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Views from the Choir Loft

New! • Easy Choral Extension Mass (Ordinary Form)

Guest Author · January 3, 2017

509 Medieval Organist HAVE BEEN recently inspired by the principle of using choral extensions allowing both congregational participation and “a touch of polyphony,” as discussed in a previous post on Corpus Christi Watershed. I think it is a sound principle for those who are trying to find a balanced approach within the Ordinary Form, bring in beautiful elements of the Church’s polyphonic tradition, and increase the moments that we should have a little more reflection within the action of the Liturgy.

Practically speaking, a full polyphonic setting in the context of a regular Ordinary Form liturgy might seem a trifle long, when the action must stop to wait for it. In the heyday of sacred polyphony, and in the context of the Extraordinary Form of the Mass today, the liturgical action may continue during the choral singing of the Ordinary, with the celebrant reciting the texts at the altar sotto voce. This means that, sadly—and not intentionally—great works may be perceived to lose some of their functionality. This is where the principle of choral extensions may come in, where you still want this priceless treasure practically used in the Ordinary Form Mass.

    * *  PDF Download • MISSA MISERICODRIAE DEI (2017)

So, I have devised this Mass setting, which I’ve given the name Missa Misericordiae Dei (Mass of the Mercy of God), which incorporates the most common ICEL Roman Chants of the Kyrie, Sanctus, Memorial Acclamation, Great Amen, and Agnus Dei, with excerpts from the Missa Octavi Toni by Orlando de Lassus (for SATB). This allows for the congregation to join in with the “Chant” section of each of the parts and the choir to provide some polyphony either between or at the end of the section. I have provided the ICEL chants with a possible SATB choral harmonisation, to allow for them to be sung without organ accompaniment, as would seem to be more fitting in the penitential seasons of the year, particularly Advent and Lent. It would be, however, perfectly reasonable to ignore these harmonisations and sing the melodies in unison and break into the polyphony where it begins. The ICEL Chants are given in their English form. They could equally be sung in Latin, or any other language should that be desired or required.


We hope you enjoyed this guest article by Maestro McBain.


Nigel Lucas Silvester McBain currently serves as Director of Music and Adult Faith Formation at Holy Family Catholic Church, Mitchell, South Dakota.

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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Quick Thoughts

Surprising Popularity!

One of our most popular downloads has proven to be the organ accompaniment to “The Monastery Hymnal” (131 pages). This book was compiled, arranged, and edited by Achille P. Bragers, who studied at the Lemmensinstituut (Belgium) about thirty years before that school produced the NOH. Bragers might be considered an example of Belgium “Stile Antico” whereas Flor Peeters and Jules Van Nuffel represented Belgium “Prima Pratica.” You can download the hymnal by Bragers at this link.

—Jeff Ostrowski
15 February 2021 • To Capitalize…?

In the Introit for the 6th Sunday after Pentecost, there is a question regarding whether to capitalize the word “christi.” The Vulgata does not, because Psalm 27 is not specifically referring to Our Lord, but rather to God’s “anointed one.” However, Missals tend to capitalize it, such as the official 1962 Missal and also a book from 1777 called Missel de Paris. Something tells me Monsignor Knox would not capitalize it.

—Jeff Ostrowski
15 February 2021 • “Sung vs. Spoken”

We have spoken quite a bit about “sung vs. spoken” antiphons. We have also noted that the texts of the Graduale Romanum sometimes don’t match the Missal texts (in the Extraordinary Form) because the Mass Propers are older than Saint Jerome’s Vulgate, and sometimes came from the ITALA versions of Sacred Scripture. On occasion, the Missal itself doesn’t match the Vulgate—cf. the Introit “Esto Mihi.” The Vulgate has: “Esto mihi in Deum protectórem et in domum refúgii…” but the Missal and Graduale Romanum use “Esto mihi in Deum protectórem et in locum refúgii…” The 1970s “spoken propers” use the traditional version, as you can see.

—Jeff Ostrowski

Random Quote

“The following few hints on the selection of voices may be useful: (1) Reject all boys who speak roughly, or sing coarsely; (2) Choose bright, intelligent-looking boys, provided they have a good ear; they will much more readily respond to the choirmaster’s efforts than boys who possess a voice and nothing more; therefore, (3) Reject dull, sulky, or scatter-brained boys, since it is hard to say which of the three has the most demoralizing effect on his more willing companions.”

— Sir Richard Runciman Terry (1912)

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