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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

When Pilgrims Sing, the World Disappears

Mark Haas · November 4, 2025

ATIN GREGORIAN CHANT is universal. It is Catholic. And I can prove it.

Take a listen to the recording below. It is a recent viral social media post of a group of pilgrims singing Credo IV.

*  Mp3 Download • Live Rec. (“Credo IV by mystery choir”)
——“Credo IV”  • Mystery choir.

Now listen closely—what country are they from? What part of the world? What accent do they have? What is their nationality? Can you tell?

In this particular recording, the singers were a group of US seminarians from Virginia on pilgrimage to Rome. Yet, when they chant in Latin, they ceased to sound American. They didn’t sound Italian, French, or African either. They sounded Catholic—universalis, belonging to no one people but to everyone at once. This is the power of the Church’s ancient language: it transcends the divisions of culture and geography and allows the faithful to sing with one heart and one voice.

Clarity • Latin is often called a “dead language,” but in the life of the Church, that is its greatest strength. Because Latin no longer evolves like modern tongues, it remains fixed—unchanged, clear, and precise. Living languages shift constantly; words pick up new meanings, phrases become outdated, and connotations change. “Don we now our gay apparel,” means something entirely different to modern ears than it did just a few generations ago. The unchanging nature of Latin preserves the clarity of doctrine and worship, ensuring that the Church’s prayers mean today what they meant a thousand years ago.

Unity • Many parishes today celebrate Mass in several languages—English, Spanish, Vietnamese, and more. This reflects the beauty of cultural diversity, but it can also lead to division. A parish may unintentionally become three or four communities sharing one building but not one heart.

The great unifier–as the Second Vatican Council envisioned–is the use of Latin for the common parts of the Mass. Sacrosanctum Concilium, the Constitution on the Sacred Liturgy, states that “the use of the Latin language is to be preserved in the Latin rites” (§36) and that “steps should be taken so that the faithful may be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them” (§54).

Borders disappear • Those pilgrims from Virginia are from the United States. Many of them are likely American football fans who enjoy barbecues and hot dogs. If you spoke with them on the street, they would have American accents. But when they chanted together in Rome, they were not from any country. Their accents disappeared. Their culture blended into the harmony of the Church.
They were no longer citizens. They were Catholic. They were universal. And that, in the truest sense, is what it means to be part of the Church that sings with one timeless, heavenly voice.

You can see the original video post here.

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

Filed Under: Articles Last Updated: November 4, 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

    Simplified Accomp. • Schubert’s “Ave Maria.”
    Sometimes the organist must simultaneously serve as the CANTOR. (Those who work in the field of church music know exactly what I’m talking about.) One of our contributors composed this simplified keyboard accompaniment for Franz Schubert’s “Ave Maria,” a piece which is frequently requested for Catholic funerals and weddings. In terms of the discussion about whether that piece is too theatrical (‘operatic’) for use in Church, I will leave that discussion to others. All I know is, many church musicians out there will appreciate this simplified version.
    —Jeff Ostrowski
    “Reminder” — Month of April (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simply click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski

Quick Thoughts

    PDF Download • “Anima Christi”
    I received a request for an organ accompaniment I created way back in 2007 for the “Anima Christi” Gregorian Chant. You can download this PDF file which has the score in plainsong followed by a keyboard accompaniment. Many melodies have been paired with “Anima Christi” over the centuries, but this is—perhaps—the most common one.
    —Jeff Ostrowski
    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski

Random Quote

The Sanctus and Benedictus are one text and should be sung through without a break. The practice—once common—of waiting till after the Consecration and then singing: “Benedictus qui venit…” is not allowed by the Vatican Gradual.

— Father Fortescue, writing in 1912

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  • “Reminder” — Month of April (2026)

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