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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

PDF Download • “Alleluia Choral Extension” (EF + OF)

Jeff Ostrowski · September 10, 2019

VERY YEAR at the Sacred Music Symposium, we talk about the best way to introduce sacred polyphony into the Ordinary Form. I always say the same thing, but it’s so important I don’t mind repeating it constantly. I tell the participants the best way to introduce polyphony is to “sneak” it in, using short choral extensions. Furthermore, I insist that the music must be sung very well: perfect balance, perfect blend, and so forth. This is possible when brief choral extensions are added; but it’s quite impossible if you attempt a 25-minute polyphonic Credo your first day on the job.

We use a polyphonic “choral extension” each Sunday here in Los Angeles for the Extraordinary Form. After a while, they start sounding pretty amazing—because we sing them week after week.

Here’s a “brand new” adaptation from a Guerrero Magnificat:

* *  PDF Download • Guerrero Alleluia (#82790)

EQUAL VOICES : IYouTube
SOPRANO : IYouTube
ALTO : IYouTube
TENOR : IYouTube
BASS : YouTube

I will continue to write articles explaining how to “sneak” polyphony back into Mass, where it belongs. For the time being, if you don’t understand what I mean, please try these:

* *  (2017 Article) A Simple Polyphonic Alleluia for OF and EF

* *  (2017 Article) Does Polyphony “Fit” Ordinary Form Masses?

A word to the wise: When you’re planning how to sneak it in, remember the Soprano section begins on G-Natural but ends on G-Sharp.

WE CHOIR DIRECTORS OFTEN SUFFER from a “fatal flaw.” Too many in our profession fail to make recordings of their choirs, to make sure they are producing something beautiful. They assume the results are nice, but never take the time to verify this. I know of a choirmaster in the USA who has paid singers each week and attempts complicated polyphony at the cathedral where he serves. He often tells everyone how “amazing” and “incredible” he is on the internet. Yet the attendance at his cathedral is quite sparse, and about half the pews remain empty on Sunday morning. Moreover, he doesn’t have enough singers for the complex polyphony he attempts, so it ends up sounding like a bunch of soloists—whereas the goal ought to be a nice, full, glorious choral sound. 1 How can this be correct? Shouldn’t sacred music attract people to church? Why are there so many empty pews? Wouldn’t it be better for this director to recruit more people from the parish (even though they aren’t paid singers) so the choral sound improves? Would it not be better for this director to choose “simpler” music—such as the Alleluia above—which he can present in a truly excellent way? In my humble opinion, that would be logical.

Consider another example. Years ago, I was chosen to be a professor at a huge Catholic church music conference. One of my colleagues was directing a very complicated polyphonic setting of the CREDO, and worked on it all week. But during the final Mass, the piece fell apart, and he had to stop in the middle of the piece—which shocked me. Then they started over and were (finally) able to get through it. I was left perplexed, thinking to myself: “I thought we were supposed to be giving these attendees music they can take home with them; but even with tons of professional musicians, they couldn’t get through the piece and had to stop in the middle of Mass. This makes no sense.”

Maybe I’m crazy, but I believe church music should be presented with excellence. Moreover, I believe beautiful music attracts people, and that’s a good thing! The “secret ingredient” is often using music which is not extremely complex.

The Alleluia above my look simple on paper—but wait until you hear it sung by a large, beautiful choir!

 


NOTES FROM THIS ARTICLE:

1   Don’t forget: Big voices must “back off” and weak voices must “step up.” That’s how you get a choral blend worth dying for!

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

Filed Under: Articles, PDF Download Tagged With: Alleluia Polyphonic Extension Last Updated: March 23, 2022

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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

    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st 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 spectacular feasts website. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski
    “Entrance Chant” • 21st Sunday Ordin. Time
    You can download the ENTRANCE ANTIPHON in English for the 21st Sunday in Ordinary Time (Year C) which is coming up on 24 August 2025. Corresponding to the vocalist score is this free organ accompaniment. It’s set in a melancholy mode, but if you heard my choir’s female voices singing it your soul would be uplifted beyond belief. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

Although the New Testament is now so much more important to us than the Old, we must remember that the archetype of the Canon of Scripture is the Old Testament. At first that was the whole Bible, to Christians as to Jews. When the apostles speak of “Scripture” they mean the Old Testament only. Indeed, the way in which the books of the New Testament came to be considered canonical was by making them equal to those of the Old.

— Rev’d Doctor Adrian Fortescue

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