• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

“Practical Solutions to Impractical Problems” • Lerner’s Philosophy of Parish Music

Guest Author · August 21, 2025

Andrew J. Lerner is Director of Activities at the Latin Mass Society of Benedictine College and Treasurer at Benedictine College Knights of Columbus. Follow him @ravenorganist on Instagram.

I HAVE PLAYED for both the Novus Ordo Missae and the Usus Antiquor semi-professionally in Kansas, Illinois, Iowa, and Texas. All of them had very different instruments, musical selections, budgets, and expectations; but nevertheless shared universal common problems.

The primary problem was that they didn’t clearly specify what was expected of their musician: when he could practice, where he could practice, when to play, when not to play, and what he could play. Ergo, the organist could play the most beautiful rendition of a Bach chorale prelude, but did it at a time that within the Mass observed in the parish as one of profound silence and angered the congregants and priest.

Therefore, if your parish has a tradition of rotating organists, do them all a courtesy and provide a comprehensive guide to the Liturgical Structure of your Masses. Indicate periods which are suitable for music, the type of suitable music, and approximate estimations of time these periods take.

The next problem is universal to every choir in existence: a lack of capable voices for the selected hymn repertoire. Parish choirs most often consist of incredible amounts of soprani and baritone voices, rendering alto and tenor lines impossible to sing well.

The solution: know basic vocal range. Any piece of music with an alto line reaching lower than a low A; a tenor line higher than E-Flat; or bass line lower than a low F should be avoided at all costs.

Next up is tuning: the nightmare of every choir director. Tenore and soprani voices are prone to go more sharp, while alti and bassi voices are perennially flat. One trick that volunteer choir directors don’t learn is that certain key signatures are easier to lose tuning than others. But as luck would have it, most every mainstream hymnal only provides hymns in these very keys!

F and C major are all fine and dandy, but because they are so well known, any inconsistency sticks out as much as a beginner keyboard student fumbling the harmony to “Twinkle Twinkle little star”. My rule of thumb for working with choirs who struggle to stay in tune is that accidentals are an insurance policy for this issue, and more accidentals is akin to a more expensive coverage.

Unfortunately, key signatures with more than 3 accidentals will send the organist into a nervous meltdown. Solution: spare him the trouble of having to learn at all and boost your choir’s competency by singing a cappella. If the music is written in C, provide the pitches in B or in D-flat. The only singers who will experience difficulty singing in a key other than the score-specified indicated are those with the affliction of perfect pitch, and as that consists of ~0.01% of the population, their frustration will be easier to deal with than that of the entire parish.

Lastly, remember the KISS of peace: Keep It Simple, Stupid. The most understated problem of church music programs is beautiful music sung in an unbeautiful fashion. Anyone and everyone will complain about Marty Haugen and David Haas due to their questionable origins, theology, and utter lack of musical and poetic effort. Lazy writing is indeed a major issue, but lazy performing is easier to fix.

Occam’s Razor and Murphy’s Law are a question of when, never a question of if in any musical setting: secular or religious, instrumental or vocal. Quality of the performance of music during Mass will more efficaciously lift the hearts and minds of the congregants to God rather than the quantity of impressive musical techniques used by the music. The mode I Jesu Dulcis Memoria with a good vocal blend will attract more people to the Church (and by extension: the parish’s music program and ledgers) than the Missa Papae Marcelli sung out of tune by a choir of retired opera singers and chainsmokers.

Go, and make a beautifully prayerful song unto the Lord. Saints Cecilia, Gregory the Great, and all choirs of the Holy Angels, pray for us!

We hope you enjoyed this guest article by Andrew J. Lerner.

 

Adoration of the Lamb, Ghent Altarpiece
By Jan van Eyck / Hubert van Eyck – Jan van Eyck, Public Domain, link

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

Filed Under: Articles Last Updated: August 22, 2025

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

Primary Sidebar

Corpus Christi Watershed

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

This was first breach in the walls of a fortress, centuries old, stoutly built, strong and robust, but no longer capable of responding to the spiritual needs of the age. [N.B. the “fortress” is a liturgy which nourished countless great saints.]

— Annibale Bugnini (19 March 1966)

Recent Posts

  • 2-Voice Arr. • “Creator of the Starry Height”
  • PDF Download • Christmas Piece (SATB) — “Angels We Have Heard on High” with Text in Latin
  • “Equal Voices” Choir Pieces
  • A Practical Method of Projecting Solfege for Chant
  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.