Views from the Choir Loft

How to Read and Sing Gregorian Chant

Not everyone will agree with all the ideas, conclusions, and methods put forth below. However, it is hoped that some will find these lessons useful. As time goes on, the lessons will be expanded upon, with even more examples being included. Also, if readers notice errors and mistakes, these can be corrected. — Jeff Ostrowski, June 2012

With a little effort, anybody can learn how to read Gregorian chant! However, as a teacher, it is difficult to know where to begin and what progression to follow. No doubt some singers will, with profit, go through the following lessons “out of order.”

Lesson 1: The Principles of “Movable Do”

Lesson 2: Intervallic Relationships

Lesson 3: Do Clef and Fa Clef

Lesson 4: A Practical Example

Lesson 5: Names of the Notes

Lesson 6: The Vatican Edition of the Chant

Lesson 7: Syllabic Moræ Vocis in the Vatican Edition

Lesson 8: Salicus vs. Scandicus

Lesson 9: Ecclesiastical Pronunciation of Latin

Lesson 10: Modality and Psalm Tones

Lesson 11: Thoughts on Gregorian Rhythm

Rare Recordings from the 1904 Gregorian Congress:

Don Antonio Rella Recording from 1904 (video)

Introit • “Gaudeamus” — Dom Joseph Pothier Recording from 1904 (video)

Alleluia • “Assumpta est Maria” — Dom Joseph Pothier Recording from 1904 (video)

Communion • “Optimam partem” — Dom Joseph Pothier Recording from 1904 (video)

Sequence • “Veni Sancte Spiritus” — Baron Rudolf Kanzler Recording from 1904 (video)

Introit • “Sacerdotes” — Dom André Mocquereau Recording from 1904 (video)

Alleluia • “Fac nos innocuam” — Dom André Mocquereau Recording from 1904 (video)

Introit • “Resurrexi” — Dom André Mocquereau Recording from 1904 (video)

Gradual • “Haec Dies” — Dom André Mocquereau Recording from 1904 (video)

Alleluia • “Pascha Nostrum” — Dom André Mocquereau Recording from 1904 (video)

To be added at a later date:

Different Kinds of Chants (Introits, Graduals, Alleluias, Offertories, etc.)
The Origin of Written Music and the Early Gregorian MSS
Where to Learn More and Practice Chanting
In Depth Treatment of the Solesmes Ictus and Arsis & Thesis
Can Gregorian Chant be Sung in English?
Contemporary Scholarship and Its Challenges

“Music List” • 19th in Ordinary Time (Year C)

Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 19th Sunday in Ordinary Time (10 August 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 feasts website.

—Jeff Ostrowski

This Sunday’s Communion Antiphon

This coming Sunday—10 August 2025—is the 19th Sunday in Ordinary Time (Year C). The COMMUNION ANTIPHON is really gorgeous, and two of its features are worth mentioning. First of all, the Gospel reading assigned is from Saint Luke, whereas the the antiphon—although it matches the account—comes from Saint Matthew. (If anyone can point to a similar example, please notify me.) Furthermore, if you look at the authentic Gregorian Chant version posted on the feasts website, you’ll notice that it’s MODE III but ends on the ‘wrong’ note. A comparable instance of such a ‘transposed’ chant would be KYRIE IV.

—Jeff Ostrowski

Using “Ye” Vs. “You” Correctly

Using “Ye” vs. “You” is rather tricky, because it depends upon which era one is trying to recreate—if that makes any sense. In other words, the rules haven’t always been the same for these two. Nevertheless, Father Philip George Caraman (the legendary Jesuit scholar) gives us a masterclass using Saint Luke’s Gospel. Father Caraman was close friends with Monsignor Ronald Knox, Evelyn Waugh, and Sir Alec Guinness.

—Jeff Ostrowski

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