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Views from the Choir Loft

“ Dissonance? ” • Gregorian Accompaniment

Jeff Ostrowski · April 5, 2018

HOSE WHO ACCOMPANY Gregorian melodies on the organ must have a sensitive ear and understand where to place dissonance. A common misconception goes something like this: “I don’t want dissonance in my accompaniments, so I don’t change chords very often.” Nothing could be further from the truth!  Organists who change chords infrequently (and lack familiarity with voice-leading techniques) create horrific dissonance without realizing it.

Warning!  Warning!  Musician about to express opinions—Proceed with caution and coffee.

Consider the following example by Henri Potiron. Are your ears sensitive enough to hear the ill-considered (in my humble opinion) dissonances Potiron created highlighted in pink? The third “pink” is especially egregious:

89619 • HENRI POTIRON


The areas highlighted in yellow are also ill-conceived (in my humble opinion), and expose open chords and ugly fourths. In general, Potiron loiters on chords too long, then abruptly moves to another chord with motion in all the voices—and that’s not cool. In too many places he misses opportunities to help keep the melody flowing. The way all voices move in the same direction at the beginning of “amícti” is faulty, and the 6/4 chord for “Amen” is bizarre, forbidden, and lazy. It’s as if Potiron fell asleep at the wheel.

Finally, the voice-leading would be less jagged if he moved to D quicker on “Príncipi” (cf. suggested note in red ink).

This book in question, 1948 Daily Hymnal, has an IMPRIMATUR from the Archbishop of Westminster, and uses accompaniments by Potiron exclusively (if memory serves). Monsieur Henri Potiron was—as many readers know—the most famous exponent of the “Solesmes” method of Gregorian accompaniment. His title was Maître de Chapelle de la Basilique du Sacré Cœur et Professeur a l’Institut Grégorien.

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 Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Los Angeles.—(Read full biography).

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Quick Thoughts

14 May 2022 • “Pure” Vatican Edition

As readers know, my choir has been singing from the “pure” Editio Vaticana. That is to say, the official rhythm which—technically—is the only rhythm allowed by the Church. I haven’t figured out how I want the scores to look, so in the meantime we’ve been using temporary scores that look like this. Stay tuned!

—Jeff Ostrowski
14 May 2022 • Gorgeous Book

If there is a more beautiful book than Abbat Pothier’s 1888 Processionale Monasticum, I don’t know what it might be. This gorgeous tome was today added to the Saint John Lalande Online Library. I wish I owned a physical copy.

—Jeff Ostrowski
Sound Familiar?

1 June 1579: “The chapter passes a rule that anyone ascending to the new organ without official permission shall be fined a month’s pay.”

26 October 1579: “The altar boys remain always separate and distinct from choirboys—the one group learning only plainchant and assisting at the altar, the other living with the chapel-master and studying counterpoint and polyphony as well. Father Francisco Guerrero postpones his departure for Rome and instead spends the entire year in Seville making ready for the trip. In the meantime he neglects his choirboys. On 16 November, after considerable complaint against their unruliness and ignorance, he engages an assistant, Bartolomé Farfán.”

—Jeff Ostrowski

Random Quote

“To treat harmony and rhythm in this matter was a difficult matter. Facing numerous problems both large and small—that arose constantly—we understood that a flawless harmonization of Gregorian chant cannot be created by improvisation, no matter the competence and ability of the organist or harmonist.”

— ‘Mons. Jules Van Nuffel, NOH Preface’

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