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Views from the Choir Loft

Repeating Repertoire? • Dr. Tappan

Dr. Lucas Tappan · March 26, 2020

Repetitio est mater studiorum.

“Fish and visitors stink after three days.” —Benjamin Franklin

BSERVE any young toddler who has made the wonderful discovery of the straw. He spends an hour in concentrated rapture touching it, chewing it, poking it, blowing and sucking through it, bending it, waving it and throwing it—simply taking time to know it. If the observer happens to be one of the child’s newly minted parents, he praises God above for the gift of a moment to catch his breath in the middle of the exhaustion of parenthood—and he naively believes the straw will work again and again and again. But as surely as the sun rises each day in the fiery heavens, the straw will loose much of its allure the second time around, usually when mom or dad needs it to work its magic the most. Such is the story of life. A child spends the first half of his life trying to leave home and the second half of his life trying to get back. We desire the familiar, yet pine for the new and exciting, and music is no exception.

Two of the greatest complaints pastors hear about music in their parishes (perhaps after its generally abysmal state) are Why do we sing the same things over and over? and Why do we always sing songs that nobody knows? At first glance these complaints seem contradictory, but at their heart I believe lies the simple fact of human nature and man’s need for both the familiar and the new. We desire the Infinite, after all!

God, in His wisdom, created the same sun to rule over each successive day and the moon over each ensuing night. At the same time, spring turns into summer and fall into winter. Things grow and things decay. Things are born and things die. God Himself is “ever ancient, ever new” and it is natural that we will experience the same desires in regard to His creation, the very “traces” of God. If we hope to be successful music directors, we will have to take this same approach, one which is entirely liturgical. Year after year we celebrate the same sacred mysteries of our Faith; the Incarnation, the Passion, Death and Resurrection of Christ, yet we have times of preparation and times of celebration, times of fasting and times of feasting. Even though we rejoice each Sunday in a little Easter, each one focuses on a different aspect of the same Lord, Who is inexhaustible. The question then arises, how do we live this reality in the realm of music?

Familiar Texts
The Second Vatican Council rightly calls music the greatest of the Church’s arts because of its intimate link with the actual texts of the sacred liturgy, many of which we hear day after day, week after week, or in some cases only once a year, but nevertheless, year after year. Such repetition allows the words to become an intimate part of the Christian’s spiritual life and in the Church’s wisdom these text remain the same year after year.

I remember several years ago being privileged to watch Barry Rose lead the Men and Boys of St. Thomas, Fifth Avenue, during a rehearsal of a psalm prior to Choral Evensong. I don’t remember which psalm specifically, but like many, it spoke of the twilight of life and man’s desire for God. In a beautifully candid moment, Mr. Rose, then about 80, stopped the choir in the middle of the chant and spoke directly to the boys, reminding them that one day each one would peer through the window of eternity, and it would be the words of the psalms that each one had committed to memory during his time in the choir school that would then be a comfort. The tunes and ditties of the radio and music hall would be meaningless in the magnitude of one’s final moments—only the words of the psalms could bear the weight of the moment.

Music, of course, helps us to memorize these incredible texts that otherwise might never be committed to memory and the more familiar the tune, the easier it will be to internalize and memorize the words. We need the repetition, but the question then arises whether we can become too familiar with the words. In the same vein, we might ask ourselves if we can we become too familiar with the music that carries the words and no longer be moved by them.

Cantus Gregorianus
If there is any one music able to bear the weight and glory of the texts of the Roman Rite, it is undoubtedly Gregorian chant. Neither its language nor its melodies or rhythms belong to any one peoples, place or time, but to all, and we have to ask ourselves why this music continues to appeal to so many. In one sense, this music is utterly simple and “familiar.” Rhythmically it moves in groups of twos and threes, nothing more, yet these groupings can be put together in an infinite variety of ways, always familiar, but always new and surprising.

Melodically, chant takes a relatively small number of neumes and arranges them in any number of ways into a tune. Even the various types of chants generally follow similar patterns in their construction—Introits, Graduals, etc. Yet the Introit for Christmas Mass at Midnight is so different for the Introit we hear the very next morning in the Mass for Christmas Day. Perhaps this is why it is so hard to tire of hearing the same Propers at Mass year after year (as long as they are musically and beautifully rendered). Because this music can withstand yearly repetition…

Renaissance Polyphony
Much of what can be said of Gregorian chant might be said of sacred polyphony from its golden age. Renaissance composers weren’t tied to purely major and minor modes, and their rhythms could be very fluid. They traveled widely throughout Christendom, or were at least familiar with various styles, which provided for a universal quality and appeal in their music. More than that, their music was deeply imbued with a Faith fully alive that still speaks powerfully to modern man. Perhaps the criteria for the greatness of a musical work lies in its ability to keep its freshness in the face of repetition.

What lessons may we draw from this?
I find the greatest lesson we can draw from human experience is to begin with the greatest of texts and the greatest of music, because only these can bear the weight of constant repetition. The Church, in Her wisdom, has done just this. Our job is to start there by singing the Mass and using the music of the Roman Rite. Even when we employ styles other than Gregorian chant, or texts not specifically from the liturgical books, make sure they are of the highest quality. This still begs the question, how many congregational Mass Ordinaries should the average parish employ, how many hymns can parishioners learn, how many motets can a choir effectively keep in its repertoire? In my experience, there isn’t a magic number, but rather a strategy, and this is the correct amount of repetition.

If your parish is tackling a new Mass Ordinary, whether in Latin or English, you should plan to use it until the congregation is almost becoming sick of it before backing off (then give it a healthy rest). If you have a stable parish community, it will then have become a permanent part of your parish’s repertoire and can be used as needed in the future. The choir director needs to determine how many new motets his choir can tackle in a semester, maybe two, or perhaps four.

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

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Filed Under: Articles Tagged With: Repeating Repertoire Last Updated: March 30, 2020

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About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“These liturgists protest that the choir must be encouraged, but in the same breath we are told its purpose is to lead the congregation in the singing of hymns and other unison music. These directions from non-musicians who have never created a musical sound—let alone direct a choir—are the cause of consternation among practicing musicians, both instrumentalists and singers.”

— Monsignor Richard J. Schuler (30 November 1967)

Recent Posts

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  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
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