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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

Recording Release! • Marenzio’s “Salve Regina”

William J. Fritz · December 13, 2023

S THE NEXT PART in the series releasing the different recordings we captured during the 2023 Sacred Music Symposium, I have been tasked with writing up my thoughts on Marenzio’s setting of Salve Regina. I have been very, very behind in getting this article out—but we just had three immense and beautiful feast days for Our Lady over the weekend, so now is as good a time as any! Before you read the rest of my musings, you should brush up on Maestro Ostrovsky’s article going over the compositional techniques used in the piece. Find that here. [Also included at that link are rehearsal videos for each individual voice, for anyone interested in such things.] The recording is by symposium participants—several of whom had never before (!) sung a cappella polyphony—conducted by the legendary Dr. Alfred Calabrese:

And now the recording:

*  Mp3 Download • SALVE REGINA (à5)
—By Luca Marenzio (d. 1599AD) known in his time as: “Foremost Musician in Rome.”

Before You Read On • Did you listen? I hope you found it to be moving. But if you are reading on, you may not believe me on a certain point if you didn’t already listen to it before finding out what I am going to talk about. Go ahead and listen to it if you haven’t already. The article will wait for you while you do!

… article is patiently waiting for you…

My Lead Up • Alright, now that you have the recording fresh in your ears, I would like to focus on a feature of a cappella music: viz. the tendency to shift from the original pitch. In fact, you may have noticed, the pitch drifted down a half step in each of the three sections. I will save my main point for later, but let’s get the nitty-gritty facts out of the way:

According to my listening, the pitch starts a smidge below “concert” pitch, and then drifts solidly down to a half step flat by the entrance of the tenors in bar 7. It stays there consistently until the end of the first section (mostly—I heard a section that went a hair flatter, but the basses managed to push the pitch back up).

The second section (@3:00) [with a smaller group singing] starts with a new pitch, and then drifts a bit down after maybe 13 bars. By the entrance of the Bass “misericordes” we are a quarter tone flat. It then quickly gets down to a half step flat by the end of the section a dozen measures later.

The last section (@4:23) begins with a fresh pitch and then takes longer to drift down, first hitting a quarter tone flat 10 measures in, but then not quite settling on a half-step flat until about 17 measures later. Once a half step down, the choir remains there until the end.

Marenzio Floored • But, unless you have perfect pitch you may not have been bothered at all—maybe you do have perfect pitch, and it still didn’t bother you! Marenzio himself would most likely be floored by knowing that close to half a millennia later a group of dedicated Catholic musicians studied and worked on singing his masterpiece. The point I want to make is that going flat during a piece of choral music is not the end of the world. In fact, given the complexities of tuning and temperament, it is a wonder that pitch drift doesn’t happen more! Tuning has been a complicated issue—it only seems to be a historical oddity because we have almost universally adopted an equal temperament as the predominant way that tuning is done.

New “Wars” Series? • However, this won’t be an article on temperament. If it were, I would perhaps make many, many enemies. Maybe a future article. Or maybe I will spark a new series on “Chant Tuning Wars”?

I Could Cite… • I could also cite famous groups that have gone flat, sharp, and even both within a single piece. This has to do with many factors, one of which is certainly this idea of temperament and tuning.  You see, what we hear from a piano (or pitch pipe) is not a perfect fifth. The tuning of the pitches on a piano are slightly “bent” to have each of the 12 notes of the chromatic scale equally spaced apart, one from the next. (Hence, why it is called “equal temperament”.) So, if you sing certain intervals as an a cappella choir, tuning precisely a fifth, and then the next interval, or even if you approximate the pitch, there is a little drift to be expected. To illustrate this point, I did a little test with my choir: on YouTube a few years ago, I ran across a video claiming that there was a little musical puzzle that was “mathematically impossible” to stay on pitch. You can watch the video here:

My Choir’s Attempt • I think Adam Neely gives a pretty good outline of the problem … and what might happen with the pitch. I recorded my choir trying out the little “puzzle” for themselves to see if the pitch would drift at all:

*  Mp3 Download • Benedetti’s Puzzle
—Benedetti (Italian mathematician) shared this with composer Cipriano de Rore.

Results Revealed • Notice anything? We didn’t go sharp!!! That illustrates another issue at play: pitch memory and muscle memory. Rather than saying my choir has bad pitch perception, I’d say the piece is too short and too simple for any pitch drift. Each singer remembers the pitch they were singing and went straight back to it. Maybe you can try this with your choir as a little warm up piece … and then see if they drift sharp. It would be interesting to get some more instances of choirs singing it. (Hint hint.)

Back To Marenzio • Let’s go back to Marenzio’s Salve Regina. Perhaps there’s a subtle mathematical or musical bent in the harmonies that facilitate a downward tilt? I don’t know—but the pitch memory of the group was strong—since each time the choir went down nearly to a half step each time the pitch was reset (there are three sections to the Salve Regina). Because of certain restraints and constrictions, we weren’t able to record the entire piece from beginning to end. Maestro Ostrovsky promised it wouldn’t be an issue, but he was mistaken. We can punish him later!

To lay out everything I’ve said so far:

  • Sometimes pitch drift happens
  • Sometimes it’s because the choir is bad (but not necessarily)
  • Sometimes it’s because the choir is so good, that it drifts because of complicated ‘maths’
  • Sometimes the choir doesn’t drift, because they remember the pitch
  • Sometimes the choir does drift because they remember where they drifted to

My Main Point • So what’s my point? I don’t believe that any choir must measure success in singing a piece of music by how well they stayed on pitch. Certainly losing the pitch is catastrophic; but, as you hear in the recording of the Salve Regina, no one lost the pitch. Rather, each part responded and tuned to the other parts singing. This active, listening and engaged singing led us all to drift down and settle a half-step lower than we started.

Intriguing Question • Would we have gone down that far if we had started the pitch down a notch? I’ve sung in choirs where that is the case, and the choir is just drifting flat on a certain day. At times, I’ve also noticed choirs hold the pitch perfectly when we start the piece down (or up) to where we eventually go anyways.

Final Consideration • One last consideration: this recording was made Friday afternoon, after a week of intense study and work, including countless conferences, breakouts, Masses, Vespers, masterclasses, meals, and conversations. It’s also possible we were just tired from an amazing week and drifted flat. So … there’s that as well. Happy drifting!

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

Filed Under: Articles Tagged With: 2023 SACRED MUSIC SYMPOSIUM RECORDINGS, Cipriano de Rore, Giovanni Battista Benedetti Last Updated: December 13, 2023

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About William J. Fritz

William J. Fritz currently serves as music director at St. John the Baptist Catholic Church in Costa Mesa, CA where he resides with his wife and three boys.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

“We being many are one bread and one body, All who share the one bread and one cup. Vs. Thou hast prepared of thy sweetness for the poor, O God, who makest us to dwell in one mind in thy house. All who share the one bread and one cup.”

— Responsory (Matins for Corpus Christi) transl. by Fortescue

Recent Posts

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  • “Music List” • 17th in Ordinary Time (Year C)
  • Flor Peeters In A Weird Mood?
  • Communion • “Ask & You Shall Receive”
  • Jeff’s Mother Joins Our Fundraiser

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