The Uninvited Guests at Your Choir Rehearsals

If you have 15 people in your choir, chances are that you should set out 30 chairs. 

Those empty chairs are for the “uninvited guests” who come along each week with your singers.  They are the little ghostly voices chattering away at them – while you’re talking, while they’re singing.  All the while they are scolding, correcting, intimidating, offering up memories of past mistakes – sometimes bringing even the most talented individuals to the point of melodic paralysis.  And seriously limiting the effectiveness of your direction and your singers’ abilities and happiness.

What’s a director to do?  You can’t undo the damage of a failed jury exam, an ill-tempered high school choral director, a missed note during last Christmas Eve’s solo, a mother who always pointed out how your sister was the one who could really sing, etc.  No, you can’t shoo other people’s ghosts away. They can be quite powerful and there are very few musicians who don’t carry at least or two around.

Sometimes we get so used to our ghosts’ constant grumbling and kvetching that we just assume they are regular background noise.  And the noise can get so loud that we don’t hear what’s really happening in terms of direction or our own vocal production.

What you can do is remind your singers of their existence and corrosive influence on their happiness and their singing. 

Devise a gesture that will let each choir member chase them away, scoot them out of the choir room or toss them out of the loft.  Tell those ghosts to be gone! Be imaginative, be a little physical.  If nothing else, laugh them away for the moment.  If you do this on a monthly basis, it will clear the air of those infernal spirits.

Then enjoy a rehearsal with the “real” folks in the choir!  (And don’t forget to chase your own ghosts away as well.)

More Choral Propers from Frank La Rocca

Composer Frank La Rocca is continuing his magnificent project in English Choral Propers with three new pieces for Lent, Holy Week, and Easter – all of which are available for free download for a limited time from Illuminare Publications.

You can preview, listen to, and download them here:

Gradual “Suscepimus Deus”, in Notre Dame Organum Duplum (between 1245-1255 AD)
The choral and polyphonic proper tradition dates back well into the Middle Ages, and has long standing in the history of the liturgy. It is less common to hear many of these masterpieces sung today, it seems, for a number of reasons.
Firstly, the mere idea of preparing a substantial piece of choral music and only having the opportunity to sing it once a year is certainly intimidating to music directors and singers alike.
Secondly, choral music in the Ordinary Form of the Mass often gets relegated to a Post-Communion motet, or perhaps an Offertory motet, as congregational music is sung virtually everywhere else.
Both of these challenges are easily overcome, however.
In response to the first problem, we can remember that the rubrics of the Graduale Romanum allow for a single proper antiphon to be sung seasonally, anywhere within that season, if pastoral needs might require it. Now, many of us know very well that a permission based on “pastoral needs” often opens a door for wild abuse, and for the selection of music to be based upon personal preference, rather than upon a genuine pastoral need. Not having enough time to properly prepare a new setting of the weekly propers with your choir, on the other hand, is a genuine pastoral issue. In this case, nothing would prohibit a choir from singing La Rocca’s choral propers many times within a season, especially if they are replacing other more ambiguous music. They also very easily could be sung as motets in the customary way.
In response to the second problem, we should keep in mind that the singing of choral music that does not set the text of the liturgy itself really is not singing the Mass, but singing at Mass. If we truly intend to restore the regular singing of the texts of the liturgy itself, as they are found in the liturgical books, then we should not continue to perpetuate the problem of singing texts that are essentially alien to the liturgy under normal circumstances. Don’t let me be misunderstood: The current, established practice of singing motets is legitimate, and allows for the broad use of many of the treasures of the sacred music tradition. However, how much better would it be if we made a fundamental shift in our approach to choral music and spent time learning choral settings of parts of the Proper of the Mass? In this way we can help further the development of sung liturgy and weaken our dependence upon inserting texts into the Mass that, all things being equal, do not belong there.
In this respect, Frank La Rocca is giving the English-speaking Church an inestimable gift. Please feel free to make use of these new offerings, and share your feedback. The texts of the Proper of the Mass are the future of liturgical music. When we look around today we see signs of this everywhere. Let’s thank Frank for his wonderful contribution to sacred music, and urge him on to continue setting the texts of the Proper of the Mass!

