Category Archives: Sight-Singing

MPHM Chorister Abby Ferrell Singing in the National Catholic Youth Choir (Summer 2018)

Abby Ferrell, a Senior Chorister (alto) in the Most Pure Heart of Mary Schola Cantorum spent a week last summer singing in the National Catholic Youth Choir under the direction of Andre Heywood. Below is a clip of the choir singing Palestrina’s beautiful Sicut cervus. Enjoy!

 

Click here for pictures and here for videos of the 2018 choir. Congratulations Abby!

MPHM Schola Cantorum Welcomes Largest Group of New Singers

The Most Pure Heart of Mary Schola Cantorum welcomed its largest incoming class of new singers (Probationers) this year with 22 in all: 9 boys and 13 girls. It no doubt helped that the choir hosted a choir camp in early August for more than 40 children. All agreed it was a wonderful week of music, which culminated in a sung Mass for the Feast of St. Lawrence.

Activities ranged from learning about the kinds of notes and clapping rhythms to singing folk songs and Gregorian chant. Of course, it wouldn’t have been a proper choir camp without solfege (do, re, mi…) and needless to say all of the children can now sing the major scale (with hand signs) up and down and had fun performing various renditions of Do, A Dear from The Sound of Music.

My favorite comment came from a boy named Isaiah, who exclaimed somewhat surprised after the 1st day, “Dr. Tappan, this camp is actually fun!” The second day was only half over when he told me he was definitely going to join the choir. I related the story to his mother, who laughed and said she wasn’t going tell him that he never had a choice in the first place.

Summer Camp III
Summer Camp II
Summer Camp I

Impressions from the CMAA Sacred Music Colloquium 2018

In Catholic circles we often joke that not even God Himself knows how much money the Jesuits really have, the truth of which I witnessed on parade at the beautiful Loyal University waterfront campus in Chicago, host for the CMAA’s 2018 Sacred Music Colloquium last week. I thought today I would share with readers some of my impressions of the wonderful events that took place.

Holiness and Friendship: Saints tend to come in batches, one friend encouraging another, which I found no less true for those I met at the Colloquium. Men and women, priests and religious from all backgrounds and walks of life (my roommate was a priest from Nigeria!), arrived in Chicago, but all were animated by the common goal of Heaven. All were striving for holiness, a witness so important for the world today. Pope Benedict once mentioned that Beauty, especially in the lives of the saints would convert the world, and I was both edified and encouraged by the desire for holiness I saw in so many at the colloquium. This naturally resulted in the deepening of old friendships and the creation of new, lasting friendships built on and in Christ—friendships that will endure.

Beauty and Transcendence: If the Holy Eucharist truly is the source and summit of our Catholic Faith and if all we do as Christians and as musicians comes from and returns to the God the Father, through Christ and in the Holy Spirit in the Sacred Liturgy, then our worship of almighty God is of primary and paramount importance, and so it follows that how we pray affects how we believe, and how we believe affects how we act. The beauty and solemnity in the way the priests celebrated the Holy Masses and the Divine Office spoke not only to a hermeneutic of continuity with all the Church has taught and professed throughout Her 2000 year history, but also spoke to what they themselves believed about God. I found this both inspiring and challenging.

As an aside, it always strikes me that the more we try to make the Mass understandable, the more we try to bring it down to the level of “common humanity,” the harder time I have remembering that God is all holy and all powerful and that He loves me with a love so  deep that He willingly endured His Passion and Death in order to open the gates of Heaven to me. The beauty and transcendence of the Sacred Liturgies at the Colloquium reminded me of just how all powerful God is and how much He must have loved mankind to willingly step down from His thrown, so to speak, and do what He did. When God is presented and worshipped as if He were a cross between Ralph Nader and Maya Angelou (I think these are Peter Kreeft’s words) prayer becomes difficult for me, but the Masses and Divine Office of the Colloquium truly flooded my soul with peace, and yet challenged me to confront my sinfulness and open myself to God’s healing and Almighty Hand.

