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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

“Must Hymns Always Rhyme?” • (With Examples)

Jeff Ostrowski · October 3, 2023

N 1964, BARRY GOLDWATER of Arizona ran against Lyndon B. Johnson, who became president when JFK was shot and killed in Dallas. The strategy of Goldwater’s opponents was to paint Goldwater as a “trigger-happy cowboy” who would start a nuclear war. Goldwater’s campaign slogan was: In your heart you know he’s right. An adversary of Goldwater—with a potent sense of humor—modified that slogan, printing bumper stickers saying: “In your heart you know he’s nuts.” [For the record, the Republican party was “destined” to lose that year, due to enormous sympathy generated by Kennedy’s assassination.]

An Easier Route? • At various times over the last 100 years, some have attempted to dispense with hymns that rhyme. In English, writing a hymn that doesn’t rhyme is much easier than writing one that does. The justification usually given is: “Not all Latin hymns rhyme.” In a certain sense, that’s true—but it’s not that simple. Ancient Latin hymns used two systems: QUANTITATIVE (long and short syllables) and QUALITATIVE (stress-accent). Fortescue says quantitative was once considered “the more noble” form, but as the centuries elapsed it was quashed by the stress-accent type. For those of us alive today, the problem is that both systems were commingled for roughly 600 years—and it’s not always easy to determine what system is being used during the transitional period. As Father Britt wrote: “In studying the hymns chronologically, it will be observed also that the growth of rhyme kept pace with the growth of accent.” Broadly speaking, extremely ancient Catholic hymns usually don’t rhyme, whereas the those written later (circa 1200AD) usually do. An excellent way to keep things straight is to remember the PANGE LINGUA GLORIOSI. The version by Bishop Venantius Fortunatus (from the 6th century) doesn’t rhyme. But when Saint Thomas Aquinas made his version 600 years later—using the version by Fortunatus as a model—all the verses rhyme.

Should Hymns Rhyme? • I started by mentioning Barry Goldwater’s campaign slogan: “In your heart you know he’s right.” Hymns in English absolutely must rhyme because the melodies don’t feel complete otherwise. I believe that in your heart you know this is true. The following was recorded by our volunteer choir yesterday (1 October 2023):

To access this hymn’s media in the Brébeuf Portal, click here.

Agree? Or Disagree? • Do you see how our ears anticipate those rhymes? The rhymes are so satisfying. Do you agree it would be totally unfulfilling not have non-rhyming stanzas? Below is a different rhyme-scheme … but it employs the same melody:

To access this hymn’s media in the Brébeuf Portal, click here.

Summary • The ear craves the “fulfillment” of rhymes. Non-rhyming hymns are certainly tempting because they’re so much easier to write. But the ear needs rhymes. Needless to say, exceptions do exist. For example, for a complicated non-metrical melody such as this, one could “get away with” a non-rhyming text.

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

Filed Under: Articles, PDF Download Tagged With: Quantitative Vs Qualitative Hymns Last Updated: October 16, 2023

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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

Quick Thoughts

    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
    “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

Random Quote

Giovanni Doni is known for having changed the name of note “Ut,” renaming it “Do.” He convinced his contemporaries to make the change by arguing that 1) “Do” is easier to pronounce than “Ut,” and 2) “Do” is an abbreviation for “Dominus,” the Latin word for the Lord, Who is the tonic and root of the world. There is much academic speculation that Giovanni Doni also wanted to imprint himself into musical canon in perpetuity because “Do” is also ulteriorly an abbreviation for his family name.

— Giovanni Battista Doni died in 1647AD

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