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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

Only Priests Can Save Catholic Music

Jeff Ostrowski · July 1, 2015

588 Jesus Saves ATHOLIC MUSICIANS have a tough job, and the obstacles can sometimes seem insurmountable. I’ve come to believe that authentic sacred music will return to our churches only through the leadership of strong Catholic priests. However, many priests lack confidence in their liturgical knowledge, believing that only “experts” can comprehend the rubrics and terminology.

To help remedy this situation, I present today an explanation of the Mass Propers.

I use the same Communion antiphon throughout this article, and here’s how it appears in the JOGUES PEW LECTIONARY:

    * *  COMMUNION • Unam Petii (Page 503)

PLEASE NOTE : Priests who carefully listen to the following examples will end up learning a ton about Gregorian adaptations in the vernacular—in a very short time!

HE COMMUNION ANTIPHON for the 11th Sunday in Ordinary Time formerly was called “5th Sunday after Pentecost.” That’s because changes were made to the liturgical calendar after Vatican II, and the season after Pentecost was eliminated. The current liturgical books still reference the older title, believe it or not.

Here’s the official COMMUNION (“Unam Petii”) for the 11th Sunday in Ordinary Time. This recording demonstrates how it sounds. Nothing’s wrong with singing it in Latin, but did you know it can also be sung in English? Let’s explore some collections:


RICHARD RICE produced a book (229 pages) containing SATB settings for all the Ordinary Form Communion antiphons. You will enjoy what Richard has done:

Richard Rice • “Unam Petii” :   (score)   •   (audio)


PALMER & BURGESS created a wonderful collection (543 pages) which can be downloaded here. Notice how their English adaptation is almost identical to the official Latin version:

Palmer & Burgess • “Unam Petii” :   (score)   •   (audio)


JOHN AINSLIE recently released a book (227 pages) containing Propers with organ accompaniment for all Sundays of the Ordinary Form. I don’t want to say too much—because Andrew Motyka will soon be posting a review of this book—but listen to the version by Ainslie:

John Ainslie • “Unam Petii” :   (score)   •   (audio)


ANDREW MOTYKA, too, has provided splendid settings (with organ accompaniment) for all the Sundays in the Ordinary Form. I think you’ll agree that Andrew’s version is also very nice:

Andrew Motyka • “Unam Petii” :   (score)   •   (audio)


FR. GUY NICHOLLS and associates have produced the “Graduale Parvum” (179 pages) which can be downloaded here. However, they are improving their scores, and release new versions each week. They always provide a Latin version which matches their English version:

Fr. Guy Nicholls • “Unam Petii” :   (score)   •   (audio)


CORPUS CHRISTI WATERSHED produced a very simple book (391 pages) of Propers for all Sundays in the Ordinary Form called Lalemant Propers. When singers are absent it’s nice to have these extremely simple versions:

Lalemant Propers • “Unam Petii” :   (score)   •   (audio)


PETER JOHNSON also produced a book (410 pages) containing simple Propers for all the Ordinary Form Sundays, and you can download it here. Let’s see what he did with this same Communion:

Peter Johnson • “Unam Petii” :   (score)   •   (audio)


SIMPLE ENGLISH PROPERS (439 pages) were published by the CMAA. The formulaic melodies were composed by Adam Bartlett and exquisitely typeset by Steven Van Roode. Complete organ accompaniments have been composed (in modern notation) by Ryan Dingess, and practice videos (95% complete) were made by CCW:

SEP • “Unam Petii” :   (score)   •   (audio)


C. DAVID BURT provided simple settings of all the Propers (502 pages) but chose “hieratic English.” If you know the Our Father, you know how hieratic English sounds:

C. David Burt • “Unam Petii” :   (score)   •   (audio)


FR. COLUMBA KELLY has provided “moderate” settings in English for all the Propers which can be freely downloaded here. His settings seem inspired by the official Latin versions, yet avoid simply “mimicking” them:

Fr. Columba Kelly • “Unam Petii” :   (score)   •   (audio)


FR. PAUL ARBOGAST was one of the first to produce a complete Graduale Romanum in English (176 pages) which you can download. If you close your eyes and listen to the following sample audio, you’ll agree his adaptations are enchanting:

Fr. Paul Arbogast • “Unam Petii” :   (score)   •   (audio)


FR. SAMUEL WEBER recently had his English settings of the complete Proper published by Ignatius Press. For each chant, Fr. Weber provides four different options: (A) Complex; (B) Moderate; (C) Simple; and (D) Ultra-Simple. You’ll notice that setting A is almost note-for-note identical to the official Latin version:

Fr. Samuel Weber • “Unam Petii” :   (score)   •   (A)   •   (B)   •   (C)   •   (D)

HOPE THESE EXAMPLES have shown different ways vernacular propers might be implemented at your Catholic parish. I was not able to mention all the collections currently available, and will not here speak of the advantages of praying the Propers. Of the thirteen (13) complete collections above, eight (8) come exclusively from the Roman Gradual revised after Vatican II. As Fr. Anthony Ruff reminds us, the Missal texts are for “spoken Masses” while the Gradual texts are for “sung Masses.” Here are nine (9) reasons the sung propers are preëminent according to the Universal GIRM.

