• 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

The Choir Journal: A Choir Director’s Best Friend

Keven Smith · May 27, 2023

EING A CHOIR DIRECTOR means subjecting yourself to continual sensory overload. You’re constantly hearing people aim sounds at you. You monitor voices in warmups to determine where the choir is “at” today so you can figure out how to guide them to their best. You must divide your attention between the collective group sound and its individual voices, each of which belongs to a person who’s hungry for your input and affirmation. And you have frequent encounters with parishioners outside your choir, who want to express appreciation, ask questions, or make requests.

In this atmosphere, it’s easy to start feeling backed up. There’s too much input to process in real time. During rehearsal, you’re trying to make music and analyze it all at once—which is impossible, so the analysis will always fall behind and need to happen later. During Mass, as much as you try to remain prayerful, you often get brilliant ideas on how to better lead your choir, but of course, you can’t stop and write them down. And after Mass, you want to recollect yourself and analyze how things went, but you must remain available to choir members who want to chat. Those connections are too valuable to miss.

So, what can you do? You could cruise through rehearsals reacting to everything in the moment, and then go home and forget about it all. Or you could keep a repository for your many choir-related thoughts. I’ve found that the ideal repository is a choir journal.

What is a choir journal?

A choir journal is much like a diary. People keep diaries or journals for many reasons: to brainstorm, to crystallize their thoughts, to help them through tough times, and so on. The choir journal can serve all these purposes. It’s a place where you can write whatever you want. You’re partly trying to get ideas out of your system and partly trying to hold onto them so you won’t forget them.

The legendary American choir director Weston Noble believed in the concept—and he gave brilliant advice about how to implement it. A relentlessly positive man, Noble advised choir directors to write all the good stuff about their choirs in blue ink and the bad stuff in red ink—but to underline the red writing in blue. Why? Because negatives always have the potential to become positives.

Perhaps you’re not a pen-and-paper person. I am, at heart, but these days I’m all about speed and convenience. So I find myself typing notes to myself in an app that I can view on my computer or phone. Choosing the digital, password-protected route also minimizes the chances that someone will ever read how burned-out you felt after your March 11 rehearsal.

Why keep a choir journal?

You’re already busy selecting repertoire, meeting with clergy, planning rehearsals, running rehearsals, singing Masses, practicing singing, practicing organ, and ironing church clothes. Why would you add to your workload by starting a choir journal? I can think of several reasons:

  1. To pick you up when you’re feeling low. Be sure to record every significant compliment you receive in your journal. When someone stops you after Mass and says today’s Offertory motet was one of the most beautiful pieces they’ve ever heard your choir sing, write it down. When a choir member thanks you for all your hard work and says they look forward to rehearsal every week, write it down. You’ll need to read these anecdotes in the future when you’re having a rough week and beginning to question your decision to step on the podium.
  2. To bring you down when you’re getting too sure of yourself. Be sure to record your challenges in your journal, too. I don’t necessarily mean the passing moments of frustration (“The last chord of the Marenzio was pitchy today”). I’m talking about the overarching concerns you have about your choir—the areas that could take months or years to address (“When David is absent, the other tenors are totally unsure of themselves”). It’s easy to sweep problems under the rug just because you had a good Mass or two. Reading through your choir journal will give you a more balanced perspective on the overall direction of your choir.
  3. To unearth the ideas you didn’t even know you had. I have a priest friend who insists he doesn’t really know what he knows about a topic until he tries to speak through it. I’m the same way with writing. If I’m wrestling with a choir-related challenge—or any major challenge in life—I need to write about it to find out what I really think and how I plan to solve it.
  4. To slow down Earth’s rotation. Some cliches are true, such as the one about how time is going by more quickly these days. It’s entirely possible to cruise through an entire choir season and not really notice any of it. You can sing dozens of Masses in a row without stopping to reflect on your choir’s progress—or your own. But when you keep notes along the way and revisit them regularly, you lengthen fleeting moments and begin to construct a true present in which you can do satisfying, meaningful work.

A final thought

In closing, I encourage all choir directors to remember that your choir journal is there to serve you, not the other way around. Don’t feel you have to force yourself to write much—or anything—after every rehearsal or Mass. Write when there are thoughts and feelings you don’t want to lose. Capture your highs and lows and return to them when you’re somewhere in between. You’ll keep the big picture in view even if you sometimes feel as if you’re living Sunday to Sunday.

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

Follow the Discussion on Facebook

Filed Under: Articles Tagged With: choir director, directing a choir Last Updated: May 27, 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

    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“Johann Baptist Singenberger (d. 1924) held in trust a letter from Pius X giving him permission to use men and women in his festival choirs. He neither published it nor used it, lest he embarrass the Holy Father.”

— Monsignor Francis P. Schmitt (August 1957)

Recent Posts

  • Do You Recognize This Hymn? Do You Like It?
  • Charlie Kirk’s Fascination with Traditional Catholic Liturgy
  • “Novus Ordo Parish … With Polyphony?” • Is that possible? How specifically does that work?
  • “The Injustice of Traditionis Custodes” • (Private Meetings at the Vatican)
  • New Bulletin Article • “14 September 2025”

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.