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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

An Arranger’s Walkthrough of “King’s Weston” (PDF & MP3 Downloads)

Mark Haas · August 19, 2025

AST YEAR I was blessed with an extraordinary opportunity. The Diocese of Raleigh commissioned me to arrange a new setting of At the Name of Jesus, set to the tune KING’S WESTON, for their 100th Centennial Mass at the magnificent Holy Name of Jesus Cathedral in Raleigh, North Carolina. This commission would serve as both a spiritual and musical milestone for the Diocese. The Cathedral building itself is one of the largest in the United States; a space that calls for music worthy of its soaring arches and profound liturgical purpose. Even more exciting, the Diocese had assembled a formidable musical ensemble: over 50 singers drawn from parishes across the region, supported by a 20+ piece orchestra. With such resources, the stage was set to create something truly majestic to glorify God.

*  PDF Download • At the Name of Jesus (KING’S WESTON)
—Full perusal score for choir and orchestra • Arranged by Mark Haas

*  Mp3 Download • Live Rec. (Diocese of Raleigh Choir and Orchestra)
—“At the Name of Jesus (KING’S WESTON)” • Arranged by Mark Haas • Conducted by Jeff Rice

Some practical considerations to arranging • As I approached the project, I had to consider the diverse makeup of the performers. The choir, though sizable, was made up largely of volunteer singers, many of whom would be learning the music in a short timeframe. The orchestra, by contrast, was filled with seasoned professionals. This contrast shaped the entire orchestration strategy: I could afford to write intricate and expressive parts for the orchestra that would frame, support, and at times propel the choir—without overwhelming them. My goal was to make the choral writing accessible and singable for parish-level musicians while surrounding them with an instrumental setting that lifted their sound and honored the grandeur of the occasion.

Concerning the orchestra specifically, certain choices were necessarily constrained by the environment. The string section, scored 3/3/3/2 (without basses) meant that extensive divisi writing was impractical. Dividing the strings would have diminished their already modest strength, preventing the sound from adequately projecting and filling the cathedral.

One of the other practical considerations in arranging the hymn was the sheer scale of the recessional procession. With cardinals, bishops, priests, deacons, seminarians, and altar servers processing out, the music needed to be extensive enough to accompany all the movement with dignity and musical interest. This provided an opportunity: I could begin the hymn with a rich orchestral introduction that would build anticipation and set the tone for the final moment of the Mass; something that I find can invite people into prayer through the unique colors that music can provide.

Some harmonic liberties • I chose to open the piece with original material—an orchestral “mini-overture” that referenced motives from KING’S WESTON while exploring new harmonic territory. This introduction was intentionally a bit mysterious, even wandering. A tasteful introduction that utilizes a unique harmonic pallet can achieve something deep into the soul (In this particular arrangement, I opted for the “crunchy” tritone substitution of DbM7 to C).

This mysteriousness within an introduction can—on some level—come to represent our earthly journey as a pilgrim Church, the ecclesia militans marching toward our heavenly homeland. “I Wonder as I Wander,” as the famous hymn title suggests. Such an introduction invites the listener into a space of reverence and expectation before the first note of the hymn is sung.

When the congregation and choir finally entered with the first verse, I kept the choral texture in unison. This is a trick I’ve learned over time—beginning with unison encourages singing. It gives everyone a strong, clear line to latch onto, especially in a cathedral setting where acoustics can challenge clarity. During this unison verse, I allowed the orchestra to become more animated—brass and winds rising in dynamic intensity, subtle flourishes pushing the energy forward. This helps “pull” the singers with confidence into the soundscape, and in many cases, the congregation responds with added vigor.

By the third verse, the choir shifts into full SATB harmony. This was the moment for the voices to shine, and so the orchestration became more transparent. Strings shifted to pizzicato, winds provided colorful accents, and the brass held back to allow the choral colors to rise to the surface. Balance is everything in liturgical music. The goal is not to impress, but to lift hearts to God.

Time for creativity • Following several verses, I inserted a musical interlude—a chance for the orchestra to speak. This interlude also served a functional purpose: it modulated the key upward by a whole step to inject a final lift for the concluding verse. The interlude also gives a few seconds of space for the choir and congregation to catch their breath.

For the interlude, I wrote new thematic material that built slowly, culminating in a triumphant orchestral crescendo. For fellow arrangers, I’d encourage creativity during such transitions. I incorporated quick runs and flourishes in the woodwinds and strings—particularly seven-tuplet eighth-note figures that cascade into downbeats. Instruments like the flute, oboe, and piccolo are quite agile and, when doubled at the octave, can create stunning effects that sparkle within a cathedral’s acoustic bloom.

