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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

Three Common Misconceptions about Chant

Andrew Leung · February 11, 2016

CTL 3 Common Misconception about Chant 1 S THE LENTEN SEASON begins, I am sure that many parishes are starting to use the Missa Jubilate Deo as the Mass Ordinaries setting. And there are also some churches that I know that sing the English chant from the Roman Missal. Both of those settings were mentioned in Bishop Doerfler’s Instruction. In the Instruction to his diocese, the Bishop of Marquette asked that Gregorian chant, both the Propers and the Ordinaries, be brought to parishes and schools. I think that Bishop Doerfler is taking is a very brave step to restore the sacredness of the Liturgy and to reintroduce people to the Catholic Tradition.

Bishop Doerfler has already addressed the most common complaint that one gets from parishioners: “I can’t sing along”. A lot of people like to participate externally and to be able to sing with the choir. (Regarding that, I think there is a deeper problem that has to do with “prayer”, but I will save that for another post.) The bishop’s Instruction requires the active participation of the faithful in singing along with the Ordinaries and the Communion Antiphon. He is also asking the diocesan music director to train other musicians in the diocese so that they can assist the faithful.So the people will “sing along” with the choir at intervals during ever Mass. However, it is my observation that many people still see Gregorian chant in negative ways because of three misconceptions they have. If we can clear up these misunderstandings, it will be much easier for people to fall in love with chant.

“Chant is slow and long” – This is a common perception. The congregation, and sometimes even the choir, tend to drag out the chant. Many people think that is the nature of Gregorian chant. My suggestion would be to set a pace that is close to the pace people would recite the phrases, don’t encourage long pauses between phrases, and to sing with good diction. If we sing well, Gregorian chant will not be perceived as tediously slow and drawn-out..

“Chant is plain and flat, they all sound the same” – I think this misconception arises from the overuse of a certain chant settings like Mass VIII and Mass XVIII. If your congregation is already comfortable with these settings, maybe it is time to try other settings. There are other beautiful chant melodies in the Kyriale. There are also a variety of psalm tones to choose for the Liturgy of the Hours or simple Propers. For the choir, you may consider working with them on the enunciation, like where the accented syllables are; or where to pause; or what needs to be lengthened. These changes should dispel the notion that all Gregorian chant sounds the same, while exposing the congregation to various beautiful settings.

“Chant is penitential” – As I mentioned at the beginning of this post, many parishes chant the Ordinaries of the Mass during Advent and Lent, the penitential seasons, and so many people connect chant to penance. Gregorian chant is not a penance! It is true that chant can express sorrow, but it can also express other emotions. For example, the Gloria and the Sanctus are joyful hymns of praise. This misunderstanding can be addressed in homilies or through catechesis in other ways. However, the best course is to sing chant outside of Advent and Lent.

TRULY THINK THAT people will accept and appreciate Gregorian chant more easily if we can dispel these three misconceptions. Please feel free to leave comments or share your suggestions on our Facebook Page.

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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President’s Corner

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    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
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    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“I prefer to preach,” said one priest “even without immediate preparation, for I can always draw—from the various studies stored away during the seminary years—enough material to interest our good Catholic people. But when I have to go to the altar and sing High Mass or a Requiem, and I know that I cannot read a note of the Preface and the ‘Pater Noster’, I feel like going to martyrdom. Yet the notes are right there before my eyes, but they seem to mock my ignorance.”

— From a 1920 article by Very Rev. Leo P. Manzetti

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