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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

When to Teach Children to Sight-Read Plainsong

Dr. Lucas Tappan · January 10, 2017

LMT Chant Manuscript HAVE HEARD IT STATED several times by those who love chant that teaching children to read plainsong is easier than teaching them to read tonal music, however, experience has shown me that this position is dubious at best. Examples given of easy pieces to teach children have included the Kyrie from Mass XVI or the Salve Regina, which ARE easy if the goal is to teach children by rote (especially considering these works are built upon the major scale and include large amounts of repetition in their melodies). I do not doubt that children can and should be taught Gregorian chant by hearing and repeating (after all, one learns one’s native tongue in the same manner), but this binds them to singing only what they have already memorized. I want to find the best way and time to teach them to sight read chant as well, otherwise, the Propers will always be out of reach of my choristers.

At the end of each rehearsal we close by singing either the Salve Regina, the Alma Redemptoris Mater or the Regina coeli (we will eventually add the Ave Regina Coelorum) depending on the season. The Senior Choristers also love singing the Missa cum Iubilo (who can blame them?), but teaching them to sight read chant on a daily basis was a process. Beginning last fall the high school boys joined the men singing the Communion antiphon each Sunday, which has been more successful than not,  so I would like to share with you some of the insights I have gained along the way with the hope that they might prove useful.

Firstly, I taught them the Gregorian antiphons as opposed to simplified English versions based upon an experience I had several years ago when I first introduced the Communion antiphons to our adult choir. After several months of singing mainstream English versions of the antiphons I had to confront an undercurrent of rebellion (and this is not a generalization). The few who could already read chant preferred singing the real ones (the Gregorian versions), while those who knew nothing about chant thought the English versions were boring (and I had to agree). After switching to the Gregorian antiphons there were still members who didn’t care to expend the energy learning them, but two or three mentioned to me that at least the Gregorian ones were beautiful to listen to.

Secondly, I had to realize that even though there were only two clefs in chant and no key signatures to confront, the sounds of the scales were completely different. Even though there were no accidentals to speak of, with the exception of flatting the Ti, the boys frequently encountered intervals that they didn’t often sing. Even though there were only four lines instead of five and I didn’t have to teach quarters, halves and whole notes, the music looked different and was therefore a hurdle that had to be overcome for every singer. Thankfully, the boys had heard these antiphons sung every Sunday for the last several years, so they were familiar with the sound of the Communion antiphon. They had sung quite a bit of Latin motets so they at least had a general idea of how to pronounce the words and even recognized a few.  These might seem like little hurdles, but put together, they were a formidable wall to scale for those new to chant.

I started with a simple explanation of the two clefs so the boys could find Do (they were already familiar with solfege) and then pitch the other intervals. Also, I explained that the notes were read left to right, bottom to top. I didn’t mention any exceptions until we faced them in the music. The first rehearsal I had them sight-read the chants on solfege very slowly, phrase by phrase, until they were comfortable with each one. This was often all we tackled  in the first rehearsal of each antiphon. The second rehearsal began the same way, after which I had them switch to the Latin text and gave them a brief explanation of its meaning, especially of the important words. They knew from their years in the choir that I was more concerned that they “sing the text” than “sing the notes,” so the fact that the melody didn’t move in a strict meter didn’t bother them. As they became familiar with the process of reading neumes and the sound of the modes, I explained more and more, both musically and liturgically. To be honest, about 2/3 of the boys are thrilled about the chants and the other 1/3 don’t like them at all, with no middle ground. I pray that time will soften a few hearts.

Six months later, some of the boys have become contributing singers to our small chant choir, while the others continue to grow. I know that next year will be easier as we go through the same chants for the second time. If any of our readers have suggestions for improving the learning process, I would be happy to hear them. At the same time, I would caution the new choir master—or the choir master new to a parish—that diving into the murky waters of teaching young people to read chant before they can read tonal music could prove to be a very taxing process that would be better left to the future. I say this because my goal of introducing all of the Propers back into at least one of our Sunday Masses is a process not unlike building a new home, and if I don’t lay a good foundation and build upon that foundation in a methodical way, the home might very easily collapse. I wish you the best as you build your programs of sacred music.

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 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).

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President’s Corner

    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. 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
    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

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

“A theologian who does not love art, poetry, music and nature can be dangerous since blindness and deafness toward the beautiful are not incidental: they are necessarily reflected in his theology.”

— Josef Cardinal Ratzinger (Interview, 1985)

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