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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

Psalms, Psalmody, Psalmists, Psalm Singing

Dr. Gregory Hamilton · March 10, 2020

Detail from the Poissy Processional, Fitzwilliam Mus. MS McClean 63, folio 131

URLEY one of the greatest treasures that the church has been given is the “Hymnbook of the Church”; the book of Psalms. The Psalms in the bible depict every mood and emotional state, from fear, utter dejection to ecstatic praise of Yahweh. But every one of the psalms are written with I and Thou in mind. None are an empty soliloquy with no one there. No matter how dejected the mood, God is always there, and even though the psalmist may not be hearing the voice of God, through faith he believes that Yahweh is there. This is one of the messages of the psalms.

We would do well to remember that the early Christians took the synagogue service and adopted it to meet the new faith. The core of the Jewish liturgy was the cantillation of the Psalter. This is one of the greatest gifts that our Jewish Brethren have given us. Some of you may not know, but in seminaries and houses of religious, the 150 psalms are still recited or sung every month.

…And we should make another point. ALL of the psalms were created as SUNG MUSIC. The idea of a ‘recited psalm’ is an oxymoron.

If we were to think about some of the ways that during Mass we use psalmody, in particular the form in the Novus Ordo, the responsorial psalm is one we deal with at every Mass. This form of the psalm, though similar, replaces the “Gradual” in the old rite. This was called the “gradual” because the psalmist sung it while standing on the steps leading to the altar, it was sort of half way up to the altar.

Unfortunately in our day, the responsorial psalm has been subjected to some of the most “colorful” experiments. We all have witnessed the phenomenon of the “helicopter cantor” and the psalmist who takes his or her musical style from the bar down the street. (not that I have anything against bars per se…)

The GIRM (General Instruction of the Roman Missal) has this succinct bit concerning cantors/psalmists:

102. It is the psalmist’s place to sing the Psalm or other biblical canticle to be found between the readings. To carry out this function correctly, it is necessary for the psalmist to be accomplished in the art of singing Psalms and have a facility in correct pronunciation and diction.

…nuff said!

The GIRM also mentions that the ‘usual’ form of the psalm between the readings, is not the only way that the psalm may be presented: The psalm may be sung straight though, or metrical versions of the psalm may be used as well – for example, the rich tradition of Anglican Psalmody would be possible. Also, (an opinion) if the verses are normally sung by a cantor or choir, why can’t some of our fine composers compose some polyphony for the verses? there is nothing rubrically against this. The use of psalm tones are laudable, but not the only way. And, it should be said, one of the greatest losses in the reformation of the liturgy is the Gradual, and also the Gregorian Alleluia, with it’s “Jubilus” (extended melismatic Alleluias).

However, if we were to think about what might be some virtues of musically good responsorial psalmody, we might come up with the following:

1. Must be easily singable. If you are going to sing a responsorial psalm for the faithful rather than the Gregorian Gradual, surely the response should be singable by the people.

2. It is helpful that they are learnable by amateur cantors. Few of us in the church have the luxury of professional cantors/soloists. Therefore, the people we work with vary in talent and ability. A misconception must be corrected: There is nothing wrong with simple music, but there is no excuse for poor quality music.

3. They must be beautiful—they must have appeal as good MUSIC, not just “something that will work”.

4. The should be composed with good harmony.

It JUST so happens, that there is a great body of psalmody on this very site! – I recommend the Chabanel Psalms, which meet all these requirements most admirably!

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

Filed Under: Articles Last Updated: March 11, 2020

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About Dr. Gregory Hamilton

Dr. Gregory Hamilton is a composer and performer currently on the faculty of Holy Trinity Seminary in Dallas TX.—(Read full biography).

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President’s Corner

    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 what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    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 example) 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
    “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

    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

“Who dreamed on that day that within a few years, far less than a decade, the Latin past of the Church would be all but expunged, that it would be reduced to a memory fading in the middle distance? The thought of it would have horrified us, but it seemed so far beyond the realm of the possible as to be ridiculous. So we laughed it off.”

— Most Rev’d Robert J. Dwyer, Archbishop of Portland (d. 1976)

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