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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

Square Note App

Fr. David Friel · April 9, 2017

ELL PHONES and other mobile devices these days serve manifold purposes. For some, they double and triple as cameras and internet browsers. For others, they also function as gaming devices, tip calculators, searchable Rolodexes, stereo systems, navigation systems, and portable televisions. But, have you ever used your mobile device as a Graduale Romanum?

Now you can, if you would like.

Recently, I stumbled upon an app called Square Note, which markets itself to church musicians and those who wish to learn more about chant. The app allows users to see a wide array of chants, with their texts and square notation. The chants are grouped in four major sections.

First, the Mass propers for the Ordinary Form encompass the whole temporal cycle and part of the sanctoral. Secondly, Mass propers are also available for the temporal cycle of the Extraordinary Form. Also included is a Kyriale section complete with all eighteen chant Masses and six chant creeds. Finally, the app offers a collection of “Other Chants,” which includes multiple versions of the Marian antiphons, certain Eucharistic chants, and several tones for the Te Deum.

One of the most useful features of the app is its capability of searching the texts of all the chants. Searches can be limited to the titles, or incipits, of the chants, or searches may be opened to include the full text of all the chants. For students of the liturgy, this tool is especially valuable.

Another feature that can be useful is the playback mode offered for each piece. Although this would unsettle purists, I can imagine the playback being useful for beginners. The tone quality of the playback is, of course, choppy and mechanistic, so its overuse ought to be avoided. I’ve known many schola directors who will not use a piano to find pitches or sound out passages, and there is real wisdom in their approach. For some, though, the playback mode offered in Square Note could be the help they need to get off the ground. Square Note even allows the user to adjust the pitch and tempo of the playback tool.

This app is the handiwork of Fr. Matthew Spencer, O.S.J. and Bro. Stephen Spencer, O.S.J., both members of the Holy Spouses Province of the Oblates of St. Joseph in the United States of America. It is a developing product, too, as more chants continue to be added to the collections.

The app is available for $2.99 in the Apple App Store or on Google Play. Click here to explore more fully the riches of this “Rituale in your pocket.”

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Graduale Romanum Roman Gradual Propers, Gregorian Chant, Propers, Resources for training in Church music Last Updated: January 1, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

In 1951 (and again in 1952 and 1955) the Sacred Congregation of Rites gave permission to the bishops of the whole world to celebrate the “Vigil of the Lord’s Resurrection” as much as possible in conformity with the ancient ceremonial: the most noticeable change was to transfer the ceremonies to the late evening of Holy Saturday. During the experimental period the text of the Missal remains unchanged, and a special “Ordo Sancti Sabbati” has been published.

— Charles Richard Anthony Cunliffe (1955)

Recent Posts

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  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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