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

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • 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

Three (3) Tricks Every Choir Director Should Learn

Jeff Ostrowski · March 28, 2023

HE PEOPLE who attended the Sacred Music Symposium last year—believe it or not—really enjoyed my presentations dealing with how to recruit (and retain) volunteer choir members. Based on that feedback, this summer I will reveal more ‘tips’ for working with volunteer choirs. Conscientious choirmasters know it’s crucial to get as much “bang for your buck” as possible. From the standpoint of practicality, common melodies are certainly part of this. After all, there’s only so much one can accomplish in each rehearsal. Moreover, choirs need to live with a piece for a surprising amount of time before it starts to sound amazing. Today, I will describe three (3) tricks every choir director should be familiar with.

(1) “Same-Different” Trick:

When it comes to a strophic SATB hymn, one should consider using the “same-different trick.” Essentially, you have the choir alternate between verses in SATB and verses with SOPRANO and ALTO singing unison on the melody. Most people will (erroneously) think the choir is singing two different melodies. And that’s a good thing, because it helps avoid aural fatigue. Indeed, it’s much better than approaching verse after verse after verse the same way. Here’s an example of what I mean, recorded last Sunday by our volunteer choir:

*  PDF Download • “VEXILLA REGIS PRODEUNT”
—Number 532 in the Brébeuf Hymnal printed in Latin instead of English.

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

(2) “Secret-Refrain” Trick:

Working with volunteers, one eventually discovers something profound: Music is more than notes. In other words, there are words—particular words—connected with pitches, even in a strophic hymn. The choir members (and I realize this sounds pretty basic) must rehearse what they will sing: vowels, rhythm, dynamics, tone quality, and so forth. If you give them an SATB hymn with 9 verses, there won’t be sufficient time to rehearse each verse properly. Therefore, consider using the secret-refrain trick, which means using one of the verses as a refrain. Here’s an example:

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

(3) “Explain-By-Doubling” Trick:

The third trick has to do with English translations. It goes without saying that a conscientious choirmaster tries to provide English translations. Nevertheless, rehearsals (being so limited) do not allow the requisite time to review these translations. Nor is it possible to spend hours explaining the various “shades of meaning” contained in the ancient Catholic prayers, hymns, sequences, and poems. To solve this problem, our volunteer choir will frequently sing a particular text in Latin and English—on different occasions. For example, here is Stábat Máter Dolorósa in Latin:

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

Here’s the self-same song in a special English translation from 1599AD:

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

The Brébeuf Catholic Hymnal usually has the original Latin (along with a literal translation) followed by several “singable” translations. These provide an excellent opportunity to delve deeply into the rich texts of our Roman Catholic heritage. Indeed, many ancient hymns had never been given a literal English translation before the appearance of the Brébeuf Hymnal. (Priests fluent in Latin were commissioned to accomplish this task.)

One of the priests involved with the project exclaimed: “I’ve been praying some of these hymns every day for thirty years, but until I was forced to translate them, I’d never fully realized their depth.”

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

Filed Under: Articles, Featured, PDF Download Tagged With: Common Hymn Melodies, STABAT MATER DOLOROSA, Vexilla Regis Prodeunt Last Updated: March 28, 2023

Subscribe

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

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “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
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —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

Dom Vitry never claimed chant could not be used successfully with English words. No one need take my word for it. He was a pioneer on the matter of vernacular adaptation, and I need only refer you to the many publications of his own “Fides Jubilans” press. What he said was that adaptation involved some mutilation, and that we were faced with one or the other.

— Monsignor Francis P. Schmitt (1963)

Recent Posts

  • 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
  • Typo in the “Missale Romanum” (1962)

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.