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

Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Chorister Pitfalls

Dr. Lucas Tappan · January 24, 2017

LMT Sarah MacDonald WOULD LIKE TO POINT the reader to a helpful article that appears in the latest edition of The American Organist magazine (January 2017) by Sarah MacDonald, director of the Ely Cathedral Girls Choir (Ely, England). Mrs. MacDonald writes a monthly UK Report, sharing her extensive knowledge of the English Cathedral music tradition and the training of child choristers and chapel organists. She brings a professionalism to the discussion of training children in the art of sacred music that is often lacking due to a misguided belief that the quality of our liturgical music should be sacrificed on the altar of good intentions. In her current article she tackles 4 pitfalls she feels entrap choral directors working with grade school and junior high children: range, vocal sound, quality of literature (both musically and textually) and finally sight-singing. I would like to briefly touch on each of these.

Mrs. MacDonald believes the greatest concern when working with children is choosing music in the child’s range (Eb 4 to Ab 5 in terms of the piano keyboard) and tessitura (around D 5), which can be difficult when most of the church music in hymnals is pitched lower than it was in previous eras. This is also compounded by the natural desire of children to imitate the so called “pop-music” they hear on a daily basis. Children might resist singing in their head voices simply because they have never experienced the sensation before, but it is worth the effort, both for the health of their voices and for the increase of enjoyment of their singing.

The second problem MacDonald identifies is a lack of any quality in vocal sound and choral blend. I find such artistry is often sacrifice in the director’s drive to “get the notes correct.” If the director had chosen easier music, especially simple music in unison, this would have provided more time to pursue a beauty in presentation that possesses the power to move the heart of the listener (I accuse myself of this often).

Third, Mrs. MacDonald stresses the need to chose choral literature of high quality both musically and textually. She writes “Avoid platitudinous or patronizing poetry—children can (and should) be taught to read and understand sophisticated texts as well as any adults. Teach them to have good taste in well-crafted repertoire.” I think more than enough electronic ink has been spilled attacking the ongoing problem of bad music and bad lyrics in church (I think of my experience as a child singing Great things happen when God mixes with us from the Glory and Praise hymnal in my Catholic grade school) so I will say no more.

Finally, she makes a plea to choir directors to teach children how to read music. She reasons that teaching children to know only a few concepts by rote is unacceptable in any other school subject, so why should it be so in music. Why should children be shackled to the unfortunate circumstance of only being able to sing a few good pieces of music because that is all they ever learned by rote? The earlier music teachers and directors lay a good foundation in sight-singing, the easier it will be for children to learn.

If I might be permitted to add my two cents to end this discussion, I think we as Catholics have an incomparable advantage in the Roman Rite with the possession of Gregorian chant (not withstanding the challenges of actually using it in the Ordinary Form). The repertoire is large enough to encompass any vocal range (and can be pitched accordingly), is very moving when sung in a beautiful, free vocal tone, contains music and text of the highest artistry and the simpler hymns and antiphons can be read at sight after the child is proficient in the use of solfege. Thankfully, even if your parish is stuck at Ground Zero, musically speaking, the number of pastors who would squelch even the occasional Gregorian hymn sung beautifully by a children’s choir is fast diminishing.

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 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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“The Catholic Church holds it better for the sun and moon to drop from heaven, for the earth to fail, and for all the many millions on it to die of starvation in extremest agony, as far as temporal affliction goes, than that one soul, I will not say, should be lost, but should commit one single venial sin, should tell one willful untruth, or should steal one poor farthing without excuse.”

— Saint John Henry Newman (1865)

Recent Posts

  • “How to Conduct 90 Vespers Services Each Year and Live to Tell the Tale.”
  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

Subscribe

Subscribe

* indicates required

Copyright © 2025 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.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up