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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

PDF Download • “Communion Refrain” (Polyphony) for Three Voices — with Psalm 117

Jeff Ostrowski · February 6, 2025

ULTON J. SHEEN often admonished his audience: “Don’t waste suffering.” In one of his talks he suggested—if memory serves—that sufferings not offered to the Lord constitute this world’s greatest tragedy. This applies in a special way to the conscientious choirmaster. You will face opposition. It’s crucial to offer each day to JESUS CHRIST as your first act each morning. Never turn on your phone until you’ve offered your day to our Redeemer! Offer up your sufferings, your joys, and even mundane “dumb” things like brushing your teeth. In a moment, I’ll explain why I mention this.

Stellar Psalm Setting • First, I’d like to share a terrific setting of PSALM 117. The entire setting is for three voices (except for one ‘divisi’ on the final system). Like many psalms, it could be used in various situations—but seems especially fitting for Holy Communion:

*  PDF Download • PSALM 117 for Three Voices
—With a polyphonic refrain based on a work by Father Guerrero (d. 1599).

Free rehearsal videos for each individual voice await you at #27466 .

(1 of 3) Expect Opposition • Conscientious choirmasters are in a rather funny position. Because we’re artists, we want to please. Deep down in our heart, we want our music to please everyone. Artists crave “approval” or “admiration” or “approbation”—and this is only natural. But the reality is, certain people will never be pleased. There will always be a certain percentage who prefer Britney Spears to Sebastian Bach.1

(2 of 3) Expect Opposition • The conscientious choirmaster must learn to expect nasty notes left on the organ bench signed by “anonymous.” You must learn to expect countless potshots and slander from others in your field (who are often jealous and deeply unhappy). Indeed, if you don’t face such opposition you haven’t yet “arrived.” Put such colleagues in the same category as pornography and dirty magazines—never think about them. Renew your good resolution and continue serving the Lord.

The same is true of a faithful priest; he must expect opposition. Suppose somebody comes to him and says: “Father, I think the Catholic Church ought to have female priests.” A bad priest—who craves human respect and approval—will say: “You’re right; I agree with you.” But a faithful priest preaches the truth in season & out of season (II Timothy 4:2). I realize this is “easier said than done,” especially for those who possess an artistic temperament.

(3 of 3) Expect Opposition • Father Isaac Jogues and his companions suffered unspeakable torture at the hands of the Iroquois for many weeks. The suffering they underwent was so dreadful, so atrocious, and so horrendous I’m not comfortable describing it. Moreover, when the day’s tortures were over, they were not even permitted to sleep. Their hands and feet were bound to the earth by means of stakes and all night long the Iroquois children would place burning coals on their bodies (!) laughing with glee when they weren’t able to shake them off.

Father Isaac Jogues and his companions considered such brutal and unspeakable treatment as part of their vocation. Indeed, Saint René Goupil and William Couture had an opportunity to escape but chose (!) to stay with the captured Hurons. They knew exactly what was in store for them—yet they chose to stay. How foolish we are if we fail to invoke the intercession of these saints every single day.

Conclusion • Next time you suffer calumny at the hands of a colleague or a parishioner—especially one whom you helped or showed kindness towards—try to remember Father Jogues and his companions, whom Dr. Scott Hahn calls “our older brothers and sisters in the Faith.”

1 For the record, that doesn’t mean such people are incapable of artistic development. In other words, someday they may realize Bach’s music has much greater “depth” than music by Britney Spears.

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

Filed Under: Articles, PDF Download Tagged With: Dr Scott Hahn, Easy Polyphony For Amateurs, Father Isaac Jogues, Polyphony For Three Voices Last Updated: February 6, 2025

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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

    2-Voice Arr. • “Creator of the Starry Height”
    Do you direct a choir consisting of women or children only? (Some call this a “treble” choir.) Download a two-voice arrangement of Creator of the Starry Height set to the tune of IOANNES by clicking here and then scrolling to the bottom. In our times, this hymn is normally used during ADVENT, and the Latin title is: Cónditor alme síderum. It’s important to say “cónditor”—placing the accent on the antepenult—because ‘condítor’ in Latin means “one who embalms the dead.”
    —Jeff Ostrowski
    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    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

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— Father Clemens Blume, S.J.

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