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Views from the Choir Loft

Easy 3 part motet for the Sacred Heart of Jesus

Veronica Brandt · June 1, 2015

OMETIMES YOU READ ABOUT easy 3 part motets, only to find the complexity of the timing and intervals involved makes them out of reach. They may be fairly short and only 3 parts, but still challenging.

This piece was shared on the music sacra forum way back in 2008 and has since travelled the world and become a favourite among many choirs. It is short and sweet and there is symmetry which makes learning easier.

The lyrics: “Ametur ubique terrarum Cor Jesu Sacratissimum in aeternum!”

Which is: “May the Sacred Heart of Jesus be everywhere loved, forever!” – the motto of the Missionaries of the Sacred Heart.

      * *  PDF Score Ametur, 3 part polyphony by Fr Tom Luby MSC.

I am hoping to introduce it to two groups this year, so here I share the practice recordings I have made. Please forgive the singing. It should be clear enough to learn from.

Top part predominant – Audio MP3
Middle part predominant – Audio MP3
Lowest part predominant – Audio MP3

I don’t have a good equal voices recording yet, but hopefully there will be one soon!



NOTES FROM THIS ARTICLE:

The photo here is a beautiful example of goldwork, or Goudborduurwerk by H. van Severen, Sint-Niklaas circa.1900. “S CORDIS IESU SEVEREN-ENTE“ by Carolus – Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons.

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

Filed Under: Articles Tagged With: Polyphony For Three Voices 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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Quick Thoughts

Alabama Assessment!

We received this evaluation of Symposium 2022 from an Alabama participant:

“Oh, how the Symposium echoed the words of Cardinal Merry Del Val: …choosing only what is most conformed to Thy glory, which is my final aim. In one short and fast paced week, the faculty and attendees showed me the hand of God and our Lady working in our lives. The wide range of education—from Gregorian Chant, jazz modes in organ improvisation, to ‘staying sane’ while leading a choir—were certainly first-class knowledge from the best teachers of the art. However, the most powerful lesson was learning how to pray as a choir. The sacrifice of putting songs together, taking time to learn the sacred text, meditating on the church teaching through the chants, and gaining the virtues required to persevere in these duties were not only qualities of a choir but of a saint. The sanctification of the lives of the attendees was a beautiful outcome of this event … and that in itself is worth more than a beautifully-sung Solesmes style chant!”

—Jeff Ostrowski
PDF Download • Trinity Sunday (22 pages)

Feel free to download this Organ Accompaniment Booklet for Trinity Sunday (Second Vespers). Notice how the modes progress by number. Psalm 1 is mode 1; Psalm 2 is mode 2; Psalm 3 is mode 3; Psalm 4 is mode 4; Psalm 5 is mode 5. I am told by an expert that other feasts (such as Corpus Christi) are likewise organized by mode, and it’s called a “numerical office.”

—Jeff Ostrowski
10 June 2022 • “Official” rhythm of plainsong

I continue to search for the most beautiful way to present the “pure” Editio Vaticana scores. (Technically, the “pure” rhythm of the official edition is what everyone is supposed to use.) You can download my latest attempt, which is the Introit for this coming Sunday: Feast of the Most Holy Trinity. Because this is not an ancient feast, the Introit had to be adapted (perhaps around 750AD). Prior Johner says the adaptation is “not an entirely happy one.”

—Jeff Ostrowski

Random Quote

Using the shoddiest, sleaziest material we have for the purpose of glorifying God is not very sound theology or even very good common sense. […] (In general, when you see a diminished seventh chord in a hymn, run.) And these chords are usually used in bad hymns in precisely the same order in which they occur in “Sweet Adeline.”

— Paul Hume (1956)

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