Awe for the Workers in God’s Vineyard: I was truly edified by those who work so hard in the field of Sacred Music. I met men and women who chose to attend the Colloquium because they wanted to learn how to make this music in order to transform their parishes and they realized the task fell to them alone to make that happen. I was also surprised and edified at the number of young men and women who are entering the field of Sacred Music professionally and who desire to be supremely competent in their craft. As we know, there is often a false dichotomy presented in the Church today between the professional musician and the faithful disciple, and many participants I met were living proof that professional competency and discipleship are both possible and necessary.

Hope: I realize there is a lot of confusion in the Church today, most of it self-inflicted, and while it is easy to become discouraged, don’t despair. I see so many reasons to hope for the future. At the same time, the musicians I met realized that this hope must be grounded in a healthy acknowledgment that the survival and ultimate flourishing of the Faith in the western world is by no means assured, only possible if we continue to pray and work and spend our lives in the service of God’s Holy Will for each of us. There is a healthy dose of very potent leaven in the world today, but it is up to us to kneed the dough and and bring to fruition the bread that God desires. Of course, this is only possible if we are grounded deeply in prayer, especially in the prayer of the Sacred Liturgy.

Fun: I confess wholeheartedly to being a musical geek and that the most fun I had at the Colloquium was on the last day when a number of folks had already left and the choirs needed extra male singers to fill the choral ranks. Mass was celebrated in the Extraordinary Form for the Commemoration of St. Paul and the choirs sang Palestrina’s Missa Aeteran Christi munera. I had never sung this Mass before, which meant sight-singing with no chance of a “do-over.” Scott Turkington joined the choir to my left and Peter Carter of St. John the Baptist Latin Mass Community joined to my right and the sound was glorious! I could have done that all day.

If you have never been I strongly encourage you to do so—you won’t regret it.

 

Teaching Gregorian Chant to Boys with Changed Voices

I have heard it said that teaching chant to the masses for the Masses is quite an easy thing to accomplish, especially for children. Possibly, but if your goal is to teach youth the glories contained in the Graduale Romanum, I suggest you buckle your seat-belt and say your prayers. Nevertheless, such a worthy goal should be attempted so I thought I would share my choristers’ path to singing the Communion antiphon.

Seven or eight years ago I introduced a set of simplified vernacular propers (specifically the Communion antiphon) to my adult choir and to the parish. I can’t say I was overly taken by them, but they were better than most (I was not familiar with Fr. Weber’s settings at the time) and allowed me to travel the well promoted path of singing chant in English first. To my consternation, the choir didn’t like the either (why should they if I didn’t) and found them rather boring. Even our pastor at the time couldn’t stand them and told me so. I took the hint, but as a last ditch effort I proposed the choir sing the actual Communio chant from the Graduale Romanum. He acquiesced and we sang. I expected a healthy dose of negative feedback, but never received any (to be honest, there wasn’t any positive feedback either). Everything about the chant proved a challenge: the language, the music notation, even the sound of the modes. It took a couple of months before the small group of men could tackle one entire antiphon with any sense of confidence within a reasonable amount of rehearsal time. The second year through, was a revelation. The singers found the modes well established in their ears and the notation familiar to their eyes, and if the men could do it, then why not the boys.

At first I taught all of the boys with changed voices, but that was a mistake. It wasn’t worth the ill will caused by dragging unwilling participants across the Gregorian finish line. Instead I taught those who wished to learn in a separate, faster paced rehearsal. The boys encountered the same learning curves the adult men had previously, but their facility in solfege speed up the learning process, which I share with you now:

  1. (Melody) I asked the boys to sing through the chant first in solfege, without concern for rhythm, and reviewed tricky spots along the way (currently, the boys are capable of this after two times through the antiphon in solfege).
  2. (Rhythm) Then I lead them through the chant on a neutral syllable, such as nee or nah (the n only rearticulated at the beginning of an actual syllable in the Latin text). I focused on the chant’s rhythm and phrasing before adding the text.
  3. (Words) Next I focused on the text, both its literal meaning and liturgical meaning, and how to pronounce it. They knew certain words and phrases such as Deus and dixit or Cantate Domino canticum novum from other songs we had sung and were aware of numerous cognates. Between that and their knowledge of the texts in English they could usually make a decent guess at translating the antiphon before we spoke the text in a musical cadence.
  4. Finally, we put the various parts togethers and sang through the Communio twice before moving on. After two practices the boys could sing an antiphon to a high degree of accuracy, even if musicality came later.

