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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

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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 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

“Even after 1600 A.D.—despite major changes in musical taste—the compositions of Father Cristóbal de Morales were reprinted at Venice. Indeed, and as late as 1619 A.D. one Venetian publisher found his magnificats still in sufficient demand to make a profitable commercial venture out of issuing a new transcribed version for equal voices.”

— Dr. Robert Murrell Stevenson (d. 2012)

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