    Another Young Voice Heard From

    The following is a guest post from Richard Skirpan, young choirmaster and organist in Pennsylvania, written in response to Ben Yanke’s post here. I think it is wonderful to have a chance to hear how young people are thinking about sacred music.

    A few weeks ago in some comments here I was working out my thoughts on why so many younger people seem to express at least some preference for liturgy that is received rather than invented. I’m becoming more and more convinced of my theory as to why that might be so. I’m sure other wiser people have already said most of this, but here it is from my point of view.

    My grandparents lived in a world where secular culture more or less supported Christianity. That’s fine, and if that’s how the world worked it sure would make it comfortable to be a Christian. (But I’m not sure comfortable is where Jesus wanted us to set out sights.) And while many look at it with nostalgia as a simpler time, it seems to me there were still plenty of real problems, but mostly they were swept under the rug.

    My parents’ generation lived through the great cultural revolution. A lot of those wrongs were righted. I’m sure it seemed like the humanity’s great next step, and the Catholic Church seemed to being coming along with it. I’m sure it was exciting to live through and hard for many people of good will to imagine that the gaining momentum would ever subside, or contemplate why it even should.

    But by now, all those torn-down cultural walls that kept my grandparents “safe” (and also kept a lot of wrongs unrighted) are gone, and in the West, culture and Christianity are less entwined than ever before in modern history. Maybe for some that’s great. For others it may be a terrible loss. But it occurs to me that for a Christian it shouldn’t matter much. After all, Christianity was at its founding countercultural, and perhaps we can acknowledge that some aspects of it work better that way.

    As a result, it seems a lot of my generation don’t want to think of church as a meeting or a convention or going to hear a speaker (even though all of those are part of it) – we want church to feel like church. As a Catholic, I want to call it the Sacrifice of the Holy Mass – maybe not exclusively, but at least more often. It never stopped being that, even if other aspects gained emphasis.

    And a lot of us don’t want church music to always feel like a Disney soundtrack or what we hear on the radio or the muzak in the mall (even though there are sacred texts set to all of those) – we want church to sound like church. As a Catholic, I think it should not be an unreasonable expectation to hear some chant at every Sunday Mass. When any media outlet does a package on the Catholic Church, you hear chant in the background. About the only place you don’t hear chant in association with the Catholic Church… is most Catholic churches.

    I find when those of my grandparents’ generation see this movement, they love it, because they think we’re trying to turn back the clock, so to speak. It makes them *comfortable.* But that couldn’t be further from the truth for many of us. And a lot of things, both good and bad, have happened in between.

    Many of my parents’ generation are completely confused. They think we’re trying to undo what they worked so hard to accomplish. But one can’t undo time. We’re not doing it because of nostalgia, or to promote any human political idea that traditional elements may happen to represent. In fact, there are many people who promote tradition for terrible reasons. But I hope I’m not one of them.

    So… that’s the problem. Now other than just making my case as lovingly as I can, I don’t know what the solution is.

    New Compositions Website

    At the colloquium in 2008 in Chicago, I showed a sketch of a Gloria to Kevin Allen one afternoon. It was incomplete, but I wanted to get some feedback from him.

    “Well, it’s basically done,” he said. “Finish it before the comp reading on Saturday. What are you waiting for?”

    Awhile later I was out in front of the chapel feverishly scribbling onto the score. Wilko Brouwers walked up to me, and after I told him what I was up to, and how I was behind schedule because of my obsessive self-doubting, he said, “You spend too much time behind bars.”

    That powerful phrase stuck with me, but I was still behind those bars until June of 2012, when a former boss of mine died suddenly. I told Kile Smith that I was thinking of writing a composition in my boss’s memory.

    “But I don’t know what it is with me and composition. I can’t just write things down that I hear in my head, and I don’t wanna be a finger composer.”

    Kile seemed perplexed by that comment.

    “Who says you can’t be a finger composer?”

    And then he stuck out one index finger, and then the other, like the way my uncle used to play chopsticks on our piano.

    “I’ve been composing like this my whole life.”

    After this little pep talk, and another with a friend of mine about the importance of carving out the time to be creative, I’ve finally hit my stride and finished more than a dozen pieces in the past six months or so. It has been a true joy.

    I’ve decided to self-publish, and a number of my works are already up at my new site. Not everything will be sacred, although right now that’s all I’ve got up there. Add me to your bookmarks, etc, to stay up to date with new additions, and please check back frequently for technological improvements, which will be made as they become feasible.

