• 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
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • 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
  • 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

Strive for Excellence

Dr. Lucas Tappan · August 16, 2016

195 choir boys HE CASUAL reader might perhaps mistake me as a dyed-in-the-wool anglophile in the realm of sacred music, especially since I hold the English Choir School in such high regard, but let us face facts—the English cathedral system of forming church musicians works. I was reminded of this yesterday as I listened to an old BBC interview of Sir George Thalben-Ball describing how he landed his position of 60 years as the organist and choirmaster at Temple Church (named because of its original link to the Knights Templar) in London.

While studying at the Royal College of Music, Thalben-Ball was called upon to fill in for the afternoon service at Temple Church. He arrived to find an orchestral score of Bach’s Mass in B Minor at the organ with a note that 10 movements would be sung that afternoon, and that Thalben-Ball would need to transpose them all down a “semitone” because the organ was tuned almost half a step sharp. Thalben-Ball chuckled in the interview saying he must have done decently well, since no one accosted him after the service, although he admitted to playing (transposed down a half-step) from the choral score instead of the orchestral score.

If any parish were to call and ask me to fill in that afternoon for a Sunday concert featuring 10 movements of the B Minor Mass and as an aside mention that I would need to transpose the entire thing down a half-step, I would quickly dismiss the call as a prank or feign illness. I simply wouldn’t be able to do it. Had I been a choir boy and sung the Mass first as a chorister and then later as a choral scholar and had been playing and accompanying choirs to a high degree since I was in junior high I might have a chance, but that wasn’t the case. In that sense, I feel like a complete joke telling people that I am a competent church musician, much less one with a DMA. When it comes down to it, what do I really know?! Let’s face it, the English cathedrals know what they are doing and even on their worst days hit a mark of excellence that is simply beyond the reach of all but our best cathedral choirs in the US.

Let us imagine for a moment a different situation. What if each of the 193 Catholic cathedrals (Roman Rite) in the United States were to model the English Cathedrals with a choir of men and boys and a separate choir of men and girls (and remember that most of them also have an excellent mixed choir to boot), where the boys and girls constantly rehearsed and sang the greatest music to the highest standards, especially the music native to the Roman Rite (Gregorian chant), took voice and piano lessons and sang daily for Mass and Vespers for the 5 to 6 years they were in the choir. In high school the girls would continue doing the same, while the boys would settle into their new roles as tenors and basses while singing the same music, only as a tenor or bass. A child who showed talent would begin studying the organ and playing and accompanying for services. When he went off to the university, each organist would receive a scholarship for playing for services for his separate college within the university, under the direction of a phenomenal choirmaster. After graduation, he would then be hired by a cathedral as an assistant organist and begin training the new singers as well (and he could, since he had been through the system himself and would be overseen by the director of music). He wouldn’t have to get a Masters Degree or a Doctorate in either organ or choral directing because he would have been singing in a professional choir and accompanying the same choir long before he even thought about shaving! It is nothing but the old apprentice system at work. Now imagine that happened at all 193 Catholic Cathedrals as well as our Catholic colleges, too. That is roughly 25 boy choristers and 25 girl choristers at each institution in one year. At the cathedrals alone that would be almost 10,000 children annually at least learning what good sacred music should sound like and having his/her moral imagination formed at the same time. Obviously only a small majority of those would go on to work in the field of sacred music, but even if it were 1%, that would mean 100 future professional church musicians, organists and singers, would be in formation each year (we aren’t even counting Catholic colleges). The other 99% percent would probably be open to financially supporting such a system because of the benefits they had received. So far the Cathedral of the Madeleine and St. Paul’s, Harvard Square are the only two—at least that I’m aware of—who have joined the cause.

I challenge every church musician today to begin forming our future musicians. It will change the face of church music in the US and will transform the lives and Faith of uncountable numbers of faithful. As Fr. Z says, just take the training wheels off and ride the darn bike!

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

    “Music List” • 22nd in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 31 August 2025, which is the 22nd Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski

Quick Thoughts

    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
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

“The plan to definitively abolish the traditional Tridentine Mass … if it is true, seems to me to be an insult to the history of the Church and to Sacred Tradition, a diabolical project that seeks to break with the Church of Christ, the apostles, and the saints.”

— The Vatican’s chief liturgist (appointed by Pope Francis) from 2014-2021

Recent Posts

  • “Music List” • 22nd in Ordinary Time (Year C)
  • Brave Schola Director Posts ‘Live’ Recording
  • “Cracker Barrel & Catholicism” • Logos and Lessons
  • “Reform of the Reform” officially embraced by USCCB
  • “The Worm That Dieth Not”

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.