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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

PDF Download • Palestrina “Alleluia” (SATB) for the Ordinary or Extraordinary Form

Veronica Moreno · March 23, 2025

SOMETIMES FEEL THAT housewives are especially close to the Heart of God. I say this because our vocation has an immediacy that keeps us focused. We don’t have the luxury of obsessing over each new ‘crisis’ invented by cable news because our duties are urgent: a child who’s hurt or ill; a child who must be fed; a child who must be put to sleep; a child who needs lunch prepared; and so on. If something truly important happens, we’ll eventually hear about it. And there’s an important analogy here related to the sacred liturgy. If you read to the end of my article, it will become clear why I bring this up.

First, I want to share something really exciting. My daughter and I had the chance to record a beautiful ALLELUIA by Palestrina. I recorded the Alto Voice for the rehearsal video. My daughter sang the Soprano Voice. In the Extraordinary Form, it can be used with the ‘Alleluia Verse’ assigned to each Sunday, a technique we learned at the Sacred Music Symposium. In the Ordinary Form, it can be used as a ‘choral extension’ for the GOSPEL ACCLAMATION.

*  PDF Download • “Alleluia” for the Ordinary Form
—Giovanni Pierluigi da Palestrina directed the Capella Julia.

Free rehearsal videos for each individual voice await you at #26561.

Origins of Liturgical Modifications • When the liturgical changes were introduced in the 1970s, many Catholics—like a housewife focused on her duties—basically said: “I’m going to trust that all these changes were carefully considered by knowledgeable experts with good intentions.” In a certain sense their attitude was praiseworthy. But over the years (especially thanks to the internet) we’ve come to understand that many liturgical changes were undertaken in a haphazard way. Many are indefensible. Even Dr. Scott Hahn has come around to this position. I don’t feel it’s polemical to describe post-conciliar changes this way, since I’m unaware of any scholars willing to defend them. The revelations by key players in the reform (Prof. Louis Bouyer, Cardinal Giacomo Lercaro, Dom Adalbert Franquesa Garrós, Cardinal Ferdinando Antonelli, etc.) seem incontrovertible. My husband has done a lot of reading in this arena, and I have noticed these topics being covered by my colleagues on this blog.

Another Bombshell • Last week, a major bombshell dropped having to do with the two largest publishers of Catholic liturgical music in the United States.1 It came by means of an article by Michael Hichborn (a member of the John Paul II Academy for Human Life and the Family) published on 18 March 2025:

*  LEPANTO INSTITUTE • “The Hymnal Industrial Complex”

In spite of what’s shared in that article, I’ve been astounded to see some Catholic musicians try to defend OCP and GIA. Some even say—publicly!—they don’t care if the ones in charge of creating the hymnals are Jehovah’s Witness, Jewish, Protestant, Buddhist, or Mormon. But any Catholic who takes the Faith seriously knows it matters whether those in charge of creating hymnals are practicing Catholics. The reason should be obvious: hymns contain lyrics in addition to musical notes. And lyrics express either truths or falsehoods about our Lord and Redeemer. False statements about Jesus Christ, who is TRUTH itself, are blasphemous.

The article by Michael Hichborn contains details which are quite sordid. This isn’t something decent people want to discuss. But if we refuse to discuss such matters, how will the situation be fixed?

A Better Way • On this blog, I have shared stories about our recent pilgrimage to Rome. We had the privilege of spending time with several musicians in charge of special choirs at the Vatican. Giovanni Pierluigi da Palestrina was known to be a very religious man, and he died in the arms of Saint Philip Neri. Even though the video above is imperfect—since it’s just a rehearsal video—one can still hear how beautiful and pure Palestrina’s music is. In the face of such masterpieces, why would anyone want to sing music with texts created by non-Christian companies?

The image below was taken a few months ago, when we met Pope Francis in Rome. I’m in a black dress, holding the camera:

1 The influence of these two notorious publishing companies (GIA PUBLICATIONS and OCP) extends to a much larger area than the United States. Their influence reaches most English-speaking countries, especially developing countries. I have in mind nations such as: India, Nigeria, the Philippines, Singapore, Canada, Australia, South Africa, and so forth.

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

Filed Under: Articles, PDF Download Tagged With: Alec Harris GIA Publications, Archbishop Hannibal Bugnini, Cardinal Ferdinando Giuseppe Antonelli OFM, Dr Scott Hahn, Father Adalbert Franquesa Garrós, Louis Bouyer Oratorian Priest, Michael Hichborn Lepanto Last Updated: March 25, 2025

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About Veronica Moreno

Veronica Moreno is married to a teacher and homeschools five children. She has been cantor at her local Catholic parish for over a decade.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski
    Funeral Music “Template” • For Families
    Many have requested the MUSICAL TEMPLATE for funerals we give to families at our parish. The family of the deceased is usually involved in selecting Number 12 on that sheet. This template was difficult to assemble, because the “Ordo Exsequiarum” has never been translated into English, and the assigned chants and hymns are given in different liturgical books (Lectionary, Gradual, Order of Christian Funerals, and so on). Please notify me if you spot errors or broken links. Readers will be particularly interested in some of the plainsong musical settings, which are truly haunting in their beauty.
    —Jeff Ostrowski
    “To Cover Sin With Smooth Names”
    Monsignor Ronald Knox created several English translations of the PSALTER at the request of the Cardinal Archbishop of Westminster. Readers know that the third edition of the Saint Edmund Campion Missal uses a magnificent translation of the ROMAN CANON (and complete Ordo Missae) created in 1950 by Monsignor Knox. What’s interesting is that, when psalms are used as part of the Ordo Missae, he doesn’t simply copy and paste from his other translations. Consider the beautiful turn of phrase he adds to Psalm 140 (which the celebrant prays as he incenses crucifix, relics, and altar): “Lord, set a guard on my mouth, a barrier to fence in my lips, lest my heart turn to thoughts of evil, to cover sin with smooth names.” The 3rd edition of the CAMPION MISSAL is sleek; it fits easily in one’s hand. The print quality is beyond gorgeous. One must see it to believe it! You owe it to yourself—at a minimum—to examine these sample pages from the full-color section.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“When there are women members, the choir’s place is to be outside the sanctuary.”

— “Musicam Sacram” (5 March 1967)

Recent Posts

  • PDF • “Communion” (5th Sunday in Ordin.)
  • “Pipe Organ Interlude During Funerals?” • (Reader Feedback)
  • Funeral Music “Template” • For Families
  • “To Cover Sin With Smooth Names”
  • Heretical Hymns

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