Next year they will tackle the Introits, though I expect less of a learning curve. Regardless, I will let you know how it goes.

Tone Quality and Your Singers

Some weeks ago I addressed the challenge of teaching your singers to breath well and today I hope to continue the conversation, focusing on your choir’s  tone quality. I remember well the numerous school and church choirs I sang in throughout my youth and to the best of my knowledge, not one of those choirs’ directors ever mentioned tone quality, much less worked with us to achieve a certain choral sound. The vast majority of our time was spent learning notes and paying attention to the odd, but occasional triple forte encountered on Easter morning. However, if you hope to lead your singers to greener pastures, working on the quality of your choir’s tone produces great dividends.

Warm-ups

I continue to be amazed by the number of choir directors who believe the entire purpose of warm-ups is simply to warm-up their singers’ voices. Perhaps the name warm-up is misleading, because there are so many other things the choir director can accomplish at the same time time. Use this time to build your choir vocally, especially focusing on problems they will encounter during rehearsal in the music.

Listening

The greatest skill you can teach your singers is to listen, both to themselves and to each other. They should sing everything as softly as necessary in order to learn to listen and to become aware of what comes out of their own mouths and the mouths of their fellow singers. When they prove adept at listening, THEN you may allow them to sing louder (just beware that you will need to constantly reinforce listening). All of my experience, though, has taught me that soft singing cures a great number of vocal faults.

Resonance

Resonance is extremely important! Ask your singers if any play the violin or guitar and inquire what would happen if they were to remove the instrument’s strings, stretch them as tightly as possible and then bow or pluck them. The strings would vibrate and make noise, albeit very softly. The sound box, because it vibrates in tandem with the strings, acts as a resonator and amplifies the sound of the strings. The same phenomenon happens to the human voice. As the vocal folds or chords begin to vibrate, they cause cavities in areas around the nose and mouth to resonate and amplify the sound. In this way, the voice is given life.

Help your singers to become aware of the natural resonance already taking place as they sing. Ask them to buzz like bees or to sing a very nasally ee and place their fingers to their noses and cheeks and feel the vibrations. Utilize warm-ups that build resonance and you will find your choir much improved in a few short weeks.

I also find it helpful to avoid overly technical language with most choir members, especially children. For the youngest ones, I simply sing the line of a hymn without resonance and then sing it with resonance and ask them if they hear the difference. They can always hear the difference and are often able to mimic both ways of singing.

Head Voice and Chest Voice

In the beginning stages of your work, strive for a greater use of the head voice, especially by singing everything softly. Often untrained singers have picked up a number of bad vocal habits, most of which result in undue tension place on the voice and singing softly reduces and eliminates this tension. This also encourages singers to listen louder than they sing and will help the overall blend of your choir.

Begin the warm-up with descending scales. The high notes encourage your singers to start in the head voice, and if you make sure they continue to sing quietly, they will bring the head voice down into the lower registers. What you don’t want is for them to start in a lower register in the chest voice and force the chest voice into the higher registers of their range, resulting in unhealthy tension.

Eventually, you will want to introduce the chest voice into warm-ups and into the repertoire, making sure that singers don’t introduce undue tension as they do. The addition of the chest voice adds color to music that would otherwise sound very emotionally restrained.

Vowels

Lastly, I would like to mentioned the manner in which choristers sing vowels and how it affects the tone quality of your choir’s sound. Just as Bostonians sound different from Mid westerners and Iowans speak differently from Georgians, the members of your choir will surely sing vowels differently one from another. Your job is to unify their pronunciation on beautiful vowel sounds. If your choir sings primarily in Latin, you will have a much easier time. I personally follow the Liber usualis for Latin pronunciation and Madeleine Marshall’s English Diction for Singers for English.

Conclusion

The ultimate goal of the choral director is to communicate through the music. In the end it doesn’t matter if your choir resonates well and sings beautiful vowels but can’t communicate. However, it would be pretty hard to communicate without these things.

