• 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
    • Catechism of Gregorian Rhythm
    • 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

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

    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski
    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    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

Random Quote

“The main place should be given, all things being equal, to gregorian chant, as being proper to the roman Liturgy. Other kinds of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful.”

— ‘2011 GIRM, §41 (Roman Missal, 3rd Edition)’

Recent Posts

  • 14th Sunday in Ordinary Time (Year C)
  • “My First Year with the Latin Mass” • A Music Director’s Perspective
  • Boston Auxiliary Bishop: “In offering the Traditional Mass for the first time, after removing the vestments, I knelt in the back pew and wept.”
  • Now Available! • “Hymns of Cardinal Newman: Kevin Allen’s Legendary Choral Settings”
  • Bugnini’s Statement (6 November 1966)

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