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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

Stunning New Collection Of English Propers

Jeff Ostrowski · November 11, 2015

123 John Ainslie COVER AM PLEASED TO ALERT YOU to a brilliant new collection by John Ainslie. The official title is ENGLISH PROPER CHANTS, and this collection distinguishes itself in three main ways. First, it was composed by someone who’s pondered Propers in English since the 1960s, thereby avoiding many of the traps fallen into by modern composers with the best of intentions trying to compose vernacular Propers. Second, it is a complete collection, including all the Ordinary Time Sundays and major feasts. Third, every single chant in this book contains a keyboard accompaniment.

Let me say at the outset that every Catholic musician should own this book by John Ainslie.

One quick housekeeping note. In reviews such as this, it’s difficult to avoid getting “in the weeds” regarding translation issues. The texts in Ainslie’s book come from a wide variety of sources, including MR3, the New Revised Standard Bible, and the 1963 Grail Psalter. While it is technically true that our GIRM requires a bishop’s approval for such collections, it is also true that the USCCB overruled this requirement long ago.

There is no official translation of the 1974 Graduale Romanum. Indeed, ever since the 1960s, the Church has—whether for good or ill—allowed multifarious translations at Mass. I used to believe Responsorial Psalm translations by composers like Marty Haugen were in violation of the GIRM, but I was wrong. 1 If you examine the psalm texts printed in certain pew books, e.g. GIA’s Worship IV Hymnal, you’ll notice they don’t match the official version in the Lectionary:

    * *  iPhone Photo • WORSHIP IV HYMNAL

Believe it or not, that translation is administered by GIA, and the USCCB recently announced that this “Revised” Grail Psalter (©2010) will never be used at Mass—but it is allowed. Throughout this review, you’ll notice slight differences in the wording used by Ainslie. Many will yearn for one single “unified” translation, but such a thing will probably never happen. Indeed, in the summer of 2014, the USCCB began creating a new version of the Lectionary!

LET’S GET DOWN to the review of John Ainslie’s book. He only sets the Entrance & Communion antiphons; no Offertories, Graduals, Alleluias, Sequences, or Tracts. Rather than merely describing Ainslie’s settings, I will provide examples. In general, I believe Ainslie’s settings to be some of the best available.

Before listening to the first example, quickly familiarize yourself with the Entrance chant for the 26th Sunday in Ordinary Time. Here’s how it appears in the JOGUES MISSAL:

    * *  PDF Download • 26th Sunday in Ordinary Time

Here is what Ainslie has done with this Entrance chant:


Did you see how he shortened the antiphon and used its second half as the first verse? He does that on occasion; probably to make it easier for the singers.

Now, let’s see what he does with the Communion for the 31st Sunday in Ordinary Time. First, examine the text as found in the JOGUES MISSAL:

    * *  PDF Download • 31st Sunday in Ordinary Time

Now, listen to what Ainslie has done with this Communion:


Did you see how he added optional psalm verses? This is fully allowed, and a very good practice.

Now, let’s consider the feast of the Assumption of the Blessed Virgin Mary. First, look at the Entrance chant as it appears in the JOGUES MISSAL:

129 Jogues Missal ASSUMPTION


Next, listen to the authentic Latin version of the Gaudeamus. (Ignore where it says “All Saints” because that same chant is also used in the 1974 Gradual for the Assumption.) Finally, listen to Ainslie’s version:


Do you see how Ainslie imitates the authentic chant? Speaking of that, Ainslie has set the “Spoken Propers,” which were intended for Masses without music. His choice will not affect any Entrance chants, but does affect some Communion antiphons. When we consider how Ainslie tried to imitate the authentic version (SEE ABOVE) it’s puzzling that he avoided the authentic Communion antiphons. This is especially confusing for parishes which occasionally sing from the 1974 Gradual or Gregorian Missal.

Those desiring only the authentic Communion antiphons can “mix and match” the beautiful settings by Andrew Motyka. These are quite similar to Ainslie’s, except they use the “Revised” Grail for the psalm verses:

    * *  LAUDATE COMMUNION ANTIPHONS • Free scores & recordings

There are tons more options, of course, but one exceptional option—which exclusively sets the authentic Communion antiphons—is the 229-page SATB collection by Richard Rice. (Click here and scroll down for a sample.)

I HATE TO SAY ANYTHING NEGATIVE about Ainslie’s organ accompaniments, because they are more inspired than 90% of what is usually given for a chant accompaniment. Moreover, anyone who has studied the Nova Organi Harmonia realizes that surprising freedom is allowed for modal accompaniments (if there be a musical reason). However, Ainslie’s accompaniments are filled with parallel octaves, parallel fifths, dominant sevenths, incorrect doublings, awkward voicing, unprepared dissonances, forbidden 6/4 chords, and sevenths resolving upward. Some of these errors could perhaps be explained away, but I found the parallel octaves—especially when they occur in succession—particularly unfortunate.

Here are some photos of the book:

128 John Ainslie English Propers Organ Accompaniment 127 John Ainslie English Propers Organ Accompaniment 126 John Ainslie English Propers Organ Accompaniment

I would like to end with a 2012 quote by Msgr. Andrew Wadsworth, Executive Director of ICEL:

The singing of the proper texts of the Mass, while intimately linked in our tradition to Gregorian Chant, does not exclude other musical forms. The truth is that these texts are widely ignored and not generally sung in ANY musical form, which would seem to be contrary to the priorities as expressed in the GIRM 41 & 48. Perhaps another way of approaching this discussion would be to ask whether these texts—which are given for each Mass in the Missale/Graduale—should have a wider life and place in our liturgical celebrations?



NOTES FROM THIS ARTICLE:

1   The freedom we have is staggering. For example, many do not realize that any Responsorial Psalm can be replaced at any time for any reason, and the USCCB recently reaffirmed this.


A discussion about this post is underway.

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

    “Equal Voices” Choir Pieces
    My colleague, CORRINNE MAY, has posted some delightful compositions for equal voices: that is, choirs consisting of all men or all women. Included there are settings of the “Ave Maria” and “Tantum Ergo.” They strike me as relatively simple and not excessively lengthy. (In other words, within reach of volunteer singers.) Even better, all the scores have been made available as instant PDF downloads, completely free of charge. Bravo!
    —Jeff Ostrowski
    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th Sunday in Ordinary Time (Year C). 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski

Random Quote

“Much of the reordering [in 1970] of the pieces of the Roman Gradual seems arbitrary and useless; nevertheless, with some exceptions, it does not affect the shape of the service, since like pieces are exchanged for like.”

— Dr. William Peter Mahrt

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