• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

“What earlier generations held as sacred, remains sacred and great for us too…” Pope Benedict XVI (7 July 2007)

  • Our Team
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Lalemant Polyphonic
    • Saint Antoine Daniel KYRIALE
  • Miscellaneous
    • Site Map
    • Emporium Kevin Allen
    • Roman Missal, 3rd Edition
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
  • Donate
Views from the Choir Loft

When to Teach Children to Sight-Read Plainsong

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

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About 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).

Primary Sidebar

Corpus Christi Watershed

Quick Thoughts

    PDF • “For General Use Until Advent”
    If you conduct a volunteer choir, you might consider using this Simple Piece #40273 (“Adésto Sáncta Trínitas”) which can be used during the rest of the liturgical season until Advent. It's based on the well known hymn tune: OLD HUNDREDTH. Rehearsal videos are available at #40691. A live recording of #40273 (“Adésto Sáncta Trínitas”) by a volunteer choir is here (#40065).
    —Jeff Ostrowski
    Introit • (This Coming Sunday)
    Our volunteer choir appreciates training videos, so here's my attempt at recording “Exáudi Dómine Vocem Meam,” which is the INTROIT for this coming Sunday. This coming Sunday is Dominica Post Ascensionem (“Sunday after the feast of the Ascension”). It is sung according to the official rhythm of the Catholic Church.
    —Jeff Ostrowski
    Volunteer Choir Attempts “Kýrie Eléison”
    My volunteer choir attempted the polyphonic KYRIE that will be sung at this year's Sacred Music Symposium. If you're interested, you can listen to the live recording from last Sunday. The piece is based on the ancient plainchant hymn melody: Ave Maris Stella. Polyphony like this is truly intricate and wonderful. It reminds me of the quote by Artur Schnabel: “music that's greater than it can be performed.”
    —Jeff Ostrowski

Random Quote

“For the Pharisees, and all the Jews, except they wash their hands, eat not, holding the tradition of the elders”—is that English idiom? “For the Nazis, and all the Germans, except they say Heil Hitler! meet not in the street, holding their lives valuable”—is that English idiom?

— Monsignor Ronald Knox

Recent Posts

  • “Please Share On Social Media” • Thank you!
  • “Reverent Catholic Mass Finder” (Website)
  • Powerful Images • “Father John Brébeuf”
  • “Best & Worst Responses” • This Survey Was Responded To By 300+ Church Musicians
  • “Offertory Verses and Why You Should Sing Them” (Includes PDF Download)

Subscribe

Subscribe

* indicates required

Copyright © 2023 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.