• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Lesson 9: How to Pronounce Ecclesiastical Latin

Many Catholic choirmasters do not realize there are two ways to write hymns in Latin: (1) quality (which usually does not rhyme); (2) stress-accent (which usually rhymes). Rhythm by quality refers to the pattern of long and short vowels in Latin, and is sometimes referred to as a more “noble” or “aristocratic” way to construct a hymn. Rhythm by stress-accent ignores the long and short qualities and is only interested in the tonic accent, and is sometimes called a more “vulgar” form of poetry. For whatever reason, over a period of centuries, rhythm by stress-accent became the most common way to write Latin hymns. Fr. Matthew Britt (The Hymns of the Breviary & Missal, Pages 26-27) has this to say (emphasis mine):

The Romans learned their poetry, as they learned the other fine arts, from the Greeks . . . This poetry, it need scarcely be said, was strictly quantitative. But together with this classical poetry there co-existed, and that too from the beginning of Latin letters, a purely rhythmical poetry, a poetry of the people, in which the ballads and folk songs of the common people were written. The common people knew nothing of quantity with its artificial and arbitrary rules which the poets had made. Quantitative poetry was therefore the poetry of the educated; rhythmical or accentual poetry was the poetry of the common people. Now, the early hymns of the Church were likewise the songs of the people, and were necessarily written in a manner that would appeal to all the people and not merely to the cultured classes. This was effected by St. Ambrose and by the earlier writers of the Ambrosian school, by a compromise between the quantitative and the rhythmical principles. These writers made use of the simplest of all the lyric meters, the Iambic Dimeter, with its regular succession of short and long syllables; but they took care that the accents should in general fall on the long syllables. Their quantitative hymns can therefore be read rhythmically. In the composition of his hymns, St. Ambrose did not make use of any greater licenses than did Horace and his contemporaries. Later on, however, it is noticeable that less and less attention was paid to quantity and greater attention to accent which began to replace it. As early as the fifth century many hymn-writers employed the rhythmical principle only. This process continued until in the Middle Ages all sense of long and short syllables had vanished, and hymns were written in accentual, non-quantitative meters. In studying the hymns chronologically, it will be observed also that the growth of rhyme kept pace with the growth of accent.

During my entire life, I have only met three (3) priests who observed long and short syllables while speaking Latin. If the reader is curious about this, he can download this Guide to Pronunciation (PDF), but I don’t recommend doing so, since so few priests pronounce long and short syllables.

Here is way most Catholic priests pronounce Latin:

   Guide No. 1 (PDF) — Excerpted from Parish Book of Chant (CMAA, 2008)

   Guide No. 2 (PDF) — Excerpted from Mass & Vespers (Solesmes, 1957)

   Guide No. 3 (PDF) — Excerpted from ‘Proper’ of the Mass (Carlo Rossini, 1933)

   Guide No. 4 (PDF) — Excerpted from the Liber Usualis (Solesmes, 1961)

   Guide No. 5 (PDF) — Excerpted from A Textbook of Gregorian Chant (Dom Gregory Suñol, 1929)

   Guide No. 6 (PDF) — Excerpted from Basic Gregorian Chant (Sister Demetria, 1960)

   Guide No. 7 (PDF) — Excerpted from Chants of the Church (Solesmes, 1953)

   Guide No. 8 (PDF) — Excerpted from Gregorian Chants for Church and School (Goodchild, 1944)

   Guide No. 9 (PDF) — Excerpted from A New School of Gregorian Chant (Johner, 1925)

   Guide No. 10 (PDF) — Excerpted from Fundamentals of Gregorian chant (Heckenlively, 1950)

   47-Page Book (PDF) — Correct Pronunciation of Latin According to Roman Usage (De Angelis, 1937)

The Parish Book of Chant is probably the best. In particular, pay careful attention to the “common pitfalls” Americans fall into, like saying “inn” instead of “een” for the Latin word in. Or saying, “ih-mack-yoo-lah-tuh” instead of “ee-mah-coo-lah-tah” for the Latin word immaculáta. Or saying “Doe-mee-nay” instead of “Doh-mee-neh” for the Latin word Dómine.

That being said, these rules can be taken too far. I’ve served the Latin Mass for priests from all over the world: Australia, Austria, Germany, France, England, America, Mexico, Puerto Rico etc. However, it is rare to hear a priest say “cheh-lee” for the Latin word cæli. Most say “chay-lee,” and there’s no use losing sleep over this!

GO BACK

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski
    Kids’ Choir Sings Thomas Aquinas
    Last Sunday, a children’s choir I’m teaching sang with us for the very first time at Sunday Mass. Females from our main choir sang along with them. If you’re curious to hear how they sounded, you can listen to a ‘live’ recording. That’s an English version of TANTUM ERGO by Saint Thomas Aquinas. That haunting melody is called GAUFESTRE and was employed for this 2-Voice Arrangement of a special hymn for 9 November (“Feast of the Dedication of the Lateran Basilica in Rome”) which replaces a Sunday this year.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of September (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
    “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

“Only against this background, of the effective denial of the authority of Trent, can one understand the bitterness of the struggle against allowing the celebration of Mass according to the 1962 Missal after the liturgical reform. The possibility of so celebrating constitutes the strongest, and thus (for them) the most intolerable contradiction of the opinion of those who believe that the faith in the Eucharist, as formulated by Trent, has lost its validity.”

— Cardinal Ratzinger, 2001

Recent Posts

  • “American Catholic Hymnal” (1991)
  • Involving Women in the Communion?
  • “Toward a More Sacred Style With Pastoral Charity” • Guest Article by Dr. Myrna Keough
  • “Music List” • 27th in Ordinary Time (Year C)
  • Kids’ Choir Sings Thomas Aquinas

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.