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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

Where Did “Do-Re-Mi” Come From?

Jeff Ostrowski · June 7, 2019

84288 ut queant laxis HOSE WHO WILL attend Sacred Music Symposium 2019 can look forward to singing Solemn Vespers at night—and we have beautiful things planned! One of the hymns is for Saint John the Baptist—UT QUEANT LAXIS—and it shows us where “Do-Re-Mi” comes from. (Later on, “Ut” was changed to “Do,” perhaps as an exercise in vanity by Giovanni Battista Doni.) Here is the Editio Vaticana version from a wonderful Solesmes Abbey book published in 1957:

    * *  PDF • “Ut Queant Laxis” (Vaticana)

What about an organ accompaniment? If you carefully search the NOH collection, you will see that two different harmonizations are provided for this hymn: One in volume 7, another in volume 8. (It is slightly puzzling to understand why, but sometimes a particular melody seems to have “struck a chord”—pardon the pun—with the editors. When that happens, we encounter in the NOH various harmonizations for the same melody by different composers: Monsignor Jules Van Nuffel, Flor Peeters, Monsignor Jules Vyverman, Gustaaf Frans Nees, and so on.)

A concise and clear explanation vis-à-vis how we got solfège (DO-RE-MI-FA-SOL-LA-TI) is provided on page 1,229 of the 1957 publication mentioned earlier:

84286 Ut quéant laxis resonáre fibris


A literal translation of the Latin by Father Connelly:

1. Ut quéant laxis
resonáre fibris
Mira gestórum
fámuli tuórum,
Solve pollúti
lábii reátum,
Sancte Joánnes.

1. That thy servants
may be able to sing
the wonders of thy deeds
with loosened throats,
O holy John,
remove the guilt
of our polluted lips.

2. Núntius celso
véniens Olýmpo,
Te patri magnum
fore nascitúrum,
Nomen, et vitae
sériem geréndae
Órdine prómit.

2. A messenger coming
from high heaven
discloses in due order
to thy father that
thou wouldst be born great,
thy name, and the course of life
thou wouldst lead.

3. Ille promíssi
dúbius supérni,
Pérdidit promptae
módulos loquélae:
Sed reformásti
génitus perémptae
Órgana vocis.

3. Doubtful of the
heavenly promise,
he (Zachary) lost the power
of ready speech;
but thou, when born,
didst restore the organs
of the lost voice.

4. Ventris obstrúso
récubans cubíli
Sénseras Regem
thálamo manéntem:
Hinc parens nati
méritis utérque
Ábdita pandit.

4. While buried in the
hidden abode of the womb,
thou didst perceive
the King reposing in His chamber;
whereupon both parents,
by the merits of their son,
revealed hidden things.

5. Sit decus Patri,
genitaéque Proli,
Et tibi compar
utriúsque virtus,
Spíritus semper,
Deus unus, omni
Témporis aevo.
Amen.

5. O God, one
and likewise three,
may the heavenly citizens
extol Thee with praises:
and we suppliants
ask Thy pardon:
do Thou spare the redeemed.
Amen.

For myself, I prefer the melodic variant found in the 1903 Liber Usualis of Dom Mocquereau. The problem is, if your choir already knows the standard version, it will be annoying to introduce a different tune—but I really do like it better:

    * *  PDF Download • Melodic Variant (1903)

(Believe it or not, this accompaniment matches the 1903 version, not the Editio Vaticana.)

Did I mention I prefer the 1903 version? Sorry, just checking…

Veronica Brandt has created an Editio Vaticana version with a different literal English Translation underneath the notes:

    * *  PDF Download • Version by Veronica Brandt

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

Filed Under: Articles Tagged With: Ut Queant Laxis Last Updated: February 24, 2021

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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 Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on which source text is chosen and what each translator wants to emphasize. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

There is a lack of that kind of organization which favors mature judgment. Move on, move on, get it out. Schemata are multiplied without ever arriving at a considered form. The system of discussion is bad … Often the schemata arrive just before the discussions. Sometimes, and in important matters, such as the new anaphoras, the schema was distributed the evening before the discussion was to take place … Father Bugnini has only one interest: press ahead and finish.

— Cardinal Antonelli (Peritus during the Second Vatican Council)

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