    Presentation of the Lord: Free English Chant Downloads for This Sunday

    This year we will experience liturgical feasts and solemnities in an unusually powerful way. Unless we are regular daily Mass goers, most of us rarely encounter the Presentation of the Lord, the Solemnity of SS. Peter and Paul, the Triumph of the Cross, the Feast of All Souls, and the Dedication of the Lateran Basilica.

    But this year these all fall on a Sunday, and therefore trump the the Sundays in Ordinary Time that would otherwise be celebrated.

    This Sunday, for example, will not be the Fourth Sunday in Ordinary Time. The Church universal will instead celebrate the Presentation of the Lord, and will have an opportunity to engage parishioners in the iconic and ancient blessing of candles and procession before Mass.

    The 3rd Edition of the Roman Missal offers some of the chants for the procession, both in Gregorian chant and in a few English chant adaptations.

    Illuminare Publications is happy to offer a digital edition for free download, that contains all of the chants for this liturgy, including the ones that the Roman Missal leaves out.

    Additionally, you will find the full Proper of the Mass in simple English chant settings, utilizing the new translation of the Roman Missal, in both cantor/choir and accompaniment editions.

    You can download them here:

    PRESENTATION OF THE LORD (free download)

    Cantor/Choir Edition        Accompaniment Edition

    This is an example of the pre-publication releases that are available weekly from Illuminare Publications. These editions interface completely with the Lumen Christi Missal, and are samples from forthcoming titles in the Lumen Christi Series. Learn more »

    For the latest updates on this exciting project, you can visit illuminarepublications.com, or signup for the Illuminare mailing list.

    Do Teens Actually Want Sacred Music? You Betcha!

    Last year at a diocesan youth rally, I was blessed to able to direct a schola of about 15 young people as we sang the Graduale Simplex chants by Fr. Weber, a few traditional hymns, and the Jubilate Deo ordinary (our bare minimum of repertoire as Catholics), as well as one or two authentic Gregorian chants, as an organist friend of mine accompanied things on an electronic organ I brought with me (instead of a piano). All of them sung beautifully, and the celebrant also chanted all of his parts, making it a fully sung Mass.
    But the most fascinating thing came afterward, when the event evaluation forms came in from both the youth and the youth ministers that accompanied the youth. Many of the adults and youth ministers (particularly the older ones) said that they didn’t think the youth were ready for the sacred music and that because of this, we should go back to guitars the next year.

    On the other hand, out of all 350 teens, none of them wrote anything negative about the Mass or it’s music on their eval forms. NONE of them, out of 350 teens. The contrast between the adults’ preferences and those of teens could not be sharper.

    Now before you get the wrong image of who they were, this was not a Juventutem meeting. It was not a hall full of traditional, homeschooled teens. These were 350 average teens from all around the diocese. Very typical of teens in your confirmation programs all around the US. For lack of better words, very average.

    When they filled out their evaluation forms for the weekend, they asked for more Latin, more chant, and said they can’t wait for next year so they van experience the same thing. Some even said that it was the most beautiful Mass they had been to in a long time. But the best thing? One favorite parts for many of the teens was the sacred silence. Not the (extra-liturgical) praise and worship sessions that were held during the weekend, not even the swimming, water slides, or the speakers, but the silence at the Mass and at the evening of almost three hours of adoration during which almost everyone received the sacrament of confession.

    From every measure I can see, it’s not that the youth weren’t ready to receive the music proper to their rite, it’s the adults weren’t ready to hear it themselves, and were projecting their view of the world on the teens.

    Next time you hear someone say that youth don’t want sacred music or beauty, or if you say it yourself, think twice. So again I ask: do teens actually want sacred music? You betcha.

    Spem in alium – polyphony for 40 voices

    This piece, Spem in alium, by Tallis, contains 40 distinct voice parts. Forty voices.
    For those of you who haven’t sung in a choral context or aren’t familiar with the terminology, a standard mixed choir would sing pieces in 4 voices (musical lines), or maybe challenging piece in 6 or 8. This one has forty. Specifically, it’s scored for 8 choirs of 5 voices. 8 full choirs all singing different music to form one larger work. Definitely over the top, and definitely too cool to pass up.

    Also, the score is available here if you like to read along.