Vocally Building Your Choir

If more choirmasters were honest with themselves, they would probably acknowledge that no more than 25 to 40 percent of their singers are actually leaders within their choirs. This is not meant to disparage the many fine choristers who dutifully rehearse and sing weekly, but to find ways to help each one become a leader in his own right, or at the very least, to become a little better this week than he was the last. Not only would this raise a choir’s general capabilities, but it would also build confidence and willingness in each singer. They will WANT to accomplish what you ask.

Over the next few weeks I want look at ways you can help your choir grow vocally, starting with breathing, but before I go any farther I would encourage you to take private voice lessons if you haven’t before. This is the best thing you can do vocally for your choir.

James Jordan, the well know choral clinician, is adamant that the best way to help your choir members grow vocally is to get them to be aware of what it is they are doing. This means the difference between each individual singer riding as a passenger in a school bus and being at the wheel of a racing car. You want your choir to be filled with drivers, not passengers, and this starts with singers being aware of the way their instrument works. The voice is a wind instrument, which makes breathing of paramount importance, but don’t fool yourself into thinking this is an overly technical process.

The incomparable William Finn, in his Art of the Choral Conductor (24-25), finds ridiculous the “innumerable monographs and dissertations [that] have been written on the alleged ‘art of breathing.'” Rather, the “average child and adult generally breathe correctly, otherwise the human race would long since have become extinct. But under the stress of self-consciousness, both children and adults are likely to show two faults: first, they raise the shoulders while inhaling; second, nervously or through inadvertence, they permit the breath to be exhaled too suddenly.” Your goal as a choir master is to teach your singers to breath as deeply as possible while the shoulders are down and relaxed. Ask each singer to lie flat on the floor and simply breathe (it is almost impossible to breath incorrectly in this position). As soon as each singer becomes aware of this natural state of breathing he can arise and apply the knowledge to singing while standing. You will need to practice this with your choir members for a number of weeks before it becomes second nature. Then you will have to hold them to it.

Another way singers experience proper breathing (especially if they would rather not lie on the floor) is to slowly breathe out until all air is spent and then relax the body. As the diaphragm returns to its normal position it will draw the breath deeply into the body, almost as if it were filling the stomach.

Once your singers become aware of breathing naturally, your task will be to connect that knowledge to the act of drawing breath and then releasing it slowly as they sing. Ask your singers to breath in deeply over the course of 4 counts and then slowly release the air for 8, 12, 16 or even 20 counts. Eventually they should release the air by humming and singing on neutral syllables, such as oo. Most singers will be able to sustain a note for 8 or 12 counts, but it will take practice before they can work up to 16 and 20 counts. The idea is to slowly release the air as opposed to allowing it to “fall” out.

Supposedly old Italian singing masters asked their students to sing in front of a mirror in a cold room. If the mirror fogged over, it meant the student was using too much air. Likewise, they would ask their pupils to sing in front of a lit candle. If the flame flickered during the aria, it meant the singer was releasing too much air. I have often asked singers to hold a finger in front of their mouths and pretend it was a candle and to imagine not allowing the flame to flicker as they sang. This has had a profound affect on their singing. It is important to note that pushing more air through the vocal apparatus does not mean louder singing, but husky singing, which is never pleasant in church music (or anywhere else).

I should also make a general note about singing posture. Ask your choir members to sing with an athletic posture; neither stiff like a soldier nor drooping like the slouch. Keep the feet slightly apart and under the shoulders with knees slightly bent and the head tall above the shoulders. Remember that good singing is 90 percent mental and encourage them to expand their awareness to other aspects of their singing. They will notice the difference in their sound and so will the congregation.

Forming the Next Generation of Church Musicians

Recently I stumbled across a fantastic read, a DMA document entitled The Choir School in the American Church: a study of the choir school and other current chorister training models in Episcopal and Anglican parishes, by Daniel McGrath (2005). I share it with readers today because McGrath is the first author I have found who systematically and succinctly describes the the nature of, as well as the various models of, the Anglican choral system (both in England and in the United States), a model I feel passionately about and one that I believe has the power to inaugurate a true renewal of sacred music.

