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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

An Unpleasant Task

Dr. Lucas Tappan · May 23, 2017

168 APPLE AST WEEK I wrote an article about the chorister audition process and this week I would like to follow it up with another that tackles the ensuing problem of how to deal with the child or adult who either lacks the necessary choral skills to thrive in the choir or whose temperament prevents him from being a fully committed team member. I realize that even suggesting such a termination runs counter to the modern philosophy that everyone should be able to follow his dreams and do as he pleases, but if I had followed every whim in my life I might currently be the worst heart surgeon in America, quite possibly jailed and on death row for have killed more patients than I helped. I thank God that I realized early on that music, and not science, was my avocation. The choirmaster, too, has to help those under his care to reach their potential.

First of all, I want to stress that the vast majority of children and even adults are capable of singing in some sort of choir, if only to fulfill the basic human need for community and joining in the joy of making music. But what does one do with the chorister (child or adult) whose presence in the choir poses a detriment to the group? I find the following categories generally encompass such singers:

(1) Those who cannot match pitch;

(2) Those who can match pitch but who don’t enjoy singing;

(adults in this category rarely join the choir, but children who find themselves in this camp are sometimes forced to by well meaning parents who desire that their children enjoy the fruits of the choral experience)

(3) Those struggling with vocal issues that cannot be corrected by vocal coaching alone;

and finally:

(4) Those who possess a decent voice, or even a very good one, but who consider themselves better than the rest of the team, or worse, sow discord among their fellow singers.

Generally, adults who can’t match pitch aren’t running to join their local choir, although it has been known to happen. More often than not one finds the adult who struggles matching pitch in certain situation. The director must decide if he has the time to work individually with that person or not. Perhaps he or she is in the wrong section, has never sung in the head voice, sings next to someone whose voice does not blend with his or hers or needs to stand next to a strong voice.  Ultimately, singing in tune is more about listening than anything else. However, if such helpful attempts fail, you have a problem.

I do accept a child into our Junior Choir as long as he or she can match pitch at even the most elementary level (accepting such children into the Senior Choir is another matter entirely) and find that with continual training most children advance in time. I remember one chorister in particular who grasped music theory very quickly but couldn’t sing and match more than a few notes. Her mother and I agreed on a six week trial period for her in the choir, during which time she made slow but continual progress. After a year she became one of the leading choristers in her age group. At the same time, this isn’t always the case and it is possible and even likely that one will encounter the child who is unable match more than a couple of notes even after individual instruction. What is one to do?

What about the child whom God gifted with gold in his throat and a healthy dose of musical intelligence, but who simply doesn’t like to sing (why does God do this?). Sometimes spending a few extra minutes befriending him will change his attitude, especially if he enjoys being with the other children in the choir. On the other hand, I have encountered children who simply dislike the physical act of singing and nothing I do changes their attitudes. Often they excel playing instruments or singing in other types of choir and I encourage this.

As for those with physical vocal problems that cannot be corrected, I find this rare in children and more prevalent in adults, especially those who have abused their voices through years of misuse, such as constant yelling or singing improperly, which results in nodules on the vocal chords. Sometimes the director can correct or mitigate these problems with judicious vocal coaching and/or vocal rest, while at other times a doctor’s help is necessary.

Lastly, one encounters the prima dona attitude, or worse, the singer who sows discord amongst choir members. While the first is annoying, the second is unbearable. The first endangers choral moral, the second will destroy it. In general, a full choir of amateurs who work as a team is preferable to a choir with one or two leaders and sixteen followers. Your choir will advance much faster working as a team. As for the singer who sows discord, there is no other course of action save the termination of such a relationship. It simply won’t work.

Of course, these situations beg the question of how to deal with them effectively. First, charity is key. If each of your singers knows that he or she is appreciated as a person as opposed to a voice, he or she will bear constructive criticism better. Also remember that the director is not just looking out for the welfare of his choir, but also the welfare of each of his singers. Is it charitable to leave a person in a situation in which he has no hope of flourishing? If the above situations can’t be rectified, the choir director has no choice but to charitably ask the chorister (again, child or adult) to leave. Sometimes this conversation turns out well and sometimes it doesn’t, but it does need to take place. There is no way around it. Be sure to pray before you do it and perhaps inform you pastor who he isn’t blindsided by an angry email or phone call.

I readily admit that I am not confrontational by nature and have often allowed personnel problems to fester until they become emergencies—but this only results in good people leaving the choir before the proverbial “rotten apples.” I realize it is hard, but perhaps this is the balance we are called to live—truth in charity. Your program will be better for it.

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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Corpus Christi Watershed

President’s Corner

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

It was thought important that the song should actually accompany the distribution of Communion. A Carolingian explanation of the Mass remarks that during the Communion “soft melody should touch the ear [of the faithful] so that hearing this sound they would busy themselves less with distracting thoughts and … their hearts would be moved to humble love for that which they receive.”

— Father Josef Andreas Jungmann

Recent Posts

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  • “Music List” • 30th in Ordinary Time (Year C)
  • “Our Father” • Musical Setting?
  • Little Encouragement?

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