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Views from the Choir Loft

Ben Shapiro Teaches His Audience Music Theory!

Jeff Ostrowski · February 4, 2021

E HAVE SPOKEN in the past about our policy regarding USA politics. Most recently, this subject was broached in an article (“A Glaring Omission in the Post-Vatican II Lectionary”) which has proven to be one of our most popular. I hope someone who has power in the Church will read about Father Valentine’s discovery and take action. Regarding USA politics, I have posted “Only In Secret And With Horror”—a PDF document explaining my personal views—in case anyone is curious.

A certain member of my family is a huge Ben Shapiro fan. (Mr. Shapiro is a YouTube political commentator; he’s not related to O.J. Simpson’s lawyer, Robert Shapiro.) Because I have a professional degree in music theory, my opinion was sought:

N.B. I have no feelings for or against Ben Shapiro’s political views. I commend him for speaking to his audience about music theory. Many of our political problems could be solved if more pundits did likewise!

Fact Check: Mr. Shapiro is correct that a seventh—especially a major seventh—is extremely dissonant. However, he’s incorrect to say the 7th was called diabolus in musica (“the devil in music”). That interval was a Tritone, not a 7th. Both intervals are extremely dissonant. In classical polyphony, the Tritone should normally be avoided—yet it can be quite beautiful. For instance, consider the opening movement to Missa Ave Maris Stella by Father Victoria (d. 1611):

That Tritone is actually quite beautiful—and we will speak of it below.

Can Amateurs Sing Polyphony?

I recently had occasion to recruit members for two choirs. I deliberately mixed “novice” members with “veteran” members. When I say “novice,” I mean young men and young women who have never sung in a choir before. They didn’t realize they could match pitch until I interviewed them. (I heard more than fifty auditions, and it took forever!) We only had one rehearsal before our first Mass, and that’s pretty daunting. But we made it just fine, thanks to the singers who have worked with me in the past and, therefore, knew some of the repertoire. I recorded our very first Sunday, and I can already tell: These two choirs are going to be superb!

Our Treble Choir (females only) sang hymns from the Brébeuf hymnal. Since it was Septuagesima Sunday, they sang the appointed hymn for the season of Septuagesima until Lent: Rebus Creatis Nil Egens (which is #403 in the Brébeuf Hymnal). The Brébeuf Hymnal is the only book which provides a literal English translation of this hymn, which helps the singers to pray.

They added the Alto line, with great effect:

*  Mp3 Download • Brébeuf Hymn #403
—The Saint Jean de Brébeuf Hymnal Choral Supplement.

The Treble Choir also added harmonies to a lovely Marian hymn, #761 in the Brébeuf Hymnal:

*  Mp3 Download • Brébeuf Hymn #761
—The Saint Jean de Brébeuf Hymnal Choral Supplement.

The Treble Choir did a Canon by William Byrd (d. 1623), and I attempted to add the bottom line—but my voice isn’t what it used to be:

*  Mp3 Download • “Non Nobis” Canon
—Rehearsal videos are #88208.

Inspired by Dr Lucas Tappan’s article, I attempted some organ improvisation. Can you tell which melody I chose?

*  Mp3 Download • Organ Improvisation

The Mixed Choir also did an amazing job. Of course there was unison singing, but I never place women an octave above the men when it comes to plainsong. (I would be curious to know how the other contributors to Views from the Choir Loft feel about men and women singing plainsong separated by an octave.) Personally, my ear cannot stand that sound. On the other hand, that is how the choir at Westminster Cathedral sang Gregorian chant and a YouTube recording from the 1930s demonstrates this. In any event, here’s how we sing Gregorian chant—alternating between men and women:

*  Mp3 Download • Credo IV (excerpt)
—The men alternate with the women.

We attempted a setting of O Sanctissima by Maria Quinn. This setting alternates between 2-voice with organ and SATB harmony. The harmonies are very modern, as shown by marker 0:15 here:

*  Mp3 Download • “Modern” Chord at 0:15

The mixed choir didn’t tune perfectly, but they made a gallant effort (cf. marker 0:36). I guarantee this piece will be perfect after we sing it a few more times:

*  Mp3 Download • Maria Quinn “O Sanctissima”

To download this score by Maria Quinn for free, click here.

Getting Back To “Missa Ave Maris Stella”

The mixed choir also sang the Kyrie from Father Victoria’s Missa Ave Maris Stella. It wasn’t perfect—remember that several of these singers had never sung polyphony before—but I was thrilled with the result considering we’d only had one rehearsal:

*  Mp3 Download • Victoria Kyrie (Rec. Live)
—Download this score at #89425.

The entire Mass is a phenomenal masterpiece. As we know, the Gregorian Chant “Ave Maris Stella” has a characteristic of an ascending perfect fifth, which then becomes a descending fifth at the words “Dei Mater.” From a theoretical point of view, a perfect fifth inverts to a perfect fourth—and Father Victoria employs both in the first section and the second section (as did Giovanni Animuccia, in his Missa Ave Maris Stella). When we realize that fourth can substitute for a fourth, Father Victoria’s plan becomes clear. He uses the plainsong melody:

I have attempted to indicate for you the contour:

Throughout the first movement and the third movement, Father Victoria constantly imitates this contour:

Here is Dr. Horst Buchholz conducting that exact section during the Sacred Music Symposium a few years ago.

In the second movement, Father Victoria “hits you over the head” with the ancient Cantus Gregorianus melody:

It would take forever to indicate everything clever done by Father Victoria. Therefore, just look at the part book—courtesy of Nancho Alvarez—where I have used colors: Red is “Ave Maris Stella”; Green is “Felix Caeli Porta”; Blue is “Dei Mater Alma”; Yellow is “Atque Semper Virgo.”

The chant appears in the Editio Vaticana as follows: Ave Maris Stella (PDF)

Here are some Ave Maris Stella organ accompaniments.

Secrets Revealed

Finally, the secret to training volunteer choirs is to pick the perfect repertoire for them. It must be powerful and dignified, but not too difficult.

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

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Filed Under: Articles Tagged With: Ben Shapiro, F Lee Bailey, Robert Leslie Shapiro Last Updated: February 5, 2021

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    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

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

“The chapter decides that henceforth neither singers nor instrumentalists may be loaned to any outside individual or organization, any more than can the chalices or copes owned by the cathedral. This prohibition applies to all those days of the church calendar for which polyphony is designated.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (13 June 1561)

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