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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

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    Our tiny 501(c)3 nonprofit organization exists solely by generous readers who donate $5.00 per month. We have no endowment; we have no major donors; we run no advertisements; we have no savings. A donor wrote to us: “I so appreciate all you do and have done, and your generosity is unprecedented. I am honored to be able to make a monthly contribution.” Another monthly donor says: “Thank you for everything CC Watershed does. We are able to add so much solemnity to Holy Mass due to the resources made available here.” Can you spare a few dollars each month to help us survive?
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    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski

Quick Thoughts

    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    “Reminder” — Month of January (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. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

It would be contrary to the Constitution to decree or even to hint that sung celebrations, especially of the Mass, should be in Latin.

— Annibale Bugnini attacking “Sacrosanctum Concilium” (§36)

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