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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

“Are You God?” On the Impact We Have as Church Musicians

Keven Smith · May 4, 2021

NE WEEKDAY EVENING A FEW YEARS AGO, I was directing our parish choir in singing a High Mass. I couldn’t help but notice a little blond boy sitting near the back of the church with his family. He was pretty well-behaved overall—especially for a roughly three-year-old—but he kept turning around and looking up at the choir loft in wonderment. (In my book, that’s no vice.)

After Mass, I unlocked the choir room, and all our singers paraded through to put their music away. A few minutes later, I was alone—or so I thought. I erased our music lineup from the chalkboard. I closed the lid of the piano. I put away a couple of stray folders. I stacked up the propers, ordinaries, and motets and put them in the filing cabinet.

That’s when I noticed him: the little blond boy. He had found his way into the choir room and was standing in the corner, silently staring at me as I scurried about putting everything in order. At last, he spoke:

“Are you God?”

 

An Honest Answer to the Little Boy’s Question

This is more than just a cute story. Ever since that evening, I’ve thought back to that boy and pondered the lesson he unwittingly taught me.

In the eyes of a small child, the people making music up in the loft are larger than life. Part of it is the mere fact that we’re up high, upstairs, where small children generally aren’t allowed to go. Part of it is that we’re mostly adults and teenagers—people who naturally look huge to a child.

But more significantly, we’re involved in something children can’t yet understand through the intellect, and yet it speaks to their souls. It is written on our hearts that there is a God, that He is almighty, that He is everywhere, and that He deserves our worship. Even children sense this. I believe they grasp it better when the Mass is veiled in a dead language—and when it uses types of music they don’t hear in everyday life, accompanied by the King of Instruments.

Most of this also applies to adults, of course. They just don’t express it with the same simplicity. An adult’s intellect is well-formed enough to know that the guy directing the choir is a mortal who has weeds in his front yard and drives an old Honda Fit. An adult may use more sophisticated words when he tries to explain what beautiful liturgy does to his soul, but he’ll still struggle.

Even when he knows he wants to be a part of it, he may feel profoundly unworthy to do so. This is something I’ve been keeping in mind as I’ve handled the recent flurry of new interest in our parish choir. The extended lockdown here in California has caused many people to reboot their lives, trimming the activities that had become mere routines and freeing themselves up for more of the sacred.

And so part of my job is to explain to them that we’re all just ordinary people who work hard to make the Mass more beautiful. It can be challenging to convince people that they belong in the loft, and that it’s OK to be human. But I figure that’s better than having them join us looking for a hobby and then trying to sell them on the sacredness of our pursuit.

Precious Yet Fleeting

After watching me pack up for a few more minutes, the little boy spoke again:

“Are you Mexican?”

Well, I probably do eat enough Mexican food to “convert.” At that age, the moments of insight are precious yet fleeting. But this child had already given me a valuable keepsake. I share it here hoping it will help you keep striving to uplift your fellow parishioners as you glorify God at every liturgy.

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

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Filed Under: Articles Last Updated: May 4, 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

    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF • “Music List” (Sunday, 28 December)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Holy Family of Jesus, Mary, & Joseph (28 Dec. 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon are particularly gorgeous. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

“It is most important that when the faithful assist at the sacred ceremonies … they should sing alternately with the clergy or the choir, as it is prescribed.”

— ‘Pope Pius XI, Divini Cultus (20 Dec 1928) §9’

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