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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

Huge Announcement! • “Three Voiced Polyphony”

Jeff Ostrowski · October 19, 2021

IFTEEN YEARS AGO, on the feast of Father John Brébeuf—19 October 2006—the Secretary of State granted us recognition as a 501(c)3 public charity in Texas. With gratitude to our Redeemer on our fifteenth anniversary, I’m thrilled to make a huge announcement. A magnificent collection we commissioned for three-part choirs (Soprano, Alto, Bass) can now be purchased directly from Amazon, and we have greatly reduced the price. Depending on how the psalm verses are sung—a decision left to each choirmaster—these pieces can be as long or short as necessary to match the liturgical action. If your choir has more females than males, this collection will thrill you—because all the pieces are written for SAB!

*  MATRI DIVINAE GRATIAE • Purchase this book!
$8.99 per copy • Eligible for Amazon Prime! • 44 pages.

Click here to download a sample page.

Contemporary Harmonies: Composer Kevin Allen has produced a true masterpiece, make no mistake about it. Some of these pieces are somber and stately. An example would be “Aufer A Me,” and observe how each voice enters on a different scale degree—a superb touch! One way to find out whether a composition is excellent is to take away one or more voices and examine the result. Mr. Allen’s creation certainly passes that test with flying colors, as you can see by listening to a version missing one voice (i.e. with one voice removed). The result is both interesting and pleasing. This is contemporary music, so the “RRR” (Rigid Renaissance Rules) are not followed…yet each voice is eminently singable—an absolute joy!

Rehearsal videos for each individual voice:
“Aufer A Me” • SOPRANO • ALTO • BASS

Small Groups: Some of the pieces are extremely bright—and the following example demonstrates that—and they are very “tuneful” or “catchy.” Once these pieces get into your head, they won’t leave! And that’s okay, because the sacred liturgy is supposed to be something in which we take delight. They sound very good sung by even a handful of singers. Below is a live recording from our 9:00am Sunday Mass—which is sung by a very small group of singers:

Large Groups: On the other hand, these piece sound absolutely spectacular when they are sung by a large group of singers. By the way, in terms of the layout (which includes solfège markings), few books compare in elegance to Matri Divinae Gratiae. Below is live recording from our 11:00am Sunday Mass—which is sung by a large group of volunteer singers:

Rehearsal videos for each individual voice:
“Quam Dilecta” • SOPRANO • ALTO • BASS

This 44-page collection contains:

1. QUAM DILECTA |+ Psalm verses
2. JUSTORUM ANIMAE |+ Psalm verses
3. ERIPE ME |+ Psalm verses
4. SI AMBULAVERO |+ Psalm verses
5. MEMENTO VERBI |+ Psalm verses
6. AUFER A ME + Psalm verses

Supporting The Composer: This collection was commissioned by CORPUS CHRISTI WATERSHED and published in September of 2016. In accordance with our customs, all proceeds which exceed production costs (printing, shipping, and so forth) go directly to the Catholic artist, who maintains copyright. Therefore, when you purchase these books, you are directly supporting Roman Catholic artists who produce works for the Church. We are a 100% volunteer organization.

Complete Title:   Matri Divinae Gratiae, Opus Mariae Dedicatum

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

Filed Under: Articles, Featured Tagged With: 3-part SAB motets, Easy Polyphony For Amateurs, Matri Divinae Gratiae, Motets for Three-Part Choir, Polyphony For Three Voices Last Updated: October 25, 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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President’s Corner

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

[Speaking about the Silent Canon, with audible “per ómnia”] — “So in all such cases it is usual for the otherwise silent celebrant occasionally to sing a clause aloud, to show how far he has arrived.”

— Father Fortescue (pages 313-314) • “A Study of the Roman Liturgy”

Recent Posts

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  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

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