• 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

(Installment #4) “Catholic Hymnals” • Charles Weaver

Dr. Charles Weaver · September 2, 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.

READ WITH GREAT delight Daniel Craig’s article, because I share his great respect for careful hymn editors. Hymns are such a conspicuous and ever-present feature of the way people experience liturgy in a parish setting, even if they are secondary to the tradition of plainchant. Good hymnody marries memorable music with excellent poetry in a way that enhances both components. Mr. Craig’s review thoroughly examines the way several current hymnals accomplish this (or attempt to).

One important and underappreciated aspect of hymnody is the tendency of tunes to mutate and evolve over time. Music is a language, and as with all languages its pronunciation and usage change. Hymn tunes and styles of singing and accompanying are very different now from a mere 150 years ago, just as the texts are. To most modern listeners, the original versions of beloved hymn tunes (for instance, ST THOMAS) would sound strange and jarring. In creating a hymnal, the compilers must sift through countless variants, considering issues of fidelity to the source, appropriateness of style, compatibility with the text, singability by a congregation, and oral tradition of familiar tunes. All of that comes before even considering the harmonization!

“Holy God, We Praise Thy Name”

As an example, consider “Holy God, we praise thy Name,” which in many parishes is sung every single day. As is typical for ubiquitous tunes, this melody goes by at least five different names, and has been associated with many texts. Of course, in the Catholic tradition, it is linked almost exclusively with the Te Deum, and is widely used at Benediction of the Blessed Sacrament. The tune originates in an Austrian Catholic songbook of the eighteenth century, paired with a metered text that paraphrases Augustine and Ambrose’s great improvisation. The German serves as a model for Fr. Walworth’s English—six-line stanzas that rhyme ABABCC. Here is how the original went:

Grosser Gott from Katholisches Gesangbuch

There are some minor melodic differences from the modern version we all know, but the melody as a whole is recognizable, and you could easily sing the English words to this tune. Notice that each musical phrase begins and ends on the same notes as the familar version. More revealing are the large-scale differences. The AAB form (not to be confused with the text’s rhyme scheme) is typical of German hymns, whereas in this country the form is often rounded out to AABB by repeating the second half (we usually sing “Infinite thy vast domain” twice). The compound meter would also never occur to an English speaker; we have a strong preference for the last accented syllable of each line to fall on a downbeat. This kind of compound barring for tunes was completely normal in eighteenth-century German-speaking countries. And while this setting is lovely, the harmony and bass are as simple as possible (only primary chords with a functional rather than melodic bass), which would be a fault in a modern hymnal.

Holy God from The Catholic Psalmist

By the time of Lyons’s The Catholic Psalmist, from 1859, we have the modern tune paired with something like the modern text. The B section is still not repeated. But the melodic ascent in the B section has the skipping eighth notes that many of us know now. Such ornaments are frequent in nineteenth-century hymns, and modern editors tend to excise them, as they have a tendency to sound like folk music. Consider this example on the very next page:

Adeste Fideles from The Catholic Psalmist

I have never heard anyone sing eighth notes there. By the same logic, many editors remove the eighth notes in “Holy God.” These ornaments often lead to contrapuntal flaws, as shown here:

Hypothetical parallel octaves in a hymn harmonization
The contrary motion in version a is a natural way to approach this half cadence. Version b results in parallel octaves. Admittedly, I don’t think these octaves sound bad, as the underlying motion is still the one shown in version a. Indeed, one of the better modern harmonizations from the list of fifteen hymnals does exactly what is shown in version b.

In this case, the oral tradition may have won out. I have attended Benediction services where the organist steadfastly played quarter notes throughout (as was printed in the books in the pews), and the congregation serenely went on with these chordal leaps, often creating the situation in example b. This seems to go against the spirit of the act of communal singing. What is the right editorial practice in this case? I think a good editor, and indeed a good choir director, would take many factors into consideration.


I don’t have all fifteen of the hymnals in question, but of the ones I do have, it is interesting to see how the editors handle these questions. I think the choices in this hymn reinforce Mr. Craig’s assessment well, so I will mention only two in particular. The New Westminster Hymnal uses quarter notes and no repeat. This streamlines the tune and makes it more hymn-like—more similar to other tunes that populate our hymnals. Hymns, Songs, and Spiritual Canticles has the eighth notes and the repeat, which is written out in full with a deceptive cadence the first time, which gives a musical reason for the repetition. Marier’s harmonization in particular is daring and fresh (and with his usual impeccable counterpoint), which is perfect for such a widely known hymn.

All of these niceties serve a purpose—because of whom we are working for, we must work out every detail of our work on sacred music with great care and reverence. This applies not only to musicians, but also (and perhaps even more) to those who make the books we sing from. This is the theme I see running through Mr. Craig’s article, and may it be a lesson to us all to spare no effort on details.

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

Follow the Discussion on Facebook

Filed Under: Articles Tagged With: Holy God We Praise Thy Name, Traditional Catholic Hymnals Last Updated: September 8, 2020

Subscribe

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

* indicates required

About Dr. Charles Weaver

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

Random Quote

Bishops have a duty towards both wise and foolish. They have to rouse the devotion of the carnal people with material ornament, since they are incapable of spiritual things.

— St. Bernard of Clairvaux (†1153)

Recent Posts

  • Children’s Repertoire • Three More Recommendations by Keven Smith
  • Liturgical Round (“Canon”) in C-Major
  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir
  • Latin Liturgy Association
  • Important Quote by a Church Musician

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.