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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

Three Common Misconceptions about Chant

Andrew Leung · February 11, 2016

CTL 3 Common Misconception about Chant 1 S THE LENTEN SEASON begins, I am sure that many parishes are starting to use the Missa Jubilate Deo as the Mass Ordinaries setting. And there are also some churches that I know that sing the English chant from the Roman Missal. Both of those settings were mentioned in Bishop Doerfler’s Instruction. In the Instruction to his diocese, the Bishop of Marquette asked that Gregorian chant, both the Propers and the Ordinaries, be brought to parishes and schools. I think that Bishop Doerfler is taking is a very brave step to restore the sacredness of the Liturgy and to reintroduce people to the Catholic Tradition.

Bishop Doerfler has already addressed the most common complaint that one gets from parishioners: “I can’t sing along”. A lot of people like to participate externally and to be able to sing with the choir. (Regarding that, I think there is a deeper problem that has to do with “prayer”, but I will save that for another post.) The bishop’s Instruction requires the active participation of the faithful in singing along with the Ordinaries and the Communion Antiphon. He is also asking the diocesan music director to train other musicians in the diocese so that they can assist the faithful.So the people will “sing along” with the choir at intervals during ever Mass. However, it is my observation that many people still see Gregorian chant in negative ways because of three misconceptions they have. If we can clear up these misunderstandings, it will be much easier for people to fall in love with chant.

“Chant is slow and long” – This is a common perception. The congregation, and sometimes even the choir, tend to drag out the chant. Many people think that is the nature of Gregorian chant. My suggestion would be to set a pace that is close to the pace people would recite the phrases, don’t encourage long pauses between phrases, and to sing with good diction. If we sing well, Gregorian chant will not be perceived as tediously slow and drawn-out..

“Chant is plain and flat, they all sound the same” – I think this misconception arises from the overuse of a certain chant settings like Mass VIII and Mass XVIII. If your congregation is already comfortable with these settings, maybe it is time to try other settings. There are other beautiful chant melodies in the Kyriale. There are also a variety of psalm tones to choose for the Liturgy of the Hours or simple Propers. For the choir, you may consider working with them on the enunciation, like where the accented syllables are; or where to pause; or what needs to be lengthened. These changes should dispel the notion that all Gregorian chant sounds the same, while exposing the congregation to various beautiful settings.

“Chant is penitential” – As I mentioned at the beginning of this post, many parishes chant the Ordinaries of the Mass during Advent and Lent, the penitential seasons, and so many people connect chant to penance. Gregorian chant is not a penance! It is true that chant can express sorrow, but it can also express other emotions. For example, the Gloria and the Sanctus are joyful hymns of praise. This misunderstanding can be addressed in homilies or through catechesis in other ways. However, the best course is to sing chant outside of Advent and Lent.

TRULY THINK THAT people will accept and appreciate Gregorian chant more easily if we can dispel these three misconceptions. Please feel free to leave comments or share your suggestions on our Facebook Page.

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 Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “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
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

We should note that upon being opened up, the Scriptures proved to contain such “rich fare” that parts of the banquet were removed at once from the “table of God’s word,” lest they should prove indigestible to liberal stomachs. In twenty-two places the new lectionary expunges whole verses from the text of the Gospels used at Mass in order to remove references to the Last Judgment, the condemnation of the world, and sin.

— Fr. John Parsons (2001)

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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