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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.”

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Views from the Choir Loft

“Text-Informed Performance Practice in Chant”

Patrick Williams · June 18, 2023

CCORDING TO THE RUBRICS for the chant of the Mass, there are two ways of singing the full gradual chant: “Two [cantors] sing the Verse of the Gradual, and, after the final asterisk, the full choir finishes it; or else, if the responsorial method is preferred, the full choir repeats the first part of the Responsory after the Verse is finished by the cantors or cantor.” The first of these two methods is more prevalent by far. In The Chants of the Vatican Gradual, Dom Dominic Johner writes the following regarding the gradual for the feast of the Nativity of St. John the Baptist:

1. The Lord put forth his hand, 2. and touched my mouth, 3. and said to me. At the end of the third phrase we are prompted to ask the question: What did God say? A colon was formerly placed after the words “said to me,” and the Alleluia with its verse was then considered their logical continuation. The fact is, however, that Gradual and Alleluia do not combine to form one whole; they are each assigned to a different mode, at least in the present case. Moreover, the words of Zachary as contained in the Alleluia-verse could hardly be ascribed to our Lord to whom the words of the Gradual refer. The term “Gradual responsory” implies what the answer to the above question will embody. After dixit mihi, the text Priúsquam . . . sanctificávi te of the Gradual should be repeated. Needless to say, this sequence was alien to the mind of the prophet Jeremias. (p. 394)

In Gregorian Chant according to the Manuscripts, Dom Gregory Murray notes the following:

The Gradual, as such, is responsorial in form. That is to say, after the solo verse has been sung, the first section (the respond) should be repeated. Although this is not the current practice, it is permitted, and there are some Graduals in which the words lose all meaning unless the repeat is made. For example, the Gradual Priusquam (for the Birthday of St John the Baptist) has a verse which ends ‘et dixit mihi’ (and he said to me). Without the repeat of the respond this hardly makes sense. (p. 47)

The following note is printed in the third edition of the Saint Edmund Campion Missal:

The choir always has the option to repeat the Gradual’s refrain section—as Abbat Pothier made clear in 1908 when the Editio Vaticana was published under Pope Saint Pius X—although this repeat in seldom taken, even in monasteries. For this particular Gradual, taking the repeat is recommended to complete the phrase “and said to me.” (p. 410)

The Newer Books • In the Graduale Novum, the opening text is Prius quam, not Priúsquam. The stress is on the first syllable, not the second.

This revision is consistent not only with many ancient sources, but also with the neumes, as the isolated note coincides with an unstressed syllable rather than the accented syllable. I was pleased to see a rubric included immediately after this chant in the 1974 Graduale Romanum that says, “Repetitur Priúsquam usque ad versum” (Priúsquam is repeated up to the verse), which echoes the Ordo Cantus Missae: “GR. Priusquam reincipitur post versum” (The gradual Priusquam is begun again after the verse). Although we who sing for the traditional Latin Mass are certainly not bound by these rubrics, they are perfectly sensible. Singing straight through may fulfill the letter of the law, but the older responsorial method is more in accord with a right understanding of this text. Let us sing with the spirit and also with understanding! (1 Corinthians 14:15)

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

Filed Under: Articles Last Updated: June 19, 2023

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President’s Corner

    “Reminder” — Month of April (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simply click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

“Ways to receive Our Lord as King of the Universe…read and reflect on the Sunday Scriptures, plan your whole weekend around receiving your King, wear your best garments, spend time in quiet, kneel to receive Him, receive Him on the tongue, offer silent time of thanks after mass.”

— Most Rev. Bishop Strickland (15 December)

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