• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

We’re a 501(c)3 public charity established in 2006. We have no endowment, no major donors, no savings, and run no advertisements. We exist solely by the generosity of small donors.

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Hidden Gem: Ave Regina Caelorum (Steven Talley)

Keven Smith · March 24, 2023

OME WEEKS AGO, A MEMBER OF MY CHOIR asked, “Do we have a polyphonic setting of Ave Regina Caelorum?” I racked my brain. We have a couple of polyphonic Salve Reginas (I’ve written here before about the lovely setting by Alvez Barkoskie IV). We sing settings of Alma Redemptoris Mater by Palestrina and Salazar (I’ve written about the latter). We’ve sung the Aichinger setting of Regina Caeli for years, and we sang deCristo’s setting one Easter.

But that’s only three of the four traditional Marian antiphons. I suddenly realized that in my repertoire selection, I had neglected the fourth one. So after rehearsal, I did what many of you have probably done countless times: I went home and looked for a good setting on Choral Public Domain Library. CPDL seldom disappoints, and I soon headed to YouTube to listen to a couple of possibilities. It was there that I happened across another option: a setting by Steven Talley.

I know nothing about Mr. Talley other than the fact that he is a living composer who maintains a YouTube channel. But after listening to his delightful Ave Regina Caelorum on YouTube, I immediately wanted a copy. I scrolled through the comments under the video and saw that Mr. Talley was willing to send the score to anyone who emailed him. So I sent him a message and went to bed. By the time I got up the next morning, he had already sent me a PDF with his gracious best wishes. This may be the first time anything good has ever come from reading YouTube comments.

Inside Ave Regina Caelorum

Mr. Talley’s setting is in F major. He keeps the traditional chant melody present through most of the piece. It begins in the tenor incipit and then passes to soprano. The basses pick it up at “Gaude Virgo gloriosa.” From there, it appears briefly in other voices, surrounded by embellishments.

Here’s a multitrack recording of the inimitable Matthew Curtis singing all four parts:

What to Look and Listen for

What I love about this piece:

  • It’s bright and sweet, providing a break from heavy Lenten repertoire. Any of my choir members who happen to read this article will be shocked to read that last sentence. I gravitate towards dark motets such as Victoria’s O Vos Omnes, Palestrina’s Super Flumina Babylonis, and Gluck’s De Profundis. But why shouldn’t a motet for Our Lady be sweet, regardless of the season?
  • It’s simple. I don’t believe there’s any such thing as an “easy” motet, but this one is simple in its construction. This piece has been a nice change for my choir at a time when we’re learning a very challenging motet with lots of divisi for Easter Vigil plus a new polyphonic Mass for Easter Sunday. I brought Ave Regina Caelorum to a Thursday rehearsal and we ran through it on solfege a couple times, then moved to text and polished it up. We sang it at Mass the following Sunday. It was a “quick win” for us and sent the message to my singers that I trust them to sing well even on minimal rehearsal. This motet should be within reach of any choir that has adequate coverage and typical range on all four parts. Even if you’re new to polyphony, give this one a try!
  • It fills a void. As I mentioned, my choir hasn’t had a polyphonic Ave Regina Caelorum until now. There were many options on CPDL, but most choirs have a full plate at this time of year. The Talley setting provides a satisfying option for choir directors who, like me, wanted to sing this antiphon without devoting an inordinate amount of rehearsal time.

A few tips:

  • Decide where you’ll lift. There are several cadences in this piece at which all voices have the same rhythm. Choose which ones are inflection points that need a lift, and which ones your singers should carry over. I sang through the motet with my choir and then asked them for their opinions on lifts. We ended up deciding to lift after beat 2 in measure 5; after measure 7; after measure 16; after measure 20; after beat 2 of measure 23; and after beat 3 of measure 29. But you’ll make the best decisions for your singers.
  • Encourage sopranos and altos to sing out at measure 8. The texture thins to SA at Ex qua mundo. But don’t let the sound be timid. Encourage your sopranos and altos (especially altos) to give generously while maintaining a sweet sound.
  • Consider taking the alternate ending. If you get a copy of this piece, you’ll notice that Mr. Talley provides an alternate ending in which the tenor moves downwards in the penultimate bar (the recording above uses the standard ending). I recommend you use it and have your tenors make a slight ritardando to help ease this piece to a graceful conclusion.

We sang Ave Regina Caelorum for Laetare Sunday and will sing it again for the Feast of the Annunciation. Many thanks to Steven Talley for his generosity. If you’re interested in getting a copy for your choir, see the comments under the above video for Mr. Talley’s email address.

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

Follow the Discussion on Facebook

Filed Under: Articles Tagged With: ave regina caelorum, motets Last Updated: March 24, 2023

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Keven Smith

Keven Smith, music director at St. Stephen the First Martyr, lives in Sacramento with his wife and five musical children.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

Recent Posts

  • PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
  • “Booklet of Eucharistic Hymns” (16 pages)
  • PDF Download • “Text by Saint Francis of Assisi” (choral setting w/ organ: Soprano & Alto)
  • “Yahweh” in church songs?
  • “Music List” • Pentecost Sunday

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

The election of Pope Leo XIV has been exciting, and we’re filled with hope for our apostolate’s future!

But we’re under pressure to transfer our website to a “subscription model.”

We don’t want to do that. We believe our website should remain free to all.

Our president has written the following letter:

President’s Message (dated 30 May 2025)

Are you able to support us?

clock.png

Time's up