For the final verse, the full choir and congregation returned to unison, but this time with a soaring descant line above. That line, sung by the sopranos—and bolstered by the tenors as well—punched through the orchestral swell with jubilant clarity. Asking tenors to double a descant may seem unconventional, but in my experience, it adds strength and energy to the line, and the men usually love the challenge!

Evangelization through orchestration • To conclude the hymn, I added a final tag: “At the name of Jesus!”—a musical punctuation that gave the choir a moment to hold that Holy Name aloft. I resolved the piece with the ever-trusty Picardy third, giving it a bright, hopeful ending. The timpani echoed out with regal I-V-I-V figures, thunderous and bold. I even added a note in the timpani part: “Play dramatically… as if Our Lord just conquered sin and death.” Most hired orchestral players are not Catholic—but music is a powerful vehicle for evangelization. Sometimes, a small comment in a score can plant a seed.

As an orchestrator, I’m always attentive to the ways music can serve as a means of evangelization. Even the visual beauty of a well-crafted score can become a quiet yet powerful nudge to the human heart, which naturally yearns for what is good, true, and beautiful. In a previous commission—writing for orchestra and choir for a bishop’s installation—I included a brief note in the brass part: “Triumphantly, as if a successor to the Apostles just walked into the room.” While a bit playful, the instruction was purposeful. It aimed to spark the musicians’ imagination and prompt reflection on the sacred weight of the moment—especially for those who may not be familiar with the deep and living tradition of the Catholic faith.

Conclusion • In the end, this project was far more than an exercise in orchestration—it was a testimony. It reminded me that even behind the notes, rests, and articulations, there is a sacred calling for those of us who compose and arrange music for the Church. We are not merely technicians or artisans; we are evangelists in our own right. Every dynamic marking, every harmonic decision, every instrumental texture can either obscure or reveal the face of Christ to someone in the pew—or even in the orchestra.

So to my fellow composers, arrangers, and orchestrators: don’t underestimate the role you play in the Church’s mission. Write with excellence. Score with love. And never be afraid to let your music speak the language of faith—for sometimes, long after the homily is forgotten, it is the music that remains in the heart.

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

Filed Under: Articles, PDF Download Tagged With: arrangement, Evangelization, MP3, orchestration, pdf download Last Updated: August 19, 2025

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About Mark Haas

Mark Haas is a composer and speaker whose music has been sung in over 600 parishes and 10 countries. He serves as the Music Director at Ave Maria Parish in Ave Maria, Florida where he lives with his wife and seven children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    (Part 2) • Did they simplify this hymn?
    Choirs love to sing the resplendent tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1929, I discovered what appears to be a simplified version of that hymn. Their harmonization is much less complex than the version found in the Father Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1929 harmonization (PDF) and let me know your thoughts. As always, the Germans added an organ INTRODUCTION. For the record, I posted a different harmonization a few months ago which was downloaded more than 2,000 times.
    —Jeff Ostrowski
    PDF • “Lectionary Comparison Chart”
    Various shell corporations (in an effort to make money selling Sacred Scripture) have tinkered with the LECTIONARY texts in a way that’s shameful. It’s no wonder Catholics in the pews know so few Bible passages by heart. Without authorization, these shell corporations pervert the official texts. Consider the Responsorial Psalm for the 1st Sunday of Advent (Year A). If you download this PDF comparison chart you’ll notice each country randomly omits certain sections. Such tinkering has gone on for 60+ years—and it’s reprehensible.
    —Corpus Christi Watershed
    Monsignor Klaus Gamber Speaks!
    An interesting quotation from the eminent liturgist, Monsignor Klaus Gamber (d. 1989): “According to canon law, a person’s affiliation with a particular liturgical rite is determined by that person’s rite of baptism. Given that the liturgical reforms of Pope Paul VI created a de facto new rite, one could assert that those among the faithful who were baptized according to the traditional Roman rite have the right to continue following that rite; just as priests who were ordained according to the traditional Ordo have the right to exercise the very rite that they were ordained to celebrate.”
    —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 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

I am convinced that if the Church is to prosper in the present age, it cannot hesitate to embrace and support traditional Catholics, traditional liturgies and traditional moral values. “Do not conform yourself to this age,” St. Paul warned followers of Christ. (Rom 12:2)

— Most Rev. Thomas Tobin, Bishop of Providence (12 August 2022)

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