T HAS BEEN A WHILE since I’ve been able to post, and I apologize for that. Readers, perhaps remember that I am blessed to serve as choirmaster for the Basilica of Saint Joseph in Macon (Georgia) where my parish choir sings Alstott, Elgar, White, Russian Orthodox music, Lotti, Hurford, Perosi, Fauré, Vaughn Williams, Arcadelt, Vivaldi, and works composed by your humble correspondent. Joseph Cardinal Ratzinger, one of my favorites, wrote in 1985: “The only really effective apologia for Christianity comes down to two arguments: namely, the saints the Church has produced and the art which has grown in her womb.” It seemed appropriate therefore, to share some thoughts about preparing music for the liturgy, rehearsing, and the like. I hope somebody out there finds some of these useful.
The importance of Choirs and Choral Singing • The Church in Her wisdom has continually though the centuries affirmed the absolute value of choirs and choral singing:
§ 114. “… Choirs must be diligently promoted, especially in cathedral churches…”
§ 19. “Because of the liturgical ministry it performs, the choir—or the Capella musica, or schola cantorum—deserves particular mention. Its role has become something of yet greater importance and weight by reason of the norms of the Council concerning the liturgical renewal. Its duty is, in effect, to ensure the proper performance of the parts which belong to it, according to the different kinds of music sung…
Therefore:
(a) There should be choirs, or Capellae, or scholae cantorum, especially in cathedrals and other major churches,…and they should be carefully encouraged.
(b) It would also be desirable for similar choirs to be set up in smaller churches.
§ 20. Large choirs (Capellae musicae) existing in basilicas, cathedrals, monasteries and other major churches, which have in the course of centuries earned for themselves high renown by preserving and developing a musical heritage of inestimable value, should be retained for sacred celebrations of a more elaborate kind, according to their own traditional norms, recognized and approved by the Ordinary.”
“…And when a choir exists, which can draw the congregation into the cosmic praise and into the wide open space of heaven and earth more strongly than the congregation’s own stammering is able to do, then precisely in that moment the delegated, representative function of the choir is especially appropriate and fitting. Through the choir, a greater transparency toward the praise of angels is rendered possible and therefore a more profound interior participation in the singing, than would be possible in many places through one’s own crying and singing.”
— Pope Benedict XVI
The Liturgy and Concerts • Speaking form some personal experience, I have had the impression sometimes that certain musicians think about a concert differently than a liturgy. As music director of a large church, I often hire professional musicians—trumpet players or string players for example. Most are very professional, come prepared, and do a great job. Our parish is blessed to be situated near a University (Mercer University) that has a fine music department. I am happy to report that the young people we hire have all been excellent and do give us hope for this present generation.
Give God Our Best • However, some ‘professional’ musicians I can tell do not practice or prepare for the Liturgy and the reason either implied or given is “it’s just a church gig”. In addition, I have had cantors who are quite lackadaisical about preparing their music for the liturgy, week after week. It does not seem to matter whether some people are paid or not. It is a very disrespectful attitude to “wing it” or just not care. So…let us be clear. I believe that the Sacred Liturgy is as, or MORE important than a concert—doesn’t it seem appropriate to honor Christ by doing our best?
As I say, it does not seem to matter whether someone is a “paid professional” or an “amateur”. Some of the MOST DEDICATED musical people I have known have never been paid a penny for many years of devotion in choral singing. While I was living in Houston, we had an elderly lady in the parish choir who quietly announced that next month would mark her 50th year of singing in the choir. Of course, we had to honor her with a party! Such people, though they often have minimal training are quite valuable. One of the joys of what we do is seeing people grow musically through the years. Through (I admit not always) patient teaching and coaching, singers can and do improve their skills—at reading music, sight-reading, matching pitch, and general vocal skills. After all, when we hopefully get to heaven, we are going to need all our singing skills!
