• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

How to properly sing “Alleluia” in Eastertide (1962 Missal)

Jeff Ostrowski · May 11, 2020

HE Second Vatican Council solemnly declared on 4 December 1963: “There must be no innovations unless the good of the Church genuinely and certainly requires them.” As readers know too well, this mandate was basically ignored. For example, Eastertide’s nomenclature was “bumped” by one digit. In the Extraordinary Form, this coming Sunday will be the Fifth Sunday after Easter, whereas in the Ordinary Form, this coming Sunday will be the Sixth Sunday of Easter. Was this change “genuinely and certainly” required?

Speaking of Eastertide, the 1908 rubrics explain how to sing the Alleluia correctly in the Extraordinary Form. Back in 2014, I published an article explaining how this works. But it’s still pretty confusing, so here’s an explanation video:

 

I have shared in the past my opinion that the “Mocquereau Rhythmic Markings” (a.k.a. the “Classic Solesmes Method”) did tremendous violence to the antiphons of the Divine Office by excessive and overindulgent elongations (horizontal episemata) not found in the official edition. At the same time, I have pointed out that only a lunatic would attempt to restore the “pure Vaticana rhythm” at this point, since the classical Solesmes method has completely dominated the chant world for 130 years.

But it’s not just elongations! The “Mocquereau Rhythmic Markings” also cause damage by ignoring elongations (moræ vocis) which are supposed to be there, making the piece difficult to sing. Notice how Dom Mocquereau ignores the moræ vocis of the official edition:

The 1953 Schwann (Edited by Abbot Urbanus Bomm, O.S.B., Karl Gustav Fellerer, and Msgr. Johannes Overath) inexplicably contradicts the official rhythm, telling the singer to ignore the moræ vocis:

The Abbey of Solesmes does something quite unusual on the word “redémit”—and I’m not talking the hyphenation. 1 I’m talking about Solesmes omitting the required space after one of the neumes. You can see it’s not a typo because even their earliest edition (1908) fails to leave the correct amount of blank space:

The 1953 edition by Schwann did leave the correct amount of blank space—even though the editors tell the singer to ignore it!—as you can verify by carefully examining the official “Vatican Press Edition” of the Vaticana (1908):

Abbot Pothier clearly wanted elongations there, as you can see from his earlier editions. Consider the following, which comes from the Liber Usualis (1896):

As usual, the Nova Organi Harmonia (Belgium) properly reproduces the moræ vocis from the official edition—because they tenaciously adhere to the “pure” Editio Vaticana school of rhythm:

I say again: none but a lunatic would promote the “pure” Editio Vaticana rhythm at this stage of the game. On the other hand, this saddens me; because the music really does suffer, as this example demonstrates so well.

 


NOTES FROM THIS ARTICLE:

1   Solesmes always hyphenates it as red|é|mit whereas others break it as re|dé|mit.

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

Follow the Discussion on Facebook

Filed Under: Articles, Featured Tagged With: Editio Vaticana, Greater Alleluia, Gregorian Easter Alleluia, None but a lunatic Last Updated: November 4, 2023

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“We wish to express the hope that students of Gregorian Chant come back to the pure Vatican Edition, in the ancient block-note form, without the addition of any signs whatever, in order to achieve Gregorian unity.”

— Josef Gogniat (12 March 1938)

Recent Posts

  • New Bulletin Article • “21 September 2025”
  • How do you pronounce this word in Latin?
  • Cheap! Cheap! Cheap!
  • Children’s Repertoire: “3 Recommendations”
  • PDF Download • Dom Murray Harmonies

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.