There isn’t a church musician I know of who isn’t concerned about the state of church music in the western world, but rarely do I find one who knows what to do about it. Obviously our university system with its decline number of organ departments as well as choral conducting departments hasn’t provided the answer. Consider the current situation in music schools where students learn about Renaissance music for one semester and are assumed to have the skills necessary to tackle the repertoire. On the other hand, choristers in the English choral system begin singing large portions of the best of Renaissance music around the age of 9 or 10 and do it repeatedly for four and five years as sopranos. If they are boys they go through the same repertoire again as countertenors, tenors and basses during their time in the Oxbridge colleges. Which program do you think is more successful?

A number of these same students are already accompanying services on a regular basis at a young age. How many young organists in America are accompanying world class choirs and helping to train younger choristers in junior high. Which program do you think is more successful?

One might object that the English choral system is tied too closely to England and the Anglican community to present a model for Catholic parishes, but I would argue otherwise. Firstly, the English choral system grew out of  the monastic, collegiate and cathedral music foundations in existence long before the English Protestant Revolt. Secondly, the system is extremely diversified even among the English Cathedrals–there is no “one size fits all” way of executing it, and this diversity makes it extremely adaptable to other places. At the heart of this system is the development of a beautiful and natural vocal tone, musical literacy, and singing high quality liturgical music on a regular basis within the church service. There is nothing here that couldn’t be adapted to the people of Russia, South Africa, Argentina or the United States.

I would encourage those interested in the English choral tradition to read McGrath’s document and familiarize themselves with what actually constitutes a choral foundation and determine if this wouldn’t work for your parish.

Then read and learn about the three main forms of the English choral foundation. In its highest form is the true choir school, a boarding institution that educates only choristers. In reality, there are only two such institutions left in the world today, Westminster Abbey and St. Thomas, NY, and I doubt this avenue would be useful for most. The second form of choral foundation is the parochial school, usually a preparatory school of some kind, that educates both choristers and non-choristers, but makes the necessary allowances for the musical education of the former. This model is perfect for many Catholic parishes sporting an attached school. Lastly is the after-school model, where choristers are drawn from the surrounding schools and educated either before or after school. This construct might easily serve the school-less parish or the parish with a school music program that has not yet been put under the vision of a pastor who wants to implement the Modern Roman Rite in continuity with the Older Form and the hopes of the Second Vatican Council. The author also gives advice for implementing each of these options.

One last point McGrath makes is how important it is that choral foundations are properly supported. In England the force of tradition as well as that of the monarchy and parliament (many of these institutions are enshrined in law and supported by taxpayer money) ensure their continuation, but such is not the case in America. Instead he suggests that it is the the pastor (and I dare say the bishop) who must support the formation and continuation of good choral foundations. I believe that the more the clergy realize that such schools are important centers for Christians formation, the more they will support them.

I also hear complaints (well founded) that these institutions are not cheap, but restructuring the budget in 50% of parishes would probably do the trick. Lastly, I realize that there aren’t the musicians around to found such choir schools, but the more choral institutions are founded in the US, the more great musicians will be fostered.

I want to paint a picture of what such places could accomplish in the Church. There are currently almost 200 cathedrals in the United States. If each of these cathedrals were to found a choral institution of some kind, each graduating approximately 10 children per annum, that would mean 2000 young people receiving such a formation each year. Within one generation (20 years) 40,000 young people would have been formed in the Church’s vision for the Sacred Liturgy and music. That would be an absolute game changer. Until we start forming our youth in the Church’s treasury of sacred music we will continue contracepting our musical future to death.

Chorister Recruiting and Auditioning

It is that time of year when once again I recruit and audition new choristers for the coming choral year. To be honest, I prefer the actual rehearsing and directing of the choir to its management (a necessary evil), but it must be done and there really is no secret formula I use. I find the more children you have in your parish the easier it is. It also helps if your parish has a school and/or an active home school community. I always start by sending a note home with parents of school children and emailing the home school community, and depending on how many responses I receive (or don’t receive), I sometimes call families and make the personal ask.

The audition itself is very straight forward and usually takes about 10 minutes, although I know within the first minute if I plan to accept the child into the choir. After engaging in a bit of small talk, I ask the child to sing Happy Birthday, which seems to be the only song left which American boys and girls still know by heart. Sometimes a child struggles with the octave leap in the middle so I work with him to sing it on pitch, which usually entails helping him to sing in the head voice. If the child sings the song mostly on key I accept him into the choir.

