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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

Real Life in a Large Church Choir Program (Part III)

Keven Smith · June 23, 2020

You’re reading the third article in a series on my music program at St. Stephen the First Martyr Catholic Church in Sacramento, California. My first article focused on the instruction I offer for children ages 4-7. They discover music by way of fun songs and activities. Along the way, they develop fundamental musical skills.

My second article explained what happens when children advance to my Level 1 and Level 2 classes. There, they receive extensive ear training before eventually beginning to match what they know in their ears with what they see on a page. I believe that this “sound before sight” approach actually leads to better sight-singing, which is a skill every church choir director wishes their choir had in abundance.

Once children graduate from Level 2, they’re ready to attend our Choristers rehearsals on Thursday afternoons. Some parishes use the term “chorister” more generally to apply to any member of the choir. We at St. Stephen’s have always used it to refer to our youth singers up through high school. Our Choristers are not a children’s choir as such; they are members of the St. Stephen’s Choir and sing alongside our adult members. Far from being a mere complement to our parish choir, our young Choristers are, quite frankly, its core.

Growing Up Together in Music

Our Choristers include two groups: Junior Choristers and Senior Choristers. Junior Choristers attend all rehearsals but sing only our First Friday Masses each month. Senior Choristers attend all rehearsals and sing all Masses, including Sundays and feast days.

Most Junior Choristers are kids fresh out of Level 2. This group may also include a few singers who have just joined our music program and have considerable musical training, but who are relatively new to singing. In these cases, if I’ve assessed that they’re ready for the challenge, I’ll throw them right in as Junior Choristers.

Over the course of their schoolyear as Junior Choristers, I’ll watch singers carefully to make sure they’re participating and contributing to the best of their abilities. I’ll assess how they’re doing at First Friday Masses (where the music is relatively simple) and consider whether they’re ready for the responsibility of being full choir members. Once they progress to that level, I’ll have them take a short audition at Choristers rehearsal in front of their peers. This probably sounds intimidating, and yes, everyone gets nervous. But the atmosphere is unfailingly positive and supportive. I’ll solicit feedback from Senior Choristers before telling the auditionee on the spot whether I’m promoting him or her to Senior Chorister.

The positive and supportive atmosphere of which I speak is a way of life for our Choristers. This, I believe, is one of the main benefits of having a Chorister program. The young people in our parish grow up together in music. They learn together, struggle together, and set examples for one another. Senior Choristers instinctively look out for Junior Choristers, making sure they can find measure 32 in the motet and that they have a pencil handy to mark a lift after “Dominum.”

Inside a Choristers Rehearsal

Choristers rehearsals are much like any church choir rehearsal. We begin with a prayer and then do warmups and voice building exercises. We spend the rest of the time learning repertoire. A few thoughts on how we work on a new motet: 

  • I’ll present some background on the composer and explain what made me choose the piece.
  • We’ll then listen to the piece on YouTube or here at Corpus Christi Watershed while the singers follow along with their parts. This step lets the singers know what to expect before they sing the piece.
  • I’ve found it best to separate the elements of a motet during the learning process. Rather than sight-reading through pieces on text, we almost always start by solfeging through through one chunk at a time out of tempo. When the solfege is steady, we’ll switch to a neutral syllable such as “noo.” For tricky rhythmic passages, we’ll chant through on “tah” or “bah.”
  • Text comes last. We’ll often speak it in an intense, dramatic fashion, emphasizing spacious vowels. “Declare it as if you’re an actor in a bad Italian movie,” I’ll tell the Choristers. Finally, we’ll sing the text on the notes and rhythms we’ve learned.

Through this step-by-step process, a new motet takes shape. It’s time-consuming to work this way, but once we’ve learned a piece, we know it forever. I’ve often had the experience of pulling out a Christmas motet in November and finding that we sound even better on it now than we did when we first learned it for last Christmas.

The Value of a Good Head Chorister

As I mentioned, the peer experience is an important component of a successful Choristers program. To that end, I appoint a Head Chorister to assist me in leading what is typically a group of at least 20 young singers. For the past four seasons, one young lady has held this position with a level of distinction that I can barely describe. She is the only person I’ve ever met (including me) who somehow remains 100 percent focused during every moment of every rehearsal and every Mass. Though she abounds in the virtue of meekness, it does not stop her from leading by example—nor did it prevent her from stepping in and directing the choir at Sunday Mass on one day’s notice when my wife had our fifth child last fall. By gently, quietly setting the bar so high, this remarkable young lady has left an indelible mark on our Choristers program.

This Head Chorister and another tremendously accomplished and virtuous young choir member will be heading off to college this fall (and for some reason, my laptop screen has suddenly become blurry). Rather than dwell on the loss to our program, I can’t help but feel confident that other young singers will realize their time has come to step up and be leaders. They will seize this opportunity to serve with even greater devotion, and to grow in virtue as they do so.

The Circle of Life from a Choir Perspective

While I would welcome more adult members to our choir (and they are beginning to trickle in), our parish demographics are such that we will probably always be heavy on Choristers and relatively light on grownups. Many of our parish’s beautiful large families have enrolled child after child in our music program. It is always bittersweet to reach the “end” of one family, but I can take comfort in the fact that a younger family is probably just about to enroll their eldest in my classes—and what wonderful years of sacred music we’ll enjoy together!

In my next and last article in this series, I’ll describe how I work with our adult choir members at Wednesday evening rehearsals and explain how singers of all ages put it all together to sing on Sundays and feast days.

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

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Filed Under: Articles Tagged With: Catholic Youth Choirs, Traditional Latin Mass Tridentine Rite Last Updated: June 23, 2020

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About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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’ with regard to 1960s switch to 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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —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

“Catholics in America have been the heirs of a sentimental and subjective hymn tradition that, for some reason or other, has taken a deep and fast hold on the fancy of the average person.”

— Fr. Francis Brunner (1953)

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  • “American Catholic Hymnal” (1991)
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