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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Taking the easy way out, relatively speaking

Veronica Brandt · May 2, 2015

psalm tones ACK WHEN IT WAS FIRST SUGGESTED we sing the propers at Mass, we often reassured ourselves by saying that we could always psalm tone the difficult parts. This was our safety net. It was not, however, a foolproof back up plan. I have seen psalm tones done really badly. Even psalm toned propers need preparation.

One of the most useful ways to prepare is to have a printed copy written out in full. Benjamin Bloomfield’s Psalm Tone Tool is a great way to set any text to a psalm tone.

Sometimes part of the prescribed tune is actually quite easy, so you might cut and paste the easy parts together with psalm toned versions of the tricky parts. Using the same modes is a good idea.

I have kept a disorderly collection of my own rearrangements on my computer over the past few years, which may make sense only to myself. Now, seeing the beautiful work showcased here, it’s time to tidy up and make something presentable.

As a first step I have made a github repository: Easier Propers.

I know that github is not everyone’s cup of tea, but I tell you what, I’ll upload my latest efforts here.

Here is the Offertory for this Sunday (4th Sunday after Easter).

Here are the two Alleluias for next Sunday, the 5th Sunday after Easter.

Here is the Offertory for next Sunday (5th Sunday after Easter).

They are not so pretty yet, but the whole reason I am producing them is to save time! Their appearance reinforces the “near enough is good enough” mentality that brought them into being. They should be a temporary stepping stone on the way to using the Liber (Brevior or Usualis).

But since I am using command line tools to produce these files then it is entirely possible that a template could be produced to make them much easier on the eye. There are very helpful tools within github to facilitate collaboration on projects whereby this work can be shared.

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

Filed Under: Articles Tagged With: Extraordinary Form 1962 Missal, Gregorian Chant, Gregorio, Latin Mass, Propers, Traditional Latin Mass Tridentine Rite Last Updated: January 1, 2020

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About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. She lives near Sydney, Australia, with her husband and six children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

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