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Corpus Christi Watershed

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 Download • “A Canon Choirs Love!”

Jeff Ostrowski · May 21, 2022

HE WORLD OF MUSIC is not the same as it was 100 years ago. For example, even the most poverty-stricken American owns a smart phone these days, and can instantly listen to millions of great recordings (completely free of charge). Anyone with internet access can turn on their phone and enjoy, for example, the magnificent performance of MOZART’S REQUIEM conducted by Sir Georg Solti in Saint Stephen’s Cathedral (Vienna) on 5 December 1991, on the 200th anniversary of Mozart’s death. Has this caused a greater appreciation by Americans of classical music? Someday, I would like to address that important question.

Quality Vs. Quantity: When I was a teenager, a man was boisterously bragging about how “spectacular” his musical program was. I remember he proudly rattled off all the composers performed at his Church: Wolfgang Amadeus Mozart, Ludwig Van Beethoven, Hermann Schroeder, Gabriel Fauré, and so forth. But when I visited his church, the music sounded awful—because it was very poorly performed. I began to understand that “quantity” does not equal “quality.”

Ugly Scores: I am willing to produce ugly-looking scores if they lead to a beautiful performance. An example of such a score can be found at #53683—which is Credo VII with added polyphonic snippets by Father Francisco Guerrero. In essence, the score teaches musicians it isn’t necessary to sing the entire Creed in polyphony. One can “mix” it with plainsong. Below is an example of a “polyphonic snippet” found in that ugly-looking score. You will notice Father Guerrero takes the chant melody (“Beata Mater”) and creates a perfect canon between Soprano and Alto. Choirs really enjoy singing canons.

M Rehearsal videos for each individual voice await you at #53683.

Sadness: Most readers won’t click on the individual voice parts, and that makes me sad. And most readers won’t download the free PDF, either. When we post a “scandalous” liturgical video, we get 40,000 views. I wish we could get as many views for the rehearsal videos, because we must revive authentic sacred music!

Messing With Byrd: If one serves in a parish where only English is allowed, someone should (perhaps) create an English version of the Guerrero canon above. We have sung that canon as contrafactum with several other texts, which you can find at the Lalemant Polyphonic website. Many times, people at the university sing music they don’t realize is actually contrafactum; e.g. Byrd’s “I will not leave you comfortless” (which is an English contrafactum of Byrd’s “Non vos relínquam órphanos”).

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

Filed Under: Articles, Featured, PDF Download Tagged With: Easy Canons for Singers, Father Francisco Guerrero, Francisco Guerrero Composer, Hermann Schroeder, Ludwig van Beethoven, Wolfgang Amadeus Mozart Last Updated: May 23, 2022

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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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Corpus Christi Watershed

President’s Corner

    “The Worm That Dieth Not”
    My pastor asked me to write a column for our parish bulletin with reflections on the sacred liturgy and church music. In my most recent article, I discuss “The Worm That Dieth Not.” At this website, you can access it conveniently; simply scroll down to the one dated 31 August 2025.
    —Jeff Ostrowski
    A Nice Hymn In Spanish
    In my humble opinion, this is a really beautiful hymn in Spanish. If I practice diligently, I’ll be able to pronounce all the words properly. If you’re someone who’s interested in obtaining a melody only version (suitable for your congregational ORDER OF WORSHIP) you can steal that from this.
    —Jeff Ostrowski
    “Music List” • 21st in Ordinary Time (Year C)
    Our choir returns on Sunday, 24 August 2025. Some have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for it, which is the 21st Sunday in Ordinary Time (Year C). 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. When it comes to the feast of the Assumption (15 August 2025), I have uploaded the music list for that Mass—but not the “bi-lingual” Mass in the evening (Spanish, Latin, and English) which has completely different music.
    —Jeff Ostrowski

Quick Thoughts

    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
    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed

Random Quote

“It is very curious, rather barbarous, much too ornate, immeasurably less dignified than ours now, anything in the world rather than archaic or primitive.”

— Fr. Fortescue describing the “Sarum Use” in 1912

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