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Views from the Choir Loft

Mark Haas • Article Archive

Mark Haas is a composer and speaker whose liturgical music has been sung in over 600 parishes and 10 countries. He lives in Florida with his wife and seven children.—Read full biography (with photographs).

Mark Haas · August 28, 2026

Active Passivity? Yes. Let me explain.

“What a needed reminder for our time.”

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Mark Haas · July 8, 2026

PDF Downloads • “16 Gorgeous SAB Motets”

The following collection offers a variety of Latin and English motets

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Mark Haas · May 22, 2026

“A Noble Sound” • Calling Men Back to Sacred Music

“When men are invited into something noble, challenging, and authentically sacred, they will rise to meet it.”

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Mark Haas · May 12, 2026

Inspiring Paper from a Graduating High School Senior

Such fantastic scholarship from a young contributor provides hope to our Church.

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Mark Haas · April 17, 2026

2026 Sacred Music Pilgrimage (Washington DC) • With Richard J. Clark

This choir pilgrimage is more than a trip—it is a sacred journey.

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Mark Haas · March 25, 2026

From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass

“She could very well be the beauty, but my heavens, what does the groom look like?!”

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Mark Haas · March 10, 2026

Music is the “Humble Handmaid” of the Mass

“Upon hearing this, my kids immediately glanced at me with horrified looks on their faces.”

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Mark Haas · February 23, 2026

My Response Surprised A Parishioner ‘Upset’ About Latin

We must resist the temptation to justify Latin—or any liturgical practice—based on personal taste.

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Mark Haas · February 9, 2026

Solfege Volleyball: A Children’s Choir Game

“The children loved it instantly. The game required focus, teamwork, and listening.”

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Mark Haas · January 23, 2026

“We don’t do that anymore.”

Don’t shoot the messenger!

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Mark Haas · January 7, 2026

A Simple Way to Utilize Handbells

The method itself is wonderfully simple.

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Mark Haas · December 26, 2025

Bing Crosby, Christmas, and Catholicism

He served as an unwitting catechist, introducing a young listener to the language and music of Catholicism.

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Mark Haas · December 13, 2025

The “Word of the Father” Chord: Theology and Harmony Meet at Christmas

It is fitting that the most exquisite chord in Adeste Fideles coincides with the most profound line of theology.

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Mark Haas · December 3, 2025

PDF Downloads • 5 Simple Palestrina Pieces

A collection of Palestrina works that are not only stunningly beautiful but also surprisingly accessible.

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Mark Haas · November 20, 2025

Kid’s Repertoire • 3 Recommendations (Mark Haas)

“My children’s choir absolutely loves this piece.”

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Corpus Christi Watershed

President’s Corner

    “Holy, Holy, Holy” transposed lower

    A simple setting based on a work by Canon Jules Vyverman.

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    —Jeff Ostrowski
    Music List • (27th Sund. Ordinary Time)

    Readers have expressed interest in examining my “music list” for this coming Sunday: 4 October 2026

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    —Jeff Ostrowski
    A Mystery! — Re: the “Liber Usualis”
    When it comes to the Latin language, accent marks aren’t placed on 2-syllable words, because doing so would be excessive. In other words, if a Latin word has two (2) syllables, the first syllable always gets the accent—so there’s no need to mark it. Nevertheless, as the years went on, the ABBEY OF SOLESMES began placing accents on 2-syllable words throughout their publications. Yet, they made exceptions for certain words, and nobody can explain why. For example, they never put an accent on the word simul in Latin, as far as I can tell. Download this PDF file if you wish to see with your own eyes. It seems they omit the accent mark about 20% of the time, which eliminates the possibility of oversight.
    —Jeff Ostrowski

Quick Thoughts

    Preface of Saint Joseph (added by the pope)

    You can see the “Præfatio de Sancto Joseph” inserted directly into the priest’s missal.

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    —Jeff Ostrowski
    “Predictable Rhymes?” • A Follow Up
    We received considerable correspondence regarding my article, Two Ways to Defile a Hymn. More specifically, what really raised certain people’s hackles was its follow-up article dealing with the keyboard accompaniment for the CHRIST THE KING HYMNAL. But to quote Eliza Doolittle: “Have I said anything I oughtn’t?” Please examine this PDF file and see whether you agree. Were the editors of the BRÉBEUF HYMNAL incorrect to insist upon sophisticated and clever rhymes, rather than mind-numbingly predictable rhymes?
    —Jeff Ostrowski
    ‘Ould’ But Not Good
    Dom Samuel Gregory Ould (note the spelling) was a Benedictine monk at FORT AUGUSTUS ABBEY in Scotland. As musician, organist, and composer, Dom Ould was highly regarded. Moreover, he was considered an authority on Gregorian Chant. But not everything found in an old book—or, in this case, an “Ould” book—is necessarily praiseworthy. Consider this page from Dom Ould’s hymnal. Do you see the rhymes? They offend severely by ABR (“Abuse By Reuse”) and are utterly predictable. In my recent article—Two Ways to Defile a Hymn—I addressed this topic.
    —Jeff Ostrowski

Random Quote

“And of those that bear no signature at all, the greater part are from among those used in our churches in Spain, among which there are some (be it said without offense) of scant merit, but which use has made general, and we have not thought it prudent to eliminate them.”

— Cabrera on his hymnal contents (Madrid, 1878)

Recent Posts

  • PDF Download • “Hymns We Have Used” (306 Entries) – Including an 11-Page Chart
  • “All Saints Hymn” • Containing a Polyphonic Section
  • A Peculiar Plainsong Practice of the Anglicans
  • 7 Letters • “Simple Music for the Mass Propers”
  • “The Priest in Your Breviary” • Who Was Father Joseph Connelly? (Mysterious Liturgical Scholar)

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