Preparing and Rehearsing Music • In preparing music in rehearsal however, there is a marked difference depending on whom you are rehearsing with. You must tailor your rehearsal plans and style taking into account who your choristers are. If you have the privilege of having a skilled professional choir, You can almost “just throw music at them” and they produce the product with minimal direction. As well, conducting such a group is more “reminding” than an invasive every-cue, every-beat style. Amateurs however, vary widely and wildly in their skills and musical abilities. Some do not read music at all and learn “note for note by rote”. Some are quite skilled. To my surprise, with amateurs, if you don’t give a cue, they sometimes don’t even come in… “Why did not you come in on time?” — “Well, you didn’t show us!” Sometimes it is necessary to over conduct NOT in making larger gestures, but in cuing ALL entrances if you can, all dynamics, being extra-clear about tempo, etc. This also becomes quite entertaining when doing it from the organ console.
Accompaniment at Rehearsal • It’s a rather tricky thing to learn how to gauge rehearsal time so as not to totally bore the more skilled members (while you go over EVERY note with June the alto) while still making to do what’s needed to bring the lesser skilled members up to the rest of the group standard. Sometimes sectional rehearsals—breaking up the tenors and basses for example in one group and the altos and sopranos in another room (no soprano jokes please) are useful for this (especially if you have an assistant musician or a choir member who can play one part at a time at the piano). Amateurs must hear their part to be able to learn it and sing it confidently. I once sang with a well-known conductor who did not use a piano or organ to rehearse with. That may work with a very skilled choir, but for the amateur group he was rehearsing with it was a disaster, the members could not learn their parts without an objective aural reference of some kind. I used to suggest to members that they needed to work on their part at home before coming to rehearsal. While this is good instruction, I gradually realized that some do not read music well enough to do this on their own. This prompted the establishment of a series of summer “basic fundamentals” music classes, when the choirs are not singing. For five weeks in the summer, we go through music notation, elementary theory and vocal production.1
Awareness of the Beat • However, it is possible to train amateurs to follow you. One exercise I do is the “metronome rubato”: I stand in front of the choir and I tell them that they have to sing the word “tick” at every beat I give. Starting very slowly, I then beat a three or four pattern, and they sing “tick” at every beat. Then I speed up, slow down and alter the tempo, still making them watch me and singing “tick” at every beat. The purpose of this little exercise is to train a default watching of the conductor and an awareness of the beat. Choristers have to internalize this awareness of the beat, especially during rests.
Repertoire must be carefully chosen for the amateur choir. Thankfully, there is a great wealth of (often free online!) music available of high quality for lesser skilled choirs, including two-part works. If each section is not strong on its own yet, singing two part music (SA on top part, TB on second part) can be a useful stepping stone. There is never any reason to sing poor music!
What is Active Participation? • While I am on this subject, let me beat one of my favorite drums. I hope in our age, we will see the resurrection of at least some of the great wealth of the canon of sacred music – particularly the incredibly rich repertoire of sung Masses that have been composed for the Liturgy over so many centuries. There seems to be an idea that the congregation at every mass has to sing all the Mass ordinary parts. This I believe is erroneous and not what the framers of Vatican II meant by active participation. There is nothing wrong with learning a beautiful polyphonic Gloria for the Mass…
“…the parts of the Ordinary of the Mass can be divided between the choir and the people…”
I one had a rector of a seminary tell me “ It’s no great loss if we never sing that music in the Liturgy, you can sing it for a concert”. ARGGG. This wealth of repertoire is possibly the churches’ greatest contribution to western musical culture. The canon of Masses by Byrd, Mozart, Haydn, Schubert (fill in your favorite composer) represent the high point of our western culture. To relegate them to a concert, where the purpose it not primarily to glorify God—the ORIGINAL PURPOSE of such repertoire…seems just pitiful. Lecture over.
It’s also quite possible to teach amateurs to sing Gregorian Chant. Explaining the neumes and the Solemes style of notation will prove to be rewarding in the end, as it opens up a wealth of chant repertoire for the choir. Let us continue with Faith…and patience.
1 A most useful book I would recommend for teaching music fundamentals is “How to Read Music” by Roger Evans.
