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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

It’s All About The Players

Dr. Alfred Calabrese · October 29, 2015

321Pyramid blue LIKE BASEBALL. I LIKE BASEBALL A LOT. I especially like baseball when my team is in the World Series. This is the case this year. A quote by New York Mets manager Terry Collins caught my attention last week. When asked about how he felt about getting to the World Series he accepted no credit, saying “It’s all about the players. They did all the work.” This comment made me think again about choirs, choir leadership, and choral sound.

There are many different approaches to the choral sound. One of the more famous ones is the concept formulated back in the 1930’s by John Finley Williamson at Westminster Choir College in Princeton, NJ. Williamson described this sound as the shape of a New England church. (See: Ray Robinson and Allen Winold, The Choral Experience: Literature, Materials, and Methods, New York, Hagerstown, San Francisco, and London: Harper’s College Press, 1976, 179). This can also be thought of as a pyramid. In this choral sound the basses, greater in number than any other section, created the foundation. The altos and tenors created a rich middle. Second sopranos were fewer in number and rested above the alto and tenor. Finally, the fewest singers were in the first soprano section, which rested at the top of the pyramid. These days, this concept of choral sound is probably not utilized in exactly this way, but we do find instances of a pyramid effect, in which the choral sound is created from the bottom up. In this concept, sopranos are asked to create a shimmery, light and pure sound over a rich and warm foundational bass.

If choral sound can be thought of as a pyramid, perhaps the social construct of a choir can be thought of as an inverted pyramid, with the conductor at the bottom. Balancing everything, never tipping, the conductor is the least of all the individuals involved. Above the conductor, along the rich middle, sits all the singers, in increasing numbers and importance. Let’s face it – without people there is no choir. At the very top of the inverted pyramid, along the largest and widest swath of space, is the music itself.

People join choirs for many reasons. Some join because of the great repertoire, some for the social aspect, and some to serve. But conductors can also become the reason people join. People become attached to their conductors, who may be charismatic, great teachers, big personalities, or excellent jokesters. Some conductors relish their reputations as maestros, scholars, or gurus, achieving an almost cultish following. Conductors can sometimes fall into the trap of thinking they are the reason the choir exists, or why people join the choir. This is dangerous. Conductors should think of themselves as small, at the bottom, with the people of the choir and its repertoire growing and expanding in importance above them.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“In the 17th century came the crushing blow which destroyed the beauty of all Breviary hymns. Pope Urban VIII (d. 1644) was a Humanist. In a fatal moment he saw that the hymns do not all conform to the rules of classical prosody.”

— Fr. Adrian Fortescue (d. 1923)

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