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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

Three Ways to Improvise at the Organ

Keven Smith · March 1, 2021

ITH MY CHOIR MOSTLY SHUT DOWN during the COVID pandemic, the organ has kept me busy. My parish now has 32 low Masses per week, which gives us organists many opportunities to serve the Church. For a relatively new organist like me who needs lots of practice, it’s hog heaven.

In my last article, I explained why I’m more comfortable improvising than playing repertoire and gave four reasons why organists shouldn’t hesitate to improvise at Mass. I also promised some practical tips on how to improvise. Here are those tips.

Don’t Just Play the Organ. Pray the Organ. 

Perhaps many organists are intimidated by the idea of improvising for the same reason that most people are intimidated by writing: when there’s a blank page in front of you, what on earth do you say? In writing, it’s helpful to develop a clear topic and then form an outline of how you’ll explain that topic or make your argument. And in improvisation, it’s beneficial to have an idea in mind as you start.

Yes, you’ll want to have a musical idea, but I say it’s even more important to have a spiritual idea. In other words, focus on a sacred text, whether it’s a proper of the Mass, a chant hymn, or a favorite prayer.

Our parish is blessed to have produced a seminarian for the Priestly Fraternity of St. Peter (FSSP), a young man who holds an organ degree from a prestigious conservatory. He is a professional-caliber performer. More importantly, he has a well-grounded sense of the liturgy and how to support it with organ music. When he’s home on breaks, he’s incredibly generous with his time and expertise. I’d say his name, but….did I mention he’s also genuinely humble?

In the course of the lessons and masterclasses I’ve had with my friend, he has taught me the concept of “praying the organ.” It’s just like it sounds: when you sit down to improvise, you keep a sacred text in mind and create music that matches that text. What the congregation then hears is your prayer actualized as sound.

Do this well, and you can’t help but create beautiful music that moves the heart to prayer. I’m not yet an accomplished enough organist to play the most challenging classics. But in my simple improvisations, I’ve had people tell me that my playing was “prayerful” or even “moving.” You can do the same, or better. In fact, if you’re already nailing the great organ works and you add improvisation to your mix, you’ll be unstoppable.

My Top Three Methods of Organ Improvisation

At this point, you may be thinking, “OK, this all sounds good, but….what do I actually play?”

There are many good guides to organ improvisation. Some of them walk you through all the rudiments of harmony and help you become a better overall musician. Others assume you know this stuff already and give you “tricks” to make your improvisations more interesting and less predictable.

I’m still working through these materials myself. In the meantime, I’ve been using three methods to improvise at the organ:

  • Harmonize a chant. I’ll generally use the chant that’s prescribed for each part of the Mass. If it’s a low Mass nobody will be singing them, so the organ can “sing” them instead. As the priest enters, I’ll improvise on the Introit. At the Offertory and Communion, I’ll use those propers. For a recessional, I’ll often use the Alleluia from that Mass, or the Marian antiphon of the season.
  • Use the chant as a starting point. This is similar to the above, except that I’ll let the melody go off in a new direction after playing a certain amount of the chant. Sometimes I’ll return to the chant as written, sometimes not.
  • Make up an original melody. Although I usually use the chant at least as a starting point, I’ll occasionally do something completely different. It could be that the prescribed chant doesn’t inspire me (perhaps it’s in a mode that I’ve seen too much lately). Or maybe I looked at the text and suddenly got a strong melodic idea that goes with it. Either way, I’ll bring the text to life by playing my own composition. I do a lot of this during the Canon of the Mass, especially after the Consecration. I might make up a melody for the Words of Institution, or for the phrase that follows: Hæc quotiescúmque fecéritis, in mei memóriam faciétis.

For each of these three methods, I’ll use one of two approaches: prepare in advance or compose on the spot. For an upcoming Sunday Mass, I’ll typically sit with the propers several times during the week, playing around with harmonic possibilities. Even if I plan on harmonizing a chant without deviating much from the given melody, I like to plan some harmonic “features,” such as unusual chords or a modulation. But if I’m planning on wandering off from the chant melody or even composing something from scratch, then I’ll put in significant practice. In the true spirit of improvisation, the results will be slightly different each time, but it’s a “predictable different,” one that I know will fit the timing of the liturgy (with slight modifications depending on the pacing of each of our parish’s four priests).

Even if I come up with a composition from scratch, I never write down more than a few notes. I find it easier to memorize. For harmonized chants, I’ll sometimes write down the names of the most important chord changes underneath the chant melody. This approach takes the pressure off of me to perform a composition. Still, it gives me a secure enough framework that even if I make a mistake or two, I know where my improvisation is going.

A few other considerations have come to mind in terms of adding color to improvisations. I’ll share those in my next article.

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

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Filed Under: Articles Tagged With: Improvisation, organ Last Updated: March 1, 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 • “14 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —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

“The unity of language in the liturgy is so great a treasure for the Church that no advantage could compensate for its demise.”

— Dom Anselmo Albareda (2 January 1953), Father Nicola Giampietro, page 249

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