Views from the Choir Loft

Lesson 2: Intervallic Relationships

I’ve already mentioned that songs can begin on any pitch, but the intervallic relationships must not be changed. Let us now explore these intervallic relationships.

We usually use “solfege” (Do Re Mi Fa Sol La Ti Do) to help us learn these intervallic relationships. Instead of solfege, the French often use numbers (1 2 3 4 5 6 7 8). Either system is fine:

You probably noticed there isn’t quite as much space between two steps: MI-FA and TI-DO. This is because MI-FA and TI-DO are “half steps.” All the other steps (for instance, DO-RE) are “whole steps.” It is absolutely essential (and I cannot stress this enough) that you memorize MI-FA and TI-DO as being half steps. In the following video, I start on four different starting pitches, and then (always keeping the intervallic relationships inviolable) go up the first four notes. See if you can hear that MI-FA (the half step) is not as wide an interval as the other steps:

In the next video, I demonstrate the aural difference between an ascending half step and an ascending whole step. I could have chosen any ascending whole step (e.g. SOL-LA) or any ascending half step (e.g. TI-DO), but I chose DO-RE and MI-FA:

In the next video, I show the demonstrate difference between a descending half step and a descending whole step. I could have used any descending whole step (e.g. MI-RE) or descending half step (e.g. FA-MI), but I chose LA-SOL and DO-TI:

Simplest “Agnus Dei” Ever Published

Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.

—Jeff Ostrowski

14th Sunday in Ordinary Time (Year C)

Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.

—Jeff Ostrowski

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—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