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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

A Silver Jubilee

Dr. Lucas Tappan · October 3, 2017

“Pleasure and action make the hours seem short.” William Shakespeare

LMT Lucas in Prayer ESTERDAY MARKED A MILESTONE of sorts—the 25th anniversary of the first time I played the organ for Holy Mass—Friday, October 2, 1992. I remember because it was the Feast of the Guardian Angels and I played a hymn related to the day, although for the life of me I couldn’t now tell you what it was. Here I am 25 years later thanking God for the life of the church musician, along with its joys and vicissitudes. It is wonderful now to look back and realize with what love God prepared me for this avocation, from being born into a devout Catholic family with a deep musical heritage to beings surrounded by pastors, teachers and wonderful friends along the way who have guided and mentored. Of course none of this would now be possible without my wife Katie, who takes the helm and navigates the family ship every Sunday morning while I busy myself with any myriad of things musical and liturgical.

Many things have changed over the last quarter of a century in the field of church music and thankfully most of them have been for the better. I distinctly remember my 8th grade year in school when I found my mother’s missal from her youth, which happened to contain a short Kyriale at the end in modern notation. She and my aunt recorded the Agnus Dei from Mass XVIII on a cassette and I listened to it and memorized it, enraptured with its beauty and thinking it was the most sublime thing I had ever heard (it would be years before I discovered the Kyrie from Mass IX). None of the young people then seemed to care about it or for it, but how different things are today. Young people, parents, priests, religious and the un-churched alike are touched by the beauty of the rich treasury of sacred music, one of the greatest gifts the Church has bequeathed to western civilization.

In many ways I feel blessed because I don’t have to work, I simply get paid to do what I love and the time has truly flown. Yesterday I went to Mass early in the morning at the local to give thanks for such a gift and I found myself repeating the words of Psalm 150… “O praise God in His holiness… Praise Him for His noble acts… Let everything that hath breath praise the Lord!”

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

    Epiphany Hymn • “New 2-Voice Arrangement”
    The Von Trapp Family Singers loved a melody that was featured heavily (perhaps even “too heavily”) in the Brébeuf Hymnal. It goes by many names, including ALTONA, VOM HIMMEL HOCH, and ERFURT. If you only have one man and one woman singing, you will want to download this arrangement for two voices. It really is a marvelous tune—and it’s especially fitting during the season of Christmas and Epiphany.
    —Jeff Ostrowski
    Simplified Accompaniment (Epiphany Hymn)
    About a month ago, I created a simplified keyboard accompaniment for “Come, Thou Long-Expected Jesus”—the famous ADVENT hymn—using a melody called CROSS OF JESUS. It was soon downloaded more than 1,000 times. As of this morning, you can download a simplified keyboard accompaniment for the belovèd Epiphany hymn “Bethlehem! Of noblest cities” (O Sola Magnarum Urbium) by clicking on this link (PDF file). Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult, which explains why choirmasters appreciate these simplified keyboard accompaniments.
    —Jeff Ostrowski
    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

“As often as possible they gathered together the children of the village and sat them down in the cabin. Father Brébeuf would put on a surplice and biretta and chant the Our Father, which Father Daniel had translated into Huron rhymes, and the children would chant it after him. Next, he taught them the sign of the cross, the Hail Mary, the Apostles’ Creed, and the Commandments.”

— Biography of St. Jean de Brébeuf

Recent Posts

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  • How Does The Vatican “Rhythm” Actually Sound?
  • Simplified Accompaniment (Epiphany Hymn)
  • “Adeste Fideles” • Too Many Translations!

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