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Views from the Choir Loft

(Installment #3) “Catholic Hymnals” • Keven Smith

Keven Smith · August 31, 2020

Editor’s Note: Each contributor is reflecting upon Comparison of 15 Traditional Catholic Hymnals. Rather than rehashing Mr. Craig’s article, they were given freedom to “expand upon” this vast subject. Click here to read all the installments that have appeared so far.

ANY THANKS to Daniel Craig for his recent article, which carefully laid out the “pros and cons” of 15 traditional Catholic hymnals. I work at an Extraordinary Form (EF) parish, so I tend to evaluate hymnals based on what would work well in my setting. If you’re an EF music director who’s looking for a new hymnal, you probably have some specific criteria in mind. Rather than steer you towards any specific hymnal on Mr. Craig’s list, I thought I’d jump into the discussion by offering a list of my own general preferences.

If I were choosing a new hymnal
for my Extraordinary Form parish
today, I’d want that hymnal to:

1. Include all eighteen (18) of the commonly used Gregorian settings of the ordinaries.

It puzzles me why publishers will include, say, ten of them but omit the others just to save a few pages. Why make judgment calls about which ones are the best? Yes, Missa de Angelis gets sung everywhere (except at my parish), and Masses IV and XI are also quite popular, but let’s give parishes the freedom to try, say, Mass VII.

2. Include all six (6) commonly used Credos.

It’s the same principle: my parish uses I and III exclusively, but I’d love to know that the others are there in case we ever feel adventurous.

3. Present the chant in a way that resembles the Liber Usualis.

Most of us are used to the way the chant looks in the Liber, and it doesn’t need improving except in crispness. With the software available today (many of us have used the Illuminare Score Editor), it should be easy for any publisher to re-set all the ordinaries as beautifully as they did in the Parish Book of Chant. No weird fonts. No excessively long lines of chant.

4. Not include numerous hymns for specific saints who only have third-class feasts.

A hymn to St. David is a wonderful thing to have if you happen to attend St. David Parish. Otherwise, there’s little chance you’ll ever sing that hymn.

5. Include the name of each hymn tune (not just the hymn).

In case you aren’t familiar: while the name of the text of the hymn appears in a large font at the top of the page, the name of the hymn tune usually appears in smaller block capitals somewhere on the page. For example, if your hymnal contains the hymn “Hail the Day that Sees Him Rise,” the name of the hymn tune, LLANFAIR, may also appear on the page. This is useful information because if you have a favorite hymn tune, you’ll be able to spot it easily even when it is set with other text.

6. Include hymn meters.

This is that series of numbers (such as 8.8.7.7) you’ll sometimes see next to the name of the hymn tune. The numbers tell you how many syllables of text each phrase of the hymn tune can support. This is extremely helpful for choir directors who want to find a new hymn tune for a particular text, or find new text to go with a favorite hymn tune. Instead of sitting there counting syllables (which I’ve had to do on occasion), the work is done for you, and you can simply flip through a hymnal to find good matches.

7. Include either four-part harmony or just the melody.

I’m always puzzled to see hymnals that present soprano and alto lines. Is the assumption that men will never sing? Let’s encourage parishes to develop SATB choirs by providing them with complete harmonizations. If they’re short on some voice types, it’s perfectly acceptable to have the organ fill in the missing parts.

8. Include hymns on a wide variety of “themes.”

Every hymnal will include many Christmas and Easter hymns, Eucharistic hymns, and hymns to Our Lady. That’s a good thing. But if a particular Sunday carries a strong theme of, say, mercy, it’s especially satisfying to have “There’s a Wideness in God’s Mercy” at your fingertips, rather than singing “Holy God We Praise Thy Name” for the umpteenth time.

9. Avoid trying to do too much.

The choir will likely be made up of more advanced musicians than the congregation and will have access to its own specialized books or printouts. If the choir decides to sing a Gregorian Responsory during the Offertory, it’s all well and good to include it in the hymnal and post the number at the front of the church, but in my experience, very few people in the congregation will even attempt to sing it. Let’s all keep working towards a day when Catholic congregations are musically proficient. Until then, it seems like a waste of space to put dozens of specific, relatively obscure chants (as beautiful as they are) in a hymnal that’s intended primarily for congregational use. But congregations will begin to follow and sing along with Mass ordinaries, the seasonal Marian antiphons, and a few other chants—as well as favorite hymns—if they hear them enough.

10. Not sacrifice beauty for the sake of orthodoxy.

It’s always frustrating to come across hymns that have wonderfully orthodox text but are set to an utterly forgettable melody. Hymn tunes should lift the heart and intensify our belief in what we’re singing. As Catholics, we can and should “have it all”—solid hymn text and the best music. This is, of course, a subjective matter. Some may argue that a hymnal should stick to tunes that move in stepwise motion and have limited range so that congregations won’t be scared off from singing. I disagree; there’s a point at which music is so dull that nobody feels compelled to join in. Credo III isn’t easy and it jumps around the staff quite a bit, yet even parishioners with little or no musical training will join in with gusto because it’s a memorable tune. The solution, as I see it, is for our best Catholic musicians to marry the best text with the best melodies (see, this is why we need those hymn tune names and hymn meters!).

HE IDEAL hymnal for the EF can actually be a slim volume—and if I were designing a hymnal from scratch, I would aim for thoughtful quality over exhaustive quantity. Again, I don’t wish to steer you towards any specific book, but I do hope that having these criteria in hand will help you evaluate the 15 choices in Mr. Craig’s article.

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

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Filed Under: Articles Tagged With: Gregorio, Traditional Catholic Hymnals Last Updated: September 8, 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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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “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

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“This chapter hereby extends the prohibition of 13 June 1561 against loaning singers or instrumentalists on any account whatsoever to include even the humblest choirboy.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (10 June 1562)

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