I’ve never understood why some composers choose 1 the spoken texts rather than the sung texts. Professor László Dobszay explains why the sung versions are special, pointing out that every ancient manuscript—going back many centuries—contains the traditional chants:

583 Unam Petii


This tradition lasted all the way until the 1960s. For example, look at this excerpt from a Missal for the laity (London, 1806). Why should we avoid choosing chants with such deep liturgical history? Doing so strikes me as silly. 2

Including every possible option might seem beneficial, but would confuse your congregation:

    * *  PDF • Communion Options for 11th Sunday in Ordinary Time

By the time the people figured out which option was being sung, the Communion antiphon would be over!

581 Graduale ERE’S THE GOOD NEWS: the “spoken vs. sung” issue doesn’t touch any of the Entrance or Offertory antiphons. It’s only the Communion antiphons which sometimes do not correspond. We’ve seen the myriad ways a choir can sing the Communion antiphon. Should we be discouraged by all these options? No!

I support the choices made in the JOGUES PEW LECTIONARY. We chose only the sung antiphons—the ones that go back 1,500+ years. If you have the Jogues in your pews, you only need to worry about matching what the congregation has before them. Everyone will then be on the same page, no matter what melody is preferred.

The best part is, the musician no longer has to select a bunch of songs each week to replace the Propers; the Church has already chosen the songs!  And on occasions when the musician has a valid reason to replace the propers, it will be more meaningful.

580 Missal Propers A 579 Missal Propers B 578 Missal Propers C



NOTES FROM THIS ARTICLE:

1   Some claim that “spoken” translations should be inserted where possible to unify our Scripture translations, but a careful examination shows this view to be unsustainable. Indeed, our translations continue to change, and it was recently announced that the Revised Grail is going to be revised again—in spite of the fact that the “first revised” version hasn’t made it into lectionaries yet. Fr. Samuel Weber was criticized for mixing his own translations with those of MR3 in his new collection, but those who have carefully examined our liturgical translations realize we already have a hodgepodge. It is reprehensible that our Catholic parishes—after five decades of Mass in the vernacular—are still forced to pay numerous different companies which own the various Mass texts.

Composers who choose spoken texts over the sung versions are frequently inconsistent. For example, the spoken propers give two options for the 11th Sunday in Ordinary Time, and the rubrics say neither one is to be preferred. The official Latin also displays both options. Yet, several collections which claim to favor the spoken texts ignore one (“Pater Sancte”) and set only the sung text (“Unam petii”). On other occasions—such as the 13th Sunday in Ordinary Time—these composers ignore one sung text (“Inclina aurem tuam”) as well as a spoken text (“Pater, pro eis rogo”) while arbitrarily choosing a different spoken text (“Benedic, anima mea”). Someone will probably exclaim, “But the American GIRM says we are free to set the spoken versions.” However, what we are allowed to do is not the same as what we should do. By the way, spoken propers are hardly ever recited at Sunday Masses; they’re usually replaced with a hymn or song. Therefore, eliminating the sung versions to match what the celebrant would recite (in Masses without music) makes no sense.

2   Some might ask why revisions were necessary for spoken Masses. Were the ancient propers somehow deficient? The answer seems to be that spoken antiphons were created to add variety to daily Masses, but things got out of hand. Some Communion antiphons for Sundays were tampered with in violation of what Vatican II decreed: “There must be no innovations unless the good of the Church genuinely and certainly requires them” (Sacrosanctum Concilium, §23).

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

Filed Under: Articles Last Updated: January 1, 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

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —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

Random Quote

“The authority of the Pope is not unlimited. It is at the service of Sacred Tradition. Still less is any kind of general ‘freedom’ of manufacture, degenerating into spontaneous improvisation, compatible with the essence of faith and liturgy. The greatness of the liturgy depends—we shall have to repeat this frequently—on its lack of spontaneity.”

— Josef Cardinal Ratzinger (2000)

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