• 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

Adapting Chant To The Vernacular

Guest Author · August 31, 2015

351 Steven Van Roode Gregorian Chant STILL REMEMBER the first time I heard one of Jeff Ostrowski’s Chabanel Psalms. It was in 2007, and I was immediately moved by the beauty and simplicity of his compositions. Could his modal style also be applied to Dutch responsorial psalms, of which at that time only a few were set to the official translation? I was also considering putting together a set of simple propers in Dutch, following the exhortation of two saintly Popes: “The more closely a composition for church approaches in its movement, inspiration and savour the Gregorian melodic form, the more sacred and liturgical it becomes” (Sts. Pius X and John Paul II). How should this be accomplished for vernacular texts? For my “Klein Graduale”—a Dutch adaptation of the Graduale Simplex—I found the following strategy the most fulfilling.

    * *  Klein Graduale Website • Gregorian settings in Dutch

My adaptations of Chabanel Psalms or Gregorian chants to Dutch liturgical texts are based on a couple of principles. First, I put neumes only on stressed words and syllables. The Dutch language doesn’t tolerate neumatic melodies very well, let alone rich, melismatic lines. Second, I make sure each clause of a sentence gets a single melodic line. The original Latin chants tend to divide each clause up into even smaller parts. In Dutch, this sounds clumsy. A single line of thought is best expressed by a single, fluent motion. Third, the melody should support the natural accentuation of the vernacular text. To enhance the intelligibility and clarity of the sung text, it is important that the chant follows—to a certain extent—the text’s intonation contour.

How to achieve these principles? Surely, you should keep an eye on the characteristics of the Gregorian melody. For example, searching for structure pitches helps me to capture the overall sound of an antiphon, without getting lost by elaborations and embellishments. Also, each mode has its own distinctive motives and cadences. Office antiphons in particular make extensive use of TYPE MELODIES and CENTONIZATION by putting together typical melodic figures. Additionally, I try to pay attention to the ‘musical exegesis’ of the original chant. Gregorian chant provides a spiritual commentary on the liturgical texts it carries, giving us a valuable look into how these texts functioned as a prayer in the lives of the medieval composers. This I strive to preserve.

To give you an idea of these vernacular compositions, I give two examples below. The first is my adaptation of the entrance antiphon Omnis terra from the Graduale Simplex:

“All the earth shall bow down before you, O God, and shall sing to you, shall sing to your name, O Lord.”

It’s a very simple, syllabic tune of mode 4:

SIMP INT


The second example is an entrance antiphon as well with the same (Latin) text and of the same mode, but this time taken from the Graduale Romanum. You can see it’s more neumatic, contrasting with the simpler chants from the Graduale Simplex:

GRAD INT



We hope you enjoyed this guest article by Steven van Roode.

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

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    (Part 2) • Did they simplify this hymn?
    Choirs love to sing the resplendent tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1929, I discovered what appears to be a simplified version of that hymn. Their harmonization is much less complex than the version found in the Father Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1929 harmonization (PDF) and let me know your thoughts. As always, the Germans added an organ INTRODUCTION. For the record, I posted a different harmonization a few months ago which was downloaded more than 2,000 times.
    —Jeff Ostrowski
    PDF • “Lectionary Comparison Chart”
    Various shell corporations (in an effort to make money selling Sacred Scripture) have tinkered with the LECTIONARY texts in a way that’s shameful. It’s no wonder Catholics in the pews know so few Bible passages by heart. Without authorization, these shell corporations pervert the official texts. Consider the Responsorial Psalm for the 1st Sunday of Advent (Year A). If you download this PDF comparison chart you’ll notice each country randomly omits certain sections. Such tinkering has gone on for 60+ years—and it’s reprehensible.
    —Corpus Christi Watershed
    Monsignor Klaus Gamber Speaks!
    An interesting quotation from the eminent liturgist, Monsignor Klaus Gamber (d. 1989): “According to canon law, a person’s affiliation with a particular liturgical rite is determined by that person’s rite of baptism. Given that the liturgical reforms of Pope Paul VI created a de facto new rite, one could assert that those among the faithful who were baptized according to the traditional Roman rite have the right to continue following that rite; just as priests who were ordained according to the traditional Ordo have the right to exercise the very rite that they were ordained to celebrate.”
    —Jeff Ostrowski

Quick Thoughts

    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
    “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 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

Random Quote

“Unfortunately there are few organists or singers nowadays whose knowledge of Latin is sufficient to enable them to follow easily the meaning of the liturgical texts.”

— Monsignor Charles E. Spence (18 Dec. 1952)

Recent Posts

  • False Accusations
  • (Part 2) • Did they simplify this hymn?
  • PDF • “Lectionary Comparison Chart”
  • “Can Choral Music Survive?” • 3 Reasons It Will
  • A Simple Way to Sing and Notate Organum Harmony

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.