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.”
From a female choirmaster: “Thank you for your recent article, Jeff. We here in _____ absolutely love our Brébeuf hymnals! They have saved my life as a choir director! ☺️ The ease with which my choir members plunge into a new hymn using the ‘common melodies technique’ is so wonderful. You can see the relief on […]
The cruelest thing you can do to anyone is…
We must remember the lesson of the rock.
Today, I release another movement of the “Saint Noël Chabanel Mass Setting” (for use in the Ordinary Form).
As if the canonic sections were insufficiently stupendous, the composer works in stepwise ascending lines juxtaposed with lines in augmentation.
The hubris on the part of OCP is breathtaking.
Including two (2) haunting and powerful Eucharistic hymns.
Including a scanned copy of a rare “Graduale” (Pustet, 1911) released a few minutes ago—for the first time in history!
Today, we release the congregational “Lamb of God” with SATB polyphonic extension.
Some feel the most irresponsible 1960s reformer was Fr. Godfrey Diekmann. The Second Vatican Council had solemnly declared: “In accordance with the centuries-old tradition of the Latin rite, the Latin language is to be retained by clerics in the divine office.” In spite of this clear directive, Diekmann (3 March 1964) wrote: “What young candidate […]
Bishop Brennan selected the version by Fulton J. Sheen. He began weeping (towards the final station) because of their beauty and poignancy.
As of a few minutes ago, you may go here to download the organ accompaniment booklet (25 pages) I created for the feast of the TRANSFIGURATION. Obviously, that feast will not take place for another year. Nevertheless, several techniques I used may be of interest to those who create liturgical booklets.
Sometimes you win and sometimes you learn!
The professor inserted himself into our conversation, saying: “You’re both being foolish…”
I mentioned a 3-Voice Setting of the AGNUS DEI, based on a Canon by William Byrd (d. 1623) in the context of the “hairpin” technique, something I really will emphasize this coming season. The piece is for Soprano, Middle, and Baritone. (The “Middle” voice should ideally be a mixture of women and men.) Recently, we […]
