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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

Guest Article: “Why That Hymn Doesn’t Work”

Guest Author · September 5, 2016

Note: As a volunteer who loves liturgy but lacks formal training in music, I rely on advice from CCW contributors regarding guest articles. The following submission by Fr. Thompson was interesting because, while several contributors were critical, they unanimously said, “But please post it, because thoughtful articles like this generate beneficial discussion.” Feel free to let Fr. Thompson know your thoughts here. —J. G.


149 Hymnal OST OF US involved with parish music don’t have doctorates in musicology or in the history of liturgy. So how can we convincingly articulate our objections to particular pieces of music, whether hymns or Mass settings? I offer twelve criteria to aid in communicating precisely why you find certain music suitable or unsuitable for use at Mass. Certainly it is better to bring clear principles to the discussion rather than simply shouting, “Because I don’t like it!”

These criteria fall into two categories: Music (criteria 1-8) and Lyrics (criteria 9-12). Each criterion has two poles; the closer to Pole 1 the more suitable for congregational singing, the closer to Pole 2 the less suitable.

Criterion 1 : Range.

Pole 1 Less than an octave; Pole 2 More than an octave.

Criterion 2 : Maximum Intervals.

Pole 1 A Perfect 5th or less; Pole 2 Greater than a Perfect 5th.

Criterion 3 : Syncopation.

Pole 1 No syncopation; Pole 2 Highly syncopated.

Criterion 4 : Accidentals.

Pole 1 No accidentals; Pole 2 Chromaticisms.

Criterion 5 : Metrical Variation.

Pole 1 No variation; Pole 2 One or mere meter changes.

Criterion 6 : Proportion of Maximum to Minimum Note Length.

Pole 1 Two to one; Pole 2 Four (or more) to one.

Criterion 7 : Stylistic Genre.

Pole 1 Dedicated sacred; Pole 2 Secular/popular.

Criterion 8 : Congruent Connection with Liturgical Action.

Pole 1 Consistent compatibility; Pole 2 Disparity.

Criterion 9 : Enunciation.

Pole 1 Easy to declaim; Pole 2 difficult to declaim.

Criterion 10 : Aesthetic Beauty.

Pole 1 Poetic/evocative; Pole 2 Prosaic/trite.

Criterion 11 : Conformity to Church Teaching.

Pole 1 Unimpeachably orthodox; Pole 2 Doctrinally sketchy.

Criterion 12 : Wisdom & Theological Depth.

Pole 1 Expresses profound universal truth; Pole 2 Expresses moralistic platitudes.

We would award an excellent degree of suitability to those musical selections which have the higher number of criteria that are closer to Pole 1 than Pole 2. A preponderance of criteria closer to Pole 2 would be deemed not very suitable for use in the liturgy. For example, a highly syncopated and chromatic melody of wide range, containing 3 metrical changes, in a recognizably popular style whose lyrics are trite and cliched, would not be very suitable. Whereas a selection having an easy range of less than an octave, an uncomplicated meter whose musical style is recognizably that of sacred music, distinctly fits the liturgical action of its place in the Mass, and is poetic and theologically rich as well, would be highly suitable for use in the liturgy.

My hope is that these criteria help us all more readily articulate the relative worth of music proposed for Mass.


We hope you enjoyed this guest article by Fr. James Thompson, O.P.

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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President’s Corner

    New Bulletin Article • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“The liturgy needed reform by 1965; there was no call for dismantling it. It was intended that the vernacular would enhance the Latin, not supplant it. It was not, emphatically, the mind of the Council Fathers to jettison Gregorian Chant, or to encourage the banal secularization of Church music, so as now to surpass in crudity the worst aberrations of the Howling Pentecostals.”

— Most Rev’d Robert J. Dwyer, Archbishop of Portland (9 July 1971)

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