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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

Why Are You a Church Musician, Anyway?

Keven Smith · August 11, 2020

Have you ever stopped and pondered why you got into this line of work in the first place?

No, that’s not a hyperbolic question borne of my frustration over the “no singing” mandate in California. I’m actually suggesting that now is a great time for each of us to think back to how we got our start as a church musician. After retracing your steps, you may come away with a renewed sense of purpose and passion—just in time for choral activities to “open up” again (Deo volente).

I would say that my own path to the choir loft was a fantastic series of coincidences, but there are no coincidences with God. He uses who He wants and what He wants, when He wants, to get exactly the result He wants.

Opportunity Knocks, Literally

My story begins in 2000. I had just moved to the San Francisco Bay Area to start a new job as a marketing copywriter for a large software company. Young and single, I saw my little one-bedroom apartment as my sanctuary.

Though my apartment was in an enclosed building, bold salespeople still came knocking. I soon developed the habit of not answering the door—ever. If I heard a knock, I’d simply become a statue until I heard footsteps retreating down the hallway.

One evening, I made an exception. I had just gotten home from work when I heard a knock. Don’t answer. I opened the door. Why am I opening the door? Just as I had feared, it was a kid selling subscriptions to the local newspaper.

I listened to the kid’s pitch. I don’t want the newspaper. I signed up for a discounted subscription. Why?

Within days, the newspaper began to arrive at my door. And on lonely evenings in my apartment, I found myself flipping through it. One evening, I came across audition listings for local community theater productions. My eyes lit up. My younger brother had done some musical theater in college, and whenever I watched him perform, he seemed to be having more fun than I had had playing the clarinet.

Though I didn’t have much vocal training at that point, I knew I could sing on key. I decided to audition for a production of The Secret Garden at a very small theater in Point Richmond. I showed up and sang a sweet little art song. The people on the panel were very kind, and frankly, they were desperate for male actors. They cast me as Lieutenant Peter Wright—a “chorus” role, but one who got to speak a decent number of lines and be on stage for many key scenes.

A Friend’s Blunt Assessment Leads to Good Things

The Secret Garden soon took over my evenings and weekends. I got to sing, dance, wear makeup, and die of cholera. What I didn’t yet realize was the real reason I was there: to meet “Laurie,” the female lead.

No, this isn’t about to turn into a love story, though Laurie and I did become close friends almost immediately. But Laurie had a huge, well-trained voice, and I didn’t. One evening, after we had gotten to know each other, she and I were discussing singing during a rehearsal break.

“Keven,” she began gingerly, “I can tell you’re a really good musician. I mean, you always learn your parts right away for everything we sing. And you sound….OK. But there are certain things….certain vocal things that….well, I think if you had some training, you would really be a good singer.”

Laurie then proceeded to tell me about her voice teacher: Pam, the miracle worker who could unlock anyone’s true vocal potential.

At that point, I was just advanced enough to realize how much I didn’t know about singing. So I took Pam’s number and gave her a call. What followed was two and a half years of the best teacher I’ve ever had on any instrument. I showed up to Pam’s studio thinking I was a baritone. She made me a tenor and introduced me to the world of bel canto singing. By the time I left the Bay Area in 2003, Pam had given me the tools to function well as a singer in just about any environment. I moved down to Fresno to live near my almost-fiancee (now wife). And that’s when everything clicked.

Our Lady Takes the Reins

There’s nothing like a change in geography to trigger other major changes in one’s life. Up until then, I hadn’t felt very “fed” by any of the parishes I’d attended in the Bay Area. So I made up my mind that once I moved to Fresno, I was going to find the Latin Mass community and stick with it. I had a visceral sense that the beauty and mystery of the Latin Mass was what I needed to shake me out of my spiritual sloth.

My first couple of times at the Fresno Latin Mass, there was some organ playing but no singing. I was perplexed. Whenever I had visited the very small Latin Mass chapel my parents attended in northern California, there had been a sung Mass with a small schola. The director even recruited me to help sing whenever I was in town. Why no chanting in Fresno?

On my third Sunday in town, I asked the organist if they ever had sung Masses. She said, “No, but we do have a group of men who want to start a schola. They’re standing right over there. The guy in the blue shirt is David.”

I approached the men, introduced myself, and told them I was new in town. “I hear you’re thinking of starting a schola,” I continued. “I’m a well-trained singer. I’ve done some chanting, and I can read the notation. Are you looking for more singers?”

For several seconds, the men stared at me in stunned silence. Finally, David spoke:

“That’s interesting, Keven….because we’ve spent the last two weeks praying to Our Lady, asking her to send us a schola director.”

Why Now Is a Time for Reflection

I had no ambition to become a schola director. I had never directed anyone to do anything. But Our Lady left me no choice. So, for the next 10 years, I volunteered to direct the schola—and eventually, a girls’ choir—in Fresno. Finally, in 2014, I was hired as music director at St. Stephen the First Martyr Church in Sacramento.

My “how I got started” story is a good one, but I’m embarrassed to admit that I tend to forget about it for months at a time. It’s so easy to get caught up in the next Wednesday rehearsal, the next Sunday Mass, the preparations for Christmas, the plan for Holy Week—and of course, family life, my freelance writing business, and the endless ironing of church clothes.

Now is the perfect time for us all to stop and reflect on where we came from as church musicians. What was it that made each of us interested in singing, directing, or playing the organ? And how can we be more faithful to that first “yes” we gave to Our Lord and Our Lady? We may never have a better chance to reconnect with where we’ve come from and use it to guide where we’re headed next. I pray that we shall all soon return from this unrequested hiatus with renewed vigor for our work.

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

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Filed Under: Articles, Featured Tagged With: Gregorian Chant, Latin Mass Last Updated: November 24, 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

    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) 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
    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
    “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

    “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

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

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  • New Bulletin Article • “12 October 2025”

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