Views from the Choir Loft

Free Videos • “How to say the Extraordinary Form”

Jeff Ostrowski · January 14, 2022

This was posted in 2013, but you’ll want to bookmark it.

1 of 20 • Preparation of the Altar
2 of 20 • Vesting in the Sacristy
3 of 20 • Chapter 3: Procession & Arrival at the Altar
4 of 20 • Chapter 4: Prayers at the Foot of the Altar
5 of 20 • Chapter 5: The Introit
6 of 20 • Chapter 6: Kyrie & Gloria
7 of 20 • Chapter 7: The Collect & Epistle
8 of 20 • Chapter 8: The Gospel & Creed
9 of 20 • Chapter 9: The Offertory (Part I)
10 of 20 • Chapter 10: Offertory (Part II)
11 of 20 • Chapter 11: The Preface
12 of 20 • Chapter 12: The Canon (Part I)
13 of 20 • Chapter 13: The Consecration
14 of 20 • Chapter 14: The Canon (Part II)
15 of 20 • Chapter 15: The Pater Noster & Fractio
16 of 20 • Chapter 16: The Communion of the Priest
17 of 20 • Chapter 17: The Ablutions
18 of 20 • Chapter 18: The Postcommunion & Final Blessing
19 of 20 • Chapter 19: The Last Gospel & Leonine Prayers
20 of 20 • Chapter 20: The Recession & Unvesting

“How to say Mass in the Extraordinary Form”
produced by
The Priestly Fraternity of Saint Peter

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

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).

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

“Music List” • 14 September (Holy Cross)

Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.

—Jeff Ostrowski

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

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