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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

    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

“You should try to eat their food in the way they prepare it, although it may be dirty, half-cooked, and very tasteless. As to the other numerous things which may be unpleasant, they must be endured for the love of God, without saying anything or appearing to notice them.”

— Fr. Paul Le Jeune (1637)

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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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