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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

“Ten Commandments” • for the Choirmaster

Jeff Ostrowski · January 9, 2017

485 Monsignor Hugh O'Flaherty HERE’S AN OLD SAYING: “The truth is stranger than fiction.” For instance, did you know Jefferson Davis eventually went into the insurance business? How does one transition from leading the Confederacy to selling insurance?

Take another example: A brutal Nazi officer named Colonel Herbert Kappler terrorized Rome, but after WWII spent many years in prison—until his wife helped him escape (August 1977) by carrying him inside a suitcase! 1 Monsignor Hugh O’Flaherty, a WWII hero who saved about 6,000 lives, regularly visited Kappler in prison. This was done in spite of the horrific cruelty Kappler had shown to O’Flaherty’s dear friends. Month after month O’Flaherty came to see him, discussing literature and religion—and eventually received Kappler into the Catholic Church. Truth is stranger than fiction.

At the very bottom, I explain how this adage relates to a CHURCH MUSICIAN’S DECALOGUE:

(1) Don’t get angry, no matter what.

The life of a church musician is filled with frustration. Many times, surprises will tempt you to become filled with rage. No matter what, always remain calm. I cannot tell you the amount of times I’ve had to learn this lesson.

(2) Sing, sing, sing.

We’re choirmasters, so we love music—and we love talking about music. That’s normal, but rehearsal time is precious. Remind yourself over and over: sing, sing, sing. Don’t describe the sound you want; demonstrate it. Make them repeat. Don’t talk about your plans for the choir, because that’s not what the volunteers came to hear. Occasionally, if you want to mention a fact about music theory, that’s fine—but keep it extremely short, so you can get back to singing.

(3) You get no credit for prep.

As choirmasters, planning is one of the most important things we do. We plan the music, the chair locations, the binder page turns, and so forth. You will never get any credit for this—but don’t let that discourage you. Moreover, you must formulate PLAN B, in case Frank doesn’t show up. And you need PLAN C, in case Susie doesn’t show up. And you need PLAN D, in case Susie and Frank don’t show up. Do you understand what I’m getting at? People will be sick. People will be absent. Plan for this!

(4) Time is your friend vis-à-vis problems.

Sometimes there are problems. Perhaps a choir member is behaving badly, or someone consistently messes something up. Your impulse will be to address the problem immediately; but don’t, because choir is a “long-term” thing. (We must remember that.) Problems tend to work themselves out. For instance, people who act inappropriately frequently never return—so that problem has already solved itself without you doing anything! Moreover, sometimes the circumstances that caused the issues disappear—which eliminates the problem. The choir landscape is something alive, teeming with change. Every Sunday is different, even when it’s the same people at the same church!

(5) Father Valentine’s maxim.

As a young boy, I’d complain to Fr. Valentine about the choir members who didn’t show up, who failed to prepare, and who constantly made mistakes. Fr. Valentine would always repeat: “Jeff, when you’re working with volunteers, you must be careful.” You will be tempted to get angry at members who show up late or need special help. You must not become angry. Remember Father’s rule, because it’s excellent. Moreover, do everything you possibly can for your volunteers so rehearsal time can be spent rehearsing. If that means spending hours sorting out their binders, so be it. Rehearsal time is precious.

(6) Not too fast, buddy.

Don’t be overly anxious to add new repertoire. We choirmasters have been obsessed with music forever, but not everyone is like us. It often takes amateurs months to really digest a piece of music.

(7) Expect attack.

After Vatican II, it became popular among elites to disparage “traditional” church music (in quite a supercilious way). Those who favored a so-called “Eurocentric” repertory were looked down upon, and we were told to embrace eclecticism. However, something remarkable has happened. For fifty years, those pushing this agenda have been too embarrassed to put forth examples they’re proud of. You, on the other hand, want to do something positive and beautiful. Expect to be attacked—but when people attack, ask them what specific piece they think is better than (for example) Tomás Luis de Victoria.

(8) Who’s in charge?

Choir members love to make suggestions. They’re just trying to be helpful, not realizing that thirty-six choir members making two suggestions per week equals 3,744 suggestions! On very rare occasions, I’ve had to dismiss choir members because they refused to stop making suggestions—but I don’t like doing that. Under normal circumstances, I give a gentle reminder: “My expectation is that choir members come and sing; making excessive suggestions is not what I’m looking for in a choir member.” At the end of the day, if somebody isn’t happy with how you’re directing, that person should leave. Full stop.

(9) Recruiting must be constant.

People get sick. People move away. People give birth. Because of this, you must be constantly recruiting—and this constitutes the hardest work you’ll do. Moreover, you must treat your members as humans. That is, you must develop a personal relationship with them.

(10) Beware the internet.

I’m sure there are wonderful people who type on the internet, but I come across much that is problematic. To put it bluntly, harmful statements are made—forcefully and dogmatically—by people who have never stood in front of a choir. Examine the credentials of those giving advice and listen to their recordings. Remember that any fool can publish lengthy internet articles, but building an excellent choir requires hard work and perseverance.

I limited myself to ten rules, but hundreds more could be added!

EARLIER, WE SPOKE ABOUT that proverb: “Truth is stranger than fiction.” Some of my rules might sound strange. After all, I didn’t tell you to go read Mocquereau’s Le Nombre Musical Grégorien. Nor did I tell you to watch online conducting videos. Nor did I tell you to study ancient manuscripts. Nor did I tell you to purchase every Josef Hofmann recording ever made (although that is a fantastic idea). Even if my suggestions sound “strange,” I promise you they’re 100% a posteriori. And they’re all true.

Since we’ve been speaking of choirs, I must tell you how thrilled I am with the progress made by the FSSP.la choir. Last Sunday, for example, we had about thirty singers—and their choral sound was marvelous.



NOTES FROM THIS ARTICLE:

1   Speaking of brutal Nazi officers, a cruel man named Karl Wolff—after serving just four years in prison after WWII ended—eventually became an advertising firm executive (pardon the pun). How does one transition from being a high-ranking Nazi leader to the field of advertising?

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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —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

“Indeed, we may not hope for real Latin poetry any more, because Latin is now a dead language to all of us. However well a man may read, write, or even speak Latin now, it is always a foreign language to him, acquired artificially. It is no one’s mother tongue. Does a man ever write real poetry in an acquired language?”

— Rev’d Adrian Fortescue (d. 1923)

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