Pop Quiz • “How Well Do You Know Plainchant?”

Corpus Christi Watershed · October 31, 2024

HE ENGLISH ADAPTATION of the Communion Antiphon for the Feast of All Saints (November 1st)—created by Father Paul Arbogast in the 1960s—uses a very famous melody. How well do you know your Gregorian Chant? Do you recognize the melody? Can you identify it?

Email your guess to: Dom.Mocquereau@gmail.com

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Music List • (31st Sund. Ordinary Time)

This coming Sunday—3 November 2024—is the 31st Sunday in Ordinary Time, Year B. Some have expressed interest in perusing my “ORDER OF MUSIC.” If such a thing interests you, feel free to download it as a PDF file. The Offertory hymn we’re singing a cappella—set to the tune of FREUEN WIR UNS ALL IN EIN—is particularly beautiful. You’ll notice the Communion Hymn is for the SOULS IN PURGATORY, since November is their month.

—Jeff Ostrowski

“Entrance Chant” for Sunday (3-NOV-2024)

Download the Entrance Antiphon in English for the 31st Sunday in Ordinary Time (3 November 2024). It is based upon the original version, which the post-conciliar reformers borrowed from Wednesday in the 2nd week of Lent. This organ accompaniment corresponds to the vocalist score. If you’re someone who enjoys rehearsal videos, this morning I attempted to sing it while simultaneously accompanying my voice on the pipe organ.

—Jeff Ostrowski

The Truth About Chant Modality

A true understanding of modality is best gained by prolonged exposure to CARMEN GREGORIANUM. It’s also crucial to understand that classification by modes came later. (Indeed, mode was assigned by a chant’s beginning note at first, not its ending note.) One who studies the MSS realizes there’s often more than one “correct” modal assignment: e.g. “In Excelso” (MISSA DOMINICAE I POST EPIPHANIAM) is assigned to the 8th mode by the official edition, but MONTPELLIER H. 159 considers it 7th mode. “In Die Magno”—for the feast of the Sacred Heart—is assigned differently by different books. Mode 1 verses appear as Mode 6 in certain MSS (and vice versa) because they share the same reciting tone.

—Jeff Ostrowski

Final Sundays after Pentecost

For those of us at a traditional Latin Mass, it’s that time of year when the sung propers for each Sunday repeat until the end of the liturgical year. What to do with the portion of your mid-week rehearsal that you normally devote to the next Sunday’s propers? I like to get a head start on propers for upcoming December feasts. We always sing Our Lady of Guadalupe on December 12 because she’s co-patroness of our diocese, and we sing a Rorate Mass in addition to Immaculate Conception. There’s also the first Sunday of Advent; it often follows Thanksgiving by a few days and we don’t rehearse on Thanksgiving. In short, there’s no reason to get bored at this time of year!

—Keven Smith

Parallel Fifths In Plainsong Accompaniment?

Parallel 5ths are forbidden in Baroque music and Classical music. However, plainsong accompaniment has its own rules and modal style. The great masters sometimes even wrote parallel sevenths! Instances of parallel fifths are too numerous to list in the Nova Organi Harmonia by the LEMMENSINSTITUUT. For example, consider this one. But one must possess a certain expertise to employ them properly. By the way, if you wish to see double parallel fifths, click here.

—Jeff Ostrowski

“Singing With The Girls”

A few months ago, I was brand new at my current church. At that time, we had no choir. However, attending the 5:00pm Mass were a few young ladies who sing very well. Right before Mass, we grabbed Kevin Allen’s collection: MOTECTA TRIUM VOCUM. I can’t remember if we had time to go over any of the songs. (If we did, we only went over them once.) Someone made a recording of us singing, and it actually sounds pretty good. I consider that piece—“Dómine, Non Sum Dignus”—to be a masterpiece. The version by Father Tomás Luis de Victoria is also quite beautiful, although the ranges are challenging in Victoria’s version.

—Jeff Ostrowski

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