as is possible—even if far from perfect—opens the door to prayer.


5. ARCHITECTURE

It is worth mentioning the great importance of church architecture. While the music must be beautiful, sacred and universal, so must the architecture. This is something we may have no control over. However, it must be noted that carpeting is the enemy of congregational singing. It makes singing, and hence the liturgy, more difficult for everyone. It increases one’s reliance upon microphones. Nor is it aesthetically more pleasing or cheaper in the long run. I am grateful to our pastor, Fr. John Unni for getting rid of all of our carpeting! This truly helps music be more sacred.

Sometimes things all come together even in imperfection. This is a gift from God. Prepare, and enter into the mystery!

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

Filed Under: Articles Tagged With: congregational singing, Singing the Mass 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

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “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

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

“Chants closely related to the readings should, of course, be appropriately transferred for use with these readings. For pastoral reasons also there is an option regarding the chants for the Proper of Seasons: namely, as circumstances suggest, to replace the text proper to a day with another text belonging to the same season.”

— Ordo Cantus Missae (1971)

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