• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Should Children Have To Audition?

Dr. Lucas Tappan · July 20, 2015

LMT Chorister Audition III HEN I FIRST began a children’s choir, long before our parish’s current Schola Cantorum was born, I took any child who came to me. (Frankly, I needed all the kids I could get.) That year was such a nightmare—for a whole host of reasons—that I contemplated shutting down the whole enterprise. In the end I pushed forward and things SLOWLY got better, though I still took everyone who came, regardless of ability or desire.

Several years later I attended my first conference on the training of the child chorister at St. Thomas in New York. Someone in our group asked Dr. John Scott, the choirmaster, how recruiting was going for the choir for the following year, and Scott replied that he was a little concerned because only 8 boys had auditioned and he had only accepted 4 of them (boys who wish to join the Choir of St. Thomas have a pre-audition before they are even allowed to formally audition). It was then that I realized one of the reasons why their choir was so good. Not only did the boys have incredible and inspirational training, they also entered with a high natural aptitude and desire to learn and make music. Admittedly, most parishes have neither the musical nor financial resources to put together such a program, but I firmly believe there is a proper balance between this and the usual “any child can join” policy that exists in the typical parish children’s choir. If you only have time to run one children’s choir with one weekly practice, it is difficult to balance your time between bringing some of the singers up to speed while trying to challenge those who want it, all while dealing with behavior issues from children who don’t really want to be at rehearsal. I would propose the following: begin an “informal” audition to 1) look for a child’s ability to match pitch and determine his general musical aptitude, 2) determine his desire to sing in your choir and finally 3) make sure the child is free from any physical vocal deformities that would make singing of such music impossible.

Regarding pitch and musical aptitude, I only want to know if the child has the capacity to match pitch and to learn (I don’t care if he has never had a music lesson in his life). It is easy enough to present some simple music concept the child doesn’t know and see if he catches on. You will find that most children will have no problem matching pitch and learning simple music concepts.

The second thing to look for, the desire of the child to sing in a liturgical choir, is of the utmost importance. To be honest, this is more important than a child’s natural aptitude for learning music. If you have a chorister who loves to sing and will work his hardest, you have a keeper. I have several home schooled students in our choir who, without my knowledge, decided to sing Elgar’s Ave verum corpus as a communion motet for our city’s monthly Mass for the home schooled community. By pure chance I happened to attend the Mass and was impressed and proud when they sang it a cappella (they didn’t have an accompanist) and in two parts (and did a great job!). Those kids bring the same pluck and desire to every rehearsal. It makes for a fun rehearsal.

Lastly, I listen for any physical vocal issues that might keep a child from singing, which, to be honest, are very rare. I have only encountered this with two children in my career. I once worked with a young grade school student who wasn’t able to sing a range of more that five notes (he also had difficulties speaking in general), while another child, who was able to sing a wide range at first, lost much of it over the course of a couple of years (he was no where near the age of voice change). His parents took him to the doctor, who discovered a nodule approaching the size of a tennis ball on his vocal chords. After this was removed the child could sing normally again.

It is sometimes difficult not to admit a child to the choir (again, this doesn’t happen often), but I explain to parents that not only am I looking for a child who is a good fit for the choir, I also want the choir to be a good fit for the child. The process is a two way street.

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

Filed Under: Articles Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

Primary Sidebar

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

At the Council of Trent, the subject was raised whether it was correct to refer to the unconsecrated elements of bread and wine as “immaculata hostia” (spotless victim) and “calix salutaris” (chalice of salvation) in the offertory prayers. Likewise the legitimacy of the making the sign of the cross over the elements after the Eucharistic consecration was discussed.

— ‘Fr. Uwe Michael Lang, Cong. Orat.’

Recent Posts

  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.