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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

Hymn Experiment • “Does This Work?”

Jeff Ostrowski · January 13, 2023

N AN INTERNET FORUM a few weeks ago, the editor of a Catholic hymnal was bragging about his product. In particular, the editor was bragging about SATB voice settings in his book. Please don’t ask me the person’s name; I’m not going to reveal that. One of the members asked him a straightforward question: “How are the singers supposed to sing the final verse in harmony?” [The hymnal in question was the type of book that had final verses printed at the bottom.] The editor’s response was: “Let me do some research, and I’ll get back to you.”

Cringeworthy Situation • I suppose each of us has a pet peeve. Mine is when church music products are produced (and sold) by individuals with no real-life experience. Think of it! This person was bragging about his harmonies—but he’d never seen how this stuff works in real life. To him, it was like a game, or (as my dad would say) it was “academic.” When asked the most elementary question, he was totally stumped. If memory serves, his exact words were: “Gee, I never thought about that before.” The situation was truly cringeworthy. Sadly, many who produce choral music scores have never stood in front of a choir in real life.

A Better Solution • Our choirs use the Brébeuf Hymnal because the SATB choral supplement deliberately and meticulously notates each verse in a brilliant and powerful way. It gives both conductor and organist mind-blowing freedom … and once you experience it, you’ll never look back.

Hymn Experiment • Because of this freedom, we were able to try an experiment the other day. We sang the first half of each stanza in unison, then added SATB voice parts at the halfway mark. What do you think?

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

For the sake of comparison, here’s the same hymn sung in a more “conventional” manner:

Epiphany Hymn In Latin • I’ve mentioned in the past a project I’m engaged in: viz. creating “Latin versions” for hymns in the Brébeuf Catholic Hymnal. I’ve created many of these, but I need to find an organized way to add them to the website. These are designed for choirs forbidden to sing in English. Here’s my recent setting of Hostis Herodes Impie, by the fifth-century poet Sedulius:

*  PDF Download • Brébeuf Extension for Number 17
—Please Note: These are different harmonies than what is found in the Brébeuf Hymnal

I could write volumes and volumes about this ancient hymn. Suffice it to say that it’s very famous. (It’s a perfect fit for the feast of the Baptism of the Lord.)

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

Filed Under: Articles, PDF Download Tagged With: Baptism of the Lord, Brebeuf Extension Series, SATB Hymn Epiphany, SATB voice parts, Sedulius Epiphany Hymn Last Updated: January 28, 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

    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

“The chapter decides to penalize singers or instrumentalists who are tardy by a few minutes at the same rate as if they had been absent the whole hour.” [From “The Life of Father Francisco Guerrero.”]

— Sevilla: Chapter Resolution (2 June 1563 )

Recent Posts

  • 2-Voice Arr. • “Creator of the Starry Height”
  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “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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