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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

PDF Download • “Corde Natus Ex Parentis” w/ Modern Harmonies (4 pages)

Jeff Ostrowski · January 4, 2023

RISONERS AT ALCATRAZ were sometimes consigned to “THE HOLE,” and could remain alone (in total darkness) for nineteen days. One prisoner later recounted his method of keeping his sanity: “What I used to do is, I’d tear a button off my coveralls, flip it up in the air, then I’d turn around in circles, and I’d get down on my hands and knees to hunt for that button. When I found the button, I’d stand up and do it again.” This went on hour after hour, day after day, week after week. Why do I bring this up? Well, I certainly realize a choirmaster’s vocation can be difficult, with many obstacles to overcome. Yet, we should remember the many blessings we’ve received from God. Indeed, millions of people would gladly exchange their heavy crosses—such as extreme poverty, oppression, disabilities, and illness—for the (relatively) light crosses Jesus has placed on our shoulders. That doesn’t mean we should go looking for trouble. On the contrary, we should steal every good idea we can from excellent choirmasters. Today, I will present two ‘tricks’ I consider crucial.

Crucial Technique #1 • Needless to say, not everyone has spent years in a conservatory studying music theory. Nevertheless, one of the crucial ‘tricks’ when it comes to directing choirs is to select excellent harmonizations. Avoid harmonizations which are dull, stagnant, uninspired, repetitive, and utilize poor voice-leading. Currently, the best collection—and the most plentiful source—of hymn harmonizations is the Brébeuf Catholic Hymnal. The harmonies are beautiful, the voice-leading is pristine, and the vocal ranges are are comfortable.

The Spice Of Life • What is the “spice” of life? Variety is the spice of life. The Brébeuf Hymnal embraces multifarious harmonic approaches. Indeed, it even contains harmonizations for plainsong! Good harmonies often “go somewhere”—i.e. they have a structure which is interesting for the ear. Consider the following harmonization of Véni Creátor Spíritus. The SOPRANO (broadly speaking) ascends; therefore, the BASS descends in perfect stepwise motion, more than an octave:

Needless to say, the Brébeuf Hymnal did not “invent” this principle. For instance, this technique is a mainstay in the harmonizations by the LEMMENSINSTITUUT:

Failure To Explain • I was attempting to explain this to a friend of mine. She said: “Jeff, you should record these harmonies with human voices, to illustrate what you mean.” Therefore, with the help of Corrinne May, we took one of the plainsong harmonizations from the Brébeuf Hymnal and recorded it with human voices. See if you can hear the perfect descending stepwise motion in the BASS, contrasting with the ascending SOPRANO lines:

*  PDF Download • CORDE NATUS EX PARENTIS
—This was created for choirs forbidden to sing in English.

*  PDF Download • SATB score in English

M To access this hymn’s media in the Brébeuf Portal, click here.

“Extension” Scores • The musical score posted above is part of the “Brébeuf Extension series.” Basically, those are private scores created for my choir—using harmonies & texts from the Brébeuf Hymnal—sung completely in Latin, not English. I have tons of them ready to be released … but I need to figure out a way to post these online. My friends (Veronica Brandt, Matthew Frederes, and James Doherty) are helping me with this, because I’m no good with computers.

Crucial Technique #2 • I promised to give away two choirmaster ‘tricks’ in this article. The second is this: Always be flexible. Prepare a PLAN B … and a PLAN C and PLAN D. For example, last Sunday we had nineteen (19) choir members missing, due to illness and holiday travel. Therefore, instead of doing a polyphonic KYRIE, I asked the choir to pull out KYRIE II from the Père Daniel Kyriale. Here’s how that sounded:

A directive issued under Pope Pius XII says: “In general it is better to do something well on a small scale than to attempt something elaborate without sufficient resources to do it properly” (De Musica Sacra, 3 September 1958, §60a). The arrangement above—Corde Natus Ex Parentis—should only be attempted by singers who have good pitch and a certain musical “sensitivity.” In my view, amateurs should not attempt it unless they are willing to invest considerable rehearsal time. PLAINSONG, on the other hand, is usually less demanding—and it’s an excellent way to get amateurs singing … and listening to each other!

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

Filed Under: Articles, Featured, PDF Download Tagged With: Alcatraz Island Prison, Brebeuf Extension Series, Christmas Hymns in Latin, Corde Natus Ex Parentis, Latin Christmas Carols, Medieval Christmas Hymn, Of The Father’s Love Begotten, Stepwise Motion Bass Last Updated: December 26, 2023

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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

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th 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 sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

Quick Thoughts

    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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

“It introduces us to a still and serious world, deserted and rigid, without colour, without light, without motion; it does not gladden, does not distract; yet we cannot break away from it.”

— ‘Schweitzer on the THEME from Bach’s “Art of Fugue”’

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  • Children’s Repertoire • Three More Recommendations by Keven Smith
  • Liturgical Round (“Canon”) in C-Major
  • PDF Download • Liturgical Round (“Canon”) for your Children’s Choir

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