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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

PDF • “Spiritual Mass Plan for Church Organists”

Keven Smith · February 16, 2021

MUST THANK MY Corpus Christi Watershed colleague, Fr. David Friel, for his article last summer, “Bishop Sheen on Sanctifying the Moment.” Not only did he provide many helpful quotes from Bishop Sheen, but he also recommended the great prelate’s book, Calvary and the Mass.

I finally got a copy of the book and read it last week. It’s fantastic. It’s not a step-by-step explanation of the words or actions of the Mass, but rather a sort of spiritual game plan for maintaining the right kind of recollection at each part of the Mass.

Source: gospelimages.com

The book focuses on the Seven Last Words of Christ and links each of these words to a part of the Extraordinary Form Mass:

  • Confiteor: Father, forgive them, for they know not what they do (Luke 23:34)
  • Offertory: Amen I say to you, this day you shall be with me in Paradise (Luke 23:43)
  • Sanctus: Woman, behold your son….behold your mother (John 19:26-27)
  • Consecration: My God, My God, why have You forsaken Me? (Matthew 27:46)
  • Communion: I thirst! (Matthew 27:46)
  • Ite Missa Est: It is finished. (John 19:30)
  • Last Gospel: Father, into Your hands I commend My Spirit. (Luke 23:46)

As a Catholic, I was immediately eager to apply this book to the very next Mass I attended. As a Church musician (specifically, a choir director increasingly pressed into organ duties), I also wanted to apply this book to the Masses I play.

Playing the organ at Mass is a privilege and a joy. But as I’ve discussed here before, one of the challenges is to stay recollected—to be at Mass, and not just play at Mass. You play a bit, pray a bit, play a bit. You’re constantly jumping back and forth between your hand missal and the organ bench. And I don’t want to give up and say, “Well, if I’m playing five Sunday Masses, I only have to be prayerful at the first one to fulfill my obligation.” What a recipe for spiritual mediocrity!

One thing that has helped me immensely is the concept of “praying the organ.” Simply put, you improvise on the Gregorian chant and try to pray the text mentally as you’re playing. It’s a profoundly spiritual experience, and the results are audible to the congregation. Do it convincingly, and you might hear people tell you, “The music was very prayerful today.”

Even so, it’s hard to switch gears between praying the chant and returning to the missal. So Bishop Sheen’s book seemed to be an ideal way to tie together those stretches in between propers and make the Mass seem more cohesive for me when I’m playing.

Over the weekend, I used the book to put together a Low Mass Plan for Organists. This plan helps me integrate the Seven Last Words into my habit of praying the propers while I play them.

*  PDF Download • Mass Plan for Organists

I share this document not with any sense of authority, but as a starting point for your customization. (I think this plan can work for the Ordinary Form, too, but that’s not my bailiwick.) You’ll notice that the plan calls for nothing but improvisation. I know minimal repertoire, and I love to improvise on the chant propers. But you’ll do as you like.

You’ll also notice that this is a very bare-bones document. I include the text of the Seven Last Words, but you’ll want to read Bishop Sheen’s book to put meat on those bones.

My initial results? I used this Mass Plan in my five low Masses yesterday. As always, by the time the 7:00 PM Mass rolled around, it was challenging to keep my mind prayerful because I’m human. But I did better than usual. I found that each of these brief Last Words “anchored” me to each part of the Mass and kept me from overthinking how my playing was going or what I was about to play next.

Also, I had always understood that Mass is a re-presentation of Calvary. But this book drives the point home in an especially poignant way. You’ll excuse me if I never play in major tonality again. (I’m half-joking.)

In the Extraordinary Form, the organ will soon go silent for most of Lent. But I look forward to using this Mass Plan (with continued refinement) on Laetare Sunday as well as on the handful of feast days that permit organ. Many thanks to Fr. Friel, and of course, to Bishop Sheen.

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

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Filed Under: Articles, PDF Download Tagged With: organ Last Updated: February 16, 2021

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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

    New Bulletin Article • “21 September 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“It is also customary in many lands that a brief but meaningful hymn be sung between the Gospel and the sermon. (I note in passing that this custom also preserves the original and primary function of the medieval congregational hymn, which was to frame the sermon.)”

— Professor László Dobszay (2003)

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