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Views from the Choir Loft

Mass Propers In English

Jeff Ostrowski · August 11, 2014

970 Catholic Missalettes Readings HEN PERMISSION was first granted in 1969 to replace 1 the assigned texts for Entrance, Offertory, and Communion, music directors were excited. However, 40+ years later, this “freedom” has morphed into a type of “burden,” leading many musicians to return again to the Church’s official prayers.

Before going further, please examine the Entrance Chant  for the 1st Sunday of Lent:

* *  ENTRANCE CHANT: 1st Sunday of Lent

Below, I’ve provided ONLY THIS CHANT for ease of comparison. You might want to first listen to the Latin version, so you can see how closely each composer imitated it. You can also read an article with suggestions on setting the Graduale in English.

2014 • PROPER OF THE MASS FOR SUNDAYS AND SOLEMNITIES (1,200 pages)

Fr. Samuel Weber’s masterpiece will be released by Ignatius Press before the end of 2014. Practice recordings, organ accompaniments, and a cantor book will follow. Multiple versions for each chant are provided.   (more info)

      * *  PDF Sample: Fr. Weber — 1st Version     •     (mp3)

* *  PDF Sample: Fr. Weber — 2nd Version     •     (mp3)

* *  PDF Sample: Fr. Weber — 3rd Version     •     (mp3)


2013 • LALEMANT PROPERS (391 pages) — (DOWNLOAD COLLECTION)

The Gradual is here set to a very simple tone. The (approved) translation is identical to the Simple English Propers, Jogues Missal, and Gregorian Missal of Solesmes.

      * *  PDF Sample: Lalemant Propers     •     (mp3)


2013 • ENTRANCE, OFFERTORY, & COMMUNION ANTIPHONS (410 pages) — (DOWNLOAD COLLECTION)

Peter R. Johnson uses modern notation and includes fully-notated Psalm verses.

      * *  PDF Sample: Peter R. Johnson     •     (mp3)


2012 • GRADUALE PARVUM (179 pages) — (DOWNLOAD COLLECTION)

This book was created by the Birmingham Oratory under the direction of Fr. Guy Nicholls.

      * *  PDF Sample: Fr. Guy Nicholls     •     (mp3)


2012 • ENTRANCE & COMMUNION ANTIPHONS (496 pages) — DOWNLOAD:   ENTR   •   COMM

Fr. Columba Kelly’s antiphons will be published in modern notation by OCP before 2014 ends.

      * *  PDF Sample: Fr. Columba Kelly     •     (mp3)


2011 • CONGREGATIONAL ENTRANCE ANTIPHONS (211 pages) — (DOWNLOAD COLLECTION)

Richard Rice’s Entrance antiphons were included in the St. Michael Hymnal.

      * *  PDF Sample: Richard Rice     •     (mp3)


2011 • SIMPLE ENGLISH PROPERS (439 pages) — (DOWNLOAD COLLECTION)

This publication by the Church Music Association of America (CMAA) has melodies by Adam Bartlett with typesetting by Steven Van Roode. Complete practice videos can be found here.

      * *  PDF Sample: Simple English Propers (SEP)     •     (mp3)

* *  Ryan Dingess (SEP organ accompaniments)     •     (sample)


2008 • THE AMERICAN GRADUAL (415 pages) — (DOWNLOAD COLLECTION)

Bruce E. Ford has adapted the official Latin melodies into English using modern notation.

      * *  PDF Sample: Bruce E. Ford     •     (mp3)


2006 • ANGLICAN USE GRADUAL (502 pages) — (DOWNLOAD COLLECTION)

C. David Burt created this edition for Roman Catholics who (lawfully) use Anglican rites.

      * *  PDF Sample: Anglican Use Gradual     •     (mp3)


1965 • PLAINCHANT GRADUAL (543 pages) — DOWNLOAD:   VOL. 1-2   •   VOL. 3-4

Palmer & Burgess have adapted the entire Graduale Romanum into English (square notation).