Next, I ask the child to read the first paragraph or two from Psalm 51(50), especially noting how he tackles words like iniquity and transgressions. You are going to have an easier time with the child who slows down and attempts to sound out the word than the one who substitutes it with another word beginning with the same first letter and then seems bored when you try to help him figure it out. I have found without exception that the better a child is at reading the easier time he will have learning to sight-sing.

The rest of the audition I spend testing the child’s ear and voice. I have each one sing a few scales up and down and note the child’s range and vocal quality. Then I test his ear by having him sing back to me random pitches on the piano, a descending half-step scale of 5 notes and a short 2 measure melody, which I make more or less difficult depending on how the child has performed so far. The last ear test I put a child through is to sing back the notes of an inverted chord I play on the piano. It is rare that a child sings all three notes correctly, but most can find the highest note, and quite a few the tonic of the chord. Finally, I clap several rhythms and ask the child to clap them back.

Of course, one might ask why I put a child through all of this when I already know if I plan to accept him into the choir. First, even an informal audition lets the child and his family know that the choir is an important part of the life of the parish and a commitment he should take seriously. Secondly, it allows me to make a better assessment of a child’s abilities and willingness because it isn’t just about finding the right singers for the choir, but also about making sure the choir is good for the child. Thirdly, it allows me to know where children are musically and how best to help them to progress, and finally, to discover which ones are best suited to become Senior Choristers because of the special cultivation each one will need. This might sound elitist, but when each child is pushed to reach his potential, the overall musicality of the choir always improves. Happy Recruiting!

Chorister Vocal Training at the Regensburg Cathedral Choir School

If a picture is worth a thousand words a video is worth ten thousand. Some day I would love nothing better than to create a series of videos that systematically deals with training voices of children, both individually and within the choral setting. I feel this is a true need for many of our church musicians who want to train the youth of their parishes, but who feel utterly overwhelmed by the prospect. Unfortunately my ability to navigate technology is at about the same level as my ability to sing in 4 part harmony simultaneously, so the project will have to wait for more favorable times. However, I would like to share a video with our readers for the interim.

Here you will find a fine documentary (2009) produced about the Regensburger Domspatzen, the choir of men and boys at St. Peter’s Cathedral in Regensburg, Germany, which has filled the ancient city and cathedral with glorious music for more than a millennia. At the heart of the choir is its choir school, where boys have been formed year after year into one of the great choirs of the world. Pope Benedict’s brother, Msgr. Georg Ratzinger, directed the choir for 30 years and marked the choir’s 1000th anniversary during his tenure.

The documentary is in German (unfortunately without subtitles), but the sections I have listed below provide a glimpse into how the choristers are trained and can generally be followed without any knowledge of the German language. I hope they provide a glimpse into the great tradition of training children our treasury of sacred music.

Video 1: (02:02) This section shows the choir’s vocal instructor giving group vocal lessons to new recruits. She leads them through vocal sirens, which place the voice in the head voice and develop resonance.

Video 2: (00:48-03:25) More of the above, but with added work on the chest voice. The German choir, in my opinion, place a greater stress on developing the chest voice than their counterparts in England.

Video 3: (00:01-01:05) This video continues to show the development of the head and chest voices with the addition of proper vowel formation. You will notice how each chorister learns to shape his mouth and lips to create a tall, open space for tone production. (06:29-end): Here the choristers sing parts of the round (that isn’t really a round) Das Orchester (here in English), in which each voice, or part, imitates one of the instruments in an orchestra. This song is great in that it can be used to teach many things, including singing in parts, legato and staccato, high and low, head voice and chest voice (as well as blending both together), etc.

Video 4: (04:27-06:23) This clip shows the voice trail to determine which choirs the new boys will be placed in. One item to note is that these boys are vetted vocally before they ever arrive at the school. If you are just beginning such a children’s choir, you will not have the luxury of being so choosy. (08:13-end) Here is the first rehearsal in choir for the new boys.

