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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

    Psalm Tone Challenge!
    Many readers know that Tone 1a3 is the most difficult PSALM TONE in the 1962 books (and isn’t called for very often). But what about very short verses—which is the absolute most concise you know? The shortest PSALM TONE segment I know would be the fourth verse (PDF) from Psalm 44, used during Matins at Christmas. It’s literally one word long. If you know a more minuscule one, please email me!
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF • “Music List” (Sunday, 28 December)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for Feast of the Holy Family of Jesus, Mary, & Joseph (28 Dec. 2025). If such a thing interests you, feel free to download it as a PDF file. The FAUXBOURDON verses for the Communion Antiphon are particularly gorgeous. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski
    What does this mean? “Pre-Urbanite”
    Something informed critics have frequently praised vis-à-vis the Saint Jean de Brébeuf Hymnal is its careful treatment of the ancient hymns vs. the “Urbanite” hymns. This topic I had believed to be fairly well understood—but I was wrong. The reason I thought people knew about it is simple; in the EDITIO VATICANA 1908 Graduale Romanum (as well as the 1913 Liber Antiphonarius) both versions are provided, right next to each other. You can see what I mean by examining this PDF file from the Roman Gradual of 1908. Most people still don’t understand that the Urbanite versions were never adopted by any priests or monks who sang the Divine Office each day. Switching would have required a massive amount of effort and money, because all the books would need to be changed.
    —Jeff Ostrowski
    PDF Download • “Santo Santo Santo”
    Those searching for a dignified, brief, simple, bright setting of SANCTUS in Spanish (“Santo Santo Santo”) are invited to download this Setting in honor of Saint John Brébeuf (organist & vocalist). I wonder if there would be any interest in me recording a rehearsal video for this piece.
    —Jeff Ostrowski

Random Quote

“Young people have entrusted me with their absolute preference for the Extraordinary Form… […] But, above all, how can we understand—how can we not be surprised and deeply shocked—that what was the rule yesterday is prohibited today? Is it not true that prohibiting or suspecting the Extraordinary Form can only be inspired by the demon who desires our suffocation and spiritual death?”

— Cardinal Sarah to Edward Pentin (23 September 2019)

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