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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

A Practical Method of Projecting Solfege for Chant

Mark Haas · October 28, 2025

HIS YEAR, our 40-voice children’s choir has taken on a bold new goal: to proclaim the Gregorian Propers within the Novus Ordo Mass. Specifically, our young choristers are singing both the Introit and the Communion Antiphon from the Graduale Romanum. We wanted to challenge our kids with the beauty and richness of the Church’s authentic treasury. Of course, such a challenge requires careful preparation. Children are capable of great musical achievement when given the right tools, and I wanted to give them one of the most time-tested tools of all: solfege. The familiar “Do-Re-Mi-Fa-So-La-Ti-Do” system not only trains the ear but also provides a concrete way for students to understand intervals, pitches, and the flow of chant melodies. Our adult choir already benefits from this approach—since their rehearsal room includes a projector screen, I can project the chant, enlarge it, and clearly label the solfege syllables on PowerPoint slides.

The children’s choir, however, for various logistical reasons, practices in the choir loft, and no projector or screen is readily available there. I quickly realized I needed another way to enlarge the chant so that I could add teaching annotations. After a bit of trial and error, I developed a method that has thus far proven effective.

*  Mp3 Download • Live Rec. (“In voluntáte tua, Dómine”)
—“In voluntáte tua, Dómine” (Abr.) • Ave Maria Parish Children’s Choir • Mark Haas, conductor; Michael Olbash, organist

Here’s the step-by-step process:

1. Enlarge the Chant
I begin by opening the chant on my computer and expanding it so that the score can be split across two sheets of 11×17 paper (Ledger size). This makes the neumes large and clear enough for group learning.

2. Remove Excess Text
I crop out the text of the chant, leaving only the square notes. This keeps the children focused entirely on the melody while learning solfege.

3. Assemble the Poster
After printing, I tape the two sheets together. The result is a neat 11×34 poster of Gregorian chant—large enough to be read by all 40 children at once.

4. Add Solfege in Red
Using a red marker, I carefully label the solfege syllables above or below each note. To conserve space and maintain clarity, I use only capital letters. This gives the children a strong visual guide as they sing.

5. Mark Rhythmic Nuances in Green
To highlight rhythmic lengthenings—such as quilismas, episemas, salicuses, etc.—I use a green marker. This color contrast makes it easy for students to spot where they need to give extra emphasis or hold a note slightly longer.

Once complete, I place the poster on two sturdy music stands in the middle of the choir. The children now have a clear, colorful solfege reference as they rehearse new chants. As an additional bit of fun, the kids take turns holding the pointer. As we site-read a new chant, one of the singers uses a pointer to point to each pitch. This keeps them all engaged with reading and singing.

The results have been encouraging. The choristers are not only learning the Propers more quickly but are also internalizing the sound of solfege in relation to Gregorian modes. What began as a practical workaround has become a surprising tool in our program.

If you direct a choir—whether children or adults—this might be a simple method to try. With a little preparation, you may find your singers rising to new heights in their chant singing, proclaiming the liturgy with both beauty and confidence.

 

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

Filed Under: Articles Last Updated: October 28, 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

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

At the Council of Trent, the subject was raised whether it was correct to refer to the unconsecrated elements of bread and wine as “immaculata hostia” (spotless victim) and “calix salutaris” (chalice of salvation) in the offertory prayers. Likewise the legitimacy of the making the sign of the cross over the elements after the Eucharistic consecration was discussed.

— ‘Fr. Uwe Michael Lang, Cong. Orat.’

Recent Posts

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  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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