Video 5: (01:11-02:40) Here we see Sister measuring the new boys for cassocks and surplices. (02:45-04:15) This video provides a look at a full choir rehearsal. The Domspatzen (which literally means “cathedral sparrows”) relies upon the German tradition of using high school boys whose voices have changed to sing tenor and bass. Note the different sound they make as opposed to the English tradition, which relies upon professional male singers whose voices have fully matured. (08:10-09:20) This clip shows the full choir singing together in the cathedral. This is not the primary cathedral choir, but a training choir. You will notice the difference in quality between this and other parts of the documentary which show the main choir singing. Unfortunately the choir routinely sings for Mass standing in front of the original main altar.

Video 6: (01:18-02:00) Here we see students in individual instrument practice, especially piano practice. There is not a choir school I know if that doesn’t provide its choristers individual piano lessons, which are essential to a fuller understanding of theory and music in general, especially how individual lines of music work together. (04:37-05:36) Finally, we see in video 6 the importance of learning solfege.

Video 7: (04:37-05:32) Along with individual piano lessons, most choir schools now provide a weekly voice lesson for each chorister. It is not uncommon for the vocal coach to routinely visit choir rehearsals and even lead warm-ups from time to time in order to form healthy vocal habits in choristers.

Video 8: (00:00-01:52) This video shows auditions for the main choir cathedral choir. Notice that the vocal coach as well as another choir director sit in. This provides the director additional input and feed back and helps makes the decision much more impartial. (03:29-06:15) First we see a boy singing a the German Lieder. I have noticed that the German choir schools place a greater emphasis on the entire German vocal tradition rather than simply on sacred music. I feel this is one reason for the different sound produced by German choirs, which makes more use of vibrato and a healthy inclusion of the chest voice, what is commonly referred to as the continental sound. Lastly, we see Dr. Buchner (head of the cathedral choir) workng with the new boys to creating the choral sound he desires. This is critical. Such fundamentals must be practiced on a regular basis, which I find is one of the hardest things for choristers to do (they just want to sing!), but a great choir is not possible without this.

Video 10: (01:03-end) Here we see the result of so much hard work, the main choir singing in the cathedral.

 

Why do we need hymns at all, when we already have the Psalms?

The title of my current post comes from the first chapter of Anthony Esolen’s book on hymnody entitled Real Music (which can be purchased here). I was blessed to purchase the book as well as have a good conversation about it with the author himself last month and want to heartily recommend the, especially for the first chapter, which is devoted to the Psalter.

The Psalter, as Esolen notes, is the prayer book of the Church and the Psalms constitute the “foundational poems of Christian praise.” Not only are the Psalms truly beautiful in an aesthetic sense (which they undoubtedly are), but also because they speak to every moment of the Christian’s life on earth as well as the life to which he is called. They plumb the depths of joy, sorrow, praise, suffering, marriage, children, life, death, God and the fight between the family of God and it’s enemies. The Psalter was also the “hymnal” of Christ and Mary, the apostles and countless saints and sinners spanning the two millennia in the life of the Church. The only other hymnal that has come close to such longevity and vitality in the Roman Rite is the Graduale Romanum, another book of rare worth.

What I especially appreciate in his chapter on the Psalter is how Professor Esolen masterfully presents the reader with the beauty of the Hebrew Psalter and its idiosyncrasies, its structure and poetic styles, all without bogging the lay reader down with too many technical details of the Hebrew language. In a sense, he is able to bypass the trees and present the beauty of the forest. He also tackles the difficulty of not only translating the Psalter into English prose (he relies upon the beautiful King James version), but also the difficulty of creating metrical versions which live up to the majesty of the originals.

I do, however, want to caution the avid connoisseur of all things liturgical in the Roman Rite. This is not a work on the great hymns of the Divine Office or other liturgical chants that might be classified as hymns. Real Music deals with what one might classify as devotional hymns, which although not officially part of the Roman Liturgy, are nevertheless important to the flowering of true piety and love. Best of all, it comes with a CD containing a number of the hymns sung by the St. Cecilia Choir from St. John Cantius in Chicago. If you aren’t able to read music, just sing them with the CD until you know them by heart. I promise you, they will become a vibrant part of your spiritual life.