• 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 • “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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“I am of the opinion, to be sure, that the old rite should be granted much more generously to all those who desire it. It’s impossible to see what could be dangerous or unacceptable about that. A community is calling its very being into question when it suddenly declares that what until now was its holiest and highest possession is strictly forbidden and when it makes the longing for it seem downright indecent.”

— Cardinal Ratzinger, 1997

Recent Posts

  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

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.