      * *  PDF Sample: Palmer & Burgess (1965)     •     (mp3)


1964 • COMPLETE ENGLISH PROPERS FOR THE HIGH MASS (176 pages) — (DOWNLOAD COLLECTION)

Paul Arbogast and his team adapted the Graduale into English using simple melodies.

      * *  PDF Sample: Fr. Paul Arbogast (1964)     •     (mp3)


Remember! These recordings were made by a soloist,
but the pieces should be sung by a Schola of singers.


ORE COLLECTIONS COULD easily be added to this list. 2 Some might ask, “What’s the point of all these Propers in English: why not Latin?” The reality is, most Masses in the United States are offered completely in the vernacular—something Vatican II never envisioned. In such cases, Latin Propers can sound aesthetically weird.

You probably noticed the different approaches 3 chosen by the composers above. For this reason, I recommend the following as your starting point:

* *  Jogues Illuminated Missal, Lectionary, & Gradual — Pew Resource (2014)

It’s fully complete, includes the Latin & English versions, and has been approved by the USCCB. Because the Jogues uses the “sung” versions of the antiphons, there’s no difficulty if parishes occasionally “mix in” the authentic Latin pieces, like the Communion antiphons from the Graduale Romanum.

HE CHANTS FOUND in the Roman Gradual are incredibly ancient, going back more than 1,500 years. The following image is from 1390AD, but the same piece could easily be shown from 1100AD or 850AD. Can you find the chant we’ve been talking about throughout this article? Remember, it’s called Invocabit Me, and here’s a hint: the initial letter “I” is humongous!

971 Missalette

Roosevelt was President while paralyzed. Churchill gave speeches but couldn’t pronounce “S” correctly. Surely, then, we can begin to implement Mass Propers with these 11 collections!

 


NOTES FROM THIS ARTICLE:

1   Permission to substitute “another liturgical chant” (alius cantus congruus) went far beyond §32 of Musicam Sacram (1967) and surprised many liturgists. This may explain why Bugnini concealed the GIRM from all other curial offices until it had already been approved.

The Latin word cantus should be translated as “chant.” While cantus can sometimes denote other musical genres (e.g. songs), Latin has more specific words for such items: hymnus, carmen, cantilena, and so on. Because Latin is 3,000 years old, it’s necessary to understand context. The context here clearly points to “chant.” Moreover, the GIRM uses specific terms like hymnus in other places. However, hymns and songs have replaced the assigned texts by means of the “alius cantus” option since the 1970s, and priests ought to be sensitive to this fact.

2   Andrew Motyka set English translations for all the Graduale Communion antiphons here. Richard Rice set the Propers using simple harmonies in his Simple Choral Gradual. His version of the above chant is here. A similar collection of choral Propers was created by Healey Willan in 1957. His collection is worth purchasing, and his Alleluia settings are noteworthy. Willan’s version of the above chant is here. In 2005, Christoph Tietze created a collection of metrical Entrance chants to allow congregations to join in. Tietze’s version of the above chant is here. However, as we’ve discussed, attempting to “fit” the Propers into metrical hymn tunes usually yields inadequate results. The Propers have been set in Latin thousands of times, and a surprising number of these collections are available online. I plan to create a webpage enumerating them at a future date.

3   Some collections abbreviate the antiphons. Some omit the psalm verses, while others take them from Versus Psalmorum et Canticorum (Solesmes), and still others follow the recommendations in the Graduale Romanum. Some take the “spoken” chants in the Missal as their model, while others use the “sung” propers from the postconciliar Gradual. Various translations are used, since there is no official translation of the Gradual. Sometimes, the editors claim their translations come from the Third Edition of the Roman Missal, but this is misleading, since the Missal antiphons don’t match the sung versions, and entire sections were omitted from the Roman Missal (e.g. the Offertory antiphons).

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

Filed Under: Articles, Featured Tagged With: Graduale Romanum Roman Gradual Propers, Hymns Replacing Propers, Sung Vs Spoken Propers Novus Ordo Last Updated: November 24, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

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Bishops have a duty towards both wise and foolish. They have to rouse the devotion of the carnal people with material ornament, since they are incapable of spiritual things.

— St. Bernard of Clairvaux (†1153)

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