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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

Entrance Antiphons • “Transitioning from a Contemporary to Sacred Music Program”

Rebecca De La Torre · October 22, 2024

AVING WORKED with Jeff Ostrowski on several projects in the past, I’m so glad to be joining CORPUS CHRISTI WATERSHED as an author. I’ve long admired the excellent work done by the various contributors here, and I look forward to a beautiful and fruitful collaboration. Over the last few years I’ve been transitioning from a completely contemporary music program (at a church with a contemporary-music-loving congregation) into one that implements more and more sacred works. Though a slow process, it has been a complete success thus far. Our liturgies are more prayerful and the gentle approach has lost us ZERO parishioners. In fact, (at the time of this writing) our numbers have increased a little above Pre-COVID attendance.

Chanting The Propers • Mr. Ostrowski has encouraged me to share with our readers some of the techniques that have met with success here at my parish in Arizona. One way I’ve been introducing sacred music—besides using venerable hymn tunes with ancient texts—is chanting the propers. Below is one such ENTRANCE ANTIPHON for this coming Sunday in Gregorian Mode IV:

*  PDF Download • ENTRANCE ANTIPHON (Rebecca De La Torre)
—For the 30th Sunday in Ordinary Time.

As with all of the (hundreds of) scores on my website, The Modern Psalmist, I record and provide rehearsal tracks free of charge:

*  Mp3 Download • ENTRANCE ANTIPHON (Rebecca De La Torre)

Transition Time! • For a choir accustomed to contemporary music, Gregorian chant was intimidating at first. But one method that’s worked well for me is to maintain a single mode for an extended period of time. That way, there’s a congruence from Sunday to Sunday, making the “new style” (though ancient) less intimidating—for both the choir *and* the congregation. For this purpose, I decided to compose Entrance Antiphons in Mode IV. These are simple propers, but not to the point of being monotone. To get a good intuitive feel for Mode IV, I studied the following ancient works from the GRADUALE ROMANUM: SANCTUS (from Mass III); AGNUS DEI (from Mass III), CREDO I (called the “authentic” or “cardinal” creed tone in the ancient manuscripts).

The Same In Spanish • Our congregation is predominantly Latino so I compose everything (!) in English and Spanish. You can download the Spanish version of the same ENTRANCE ANTIPHON for this Sunday here:

*  PDF Download • ENTRANCE ANTIPHON (Spanish)
—Antífona de Entrada • 30º Domingo del Tiempo Ordinario (Modo IV, De La Torre).

As I already mentioned, on my website I provide—free of charge—rehearsal tracks for absolutely everything. Click here to instantly hear that Spanish ENTRANCE ANTIPHON.

The Future • My website consists of many thousands of scores, rehearsal videos, and mp3 files. Almost all of them are completely free, but you need to create a login. Over the next few years, I look forward to (each week) making readers aware of what I offer—again, everything I will share here is 100% free once you create a login—because I realize it can be overwhelming. If you find my resources helpful, I hope you will take advantage of all of them! Regardless, I think it’s important for everyone to at least be aware of what I offer. (A new project I’m particularly excited about is pronunciation guides for Spanish.)

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

Filed Under: Articles, PDF Download Last Updated: October 23, 2024

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About Rebecca De La Torre

Rebecca holds a Bachelor of Science in Computer Science from Arizona State University. She resides with her husband and daughter in Phoenix, Arizona.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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
    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Both priests and people in this country [viz. ENGLAND] were largely taken by surprise by the recent restoration of the Easter Vigil, by the changes in the laws of fasting for Holy Communion, and the advent of the Evening Mass.”

— Dom Oswald Sumner (1955)

Recent Posts

  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

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