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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

To Breathe or Not To Breathe

Dr. Alfred Calabrese · February 8, 2020

ART of the conductor’s job is to prepare his or her own music so as to then teach it to the choir. This includes preparing the score with all sorts of markings, including dynamics, tempi, phrasing, the occasional redistributing of voices, and breath marks. These markings make for an efficient rehearsal and a unified final performance. The process of making these decisions is, in my experience, possible in only one way: the conductor must sit quietly with the score and sing every part. In this way, not only do conductors learn every part intimately, but they experience all of the challenges each section of the choir will face. One of these challenges is where to breathe.

This may seem simple enough. We should breathe at the end of a phrase. Or should we? Many times, for dramatic effect, or because of our analysis of the phrase structure, or because of the text, or just because we think the music will sound better, we ask the choir not to breathe, but carry over, sometimes staggering the breathing within the section. Often, these places are dramatic because they deny to the listener the natural expectation of a breath. It is here that some real beauty can take place. 

Most choir members, wanting to do things just right, will pencil in exactly what the conductor asks, in this case, a slur over the phrase to indicate a ‘do not breathe here.’  And most of the time even the most professional singer will give back exactly that marking, dutifully singing through the phrase without a breath. Perfect! Except for one thing. It might not sound very interesting. We don’t ever want to our choirs to sound mechanical. Instead, we want to take moments like these and make the most of them. Consider the opening from Thomas Tallis’ famous “If Ye Love Me.”

It would be perfectly acceptable to breathe after “me,” especially considering the comma, but I think that most every choir sings through to make a four-measure phrase.  However, for this to become an important musical moment, something special should happen. Instead of robotically singing past “me” with no change in the sound, the music sounds much better by making a fairly obvious crescendo on the words “love me,” anticipating the moment when the choir will not breathe. This one, small musical gesture provides a wealth of gifts: it provides intensity to the line and a sense of direction; creates a warm, beautiful choral sound; it enlivens the text and gives it real meaning, and finally, it just sounds better.

This is an overly simple example of a spot where a decision not to breathe can create a beautiful phrase. Most decisions like this will be a little more complicated. But only by singing through all the parts on their own, musically and beautifully and sensitively, will conductors be able to test out different ideas or discover a potentially wonderful moment that they can then bring to the rehearsal.

As we make music which adorns the sacred liturgy, our goal should be more than to simply recreate the notes, rhythms, and words found on the page. Beautiful music is everywhere to be discovered. Conductors, find one or two extra special moments and make the most of them. Sometimes the most beautiful musical line happens with the simple decision to not take a breath.

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

Filed Under: Articles Last Updated: February 8, 2020

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About Dr. Alfred Calabrese

Dr. Alfred Calabrese is Director of Music and Liturgy at St. Rita Catholic Church in Dallas, TX. He and his wife have two children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Johann Baptist Singenberger (d. 1924) held in trust a letter from Pius X giving him permission to use men and women in his festival choirs. He neither published it nor used it, lest he embarrass the Holy Father.”

— Monsignor Francis P. Schmitt (August 1957)

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