The Recovering Choir Director

Because the comments on this earlier post were similar to the comments posted on the subscription-only forum, here is the response posted on that forum. The concern there, as it is here, is introduction of too much musical variety into the repertoire if the antiphon with psalm is used.

This issue is valid, and may be effectively addressed by using a set of melodic and/or harmonic patterns to be used repeatedly over the course of the liturgical year. Gregorian psalm tones are examples of simple melodic patterns. Your basic pop-music I-IV-V chord structure is an example of a simple harmonic pattern.

Use simple melodies to be as accommodating as possible to the people, and simple harmonies to be as accommodating as possible to the instrumentalists. That way, the musicians need not focus excessively on the music being played and can better pay attention to the prayer which the music frames.

And remember, since these are repetitive, the people who are willing will be able to grasp the melodies by perhaps the antiphon’s 2nd or 3rd repetition, even if they cannot read music; and when that similar melody is used later in the year (or the following week, as the case may be), the people already have been exposed to the melody’s basic shape, even though the texts are different.

Such patterns are apparent even in the Gregorian propers. Of course, the melodies are much more involved*.

One hymn-based compromise (which is mentioned in the GIRM) would be to use metrical psalm settings set to hymn tunes. “The King of Love My Shepherd Is” whenever Psalm 23 is prescribed, for example. The English Protestant churches (Methodists, Presbyterians) have done so. If you can get past the archaic English, this option could work. At least, it has in the Protestant churches way back when.

As far as the propers changing every three years, that largely is not the case. For most Sundays of Years A, B, and C, the propers are the same**. Therefore, they will hear most antiphons at least once a year. And if, say, 8 to 16 basic melodies are used, familiarity will be attained rather quickly, I think.

If done right—and this is a big if—the result would eventually be less work and less stress for everyone involved, from pew-sitter to choir director. And perhaps more willingness to mix and match musical styles (for those parishes so inclined). However, it would be quite the task for a single composer (unless the psalm tones are to be used***.)

*An illustration of this repetitiveness can be found in the tracts (chants between the readings) for the Paschal Vigil. Although complex, recurring melodic patterns can be found amongst all seven. And of course, the mode is the same for all seven. (You may view and listen to four of them online—you will have to take my word for the other three, or look them up elsewhere.

**In the Graduale Romanum. So, if a parish were to exclusively use compositions based on the Introit, Offertory, and Communion antiphons found in this book, about 180-200 unique antiphons need to be set (Sundays and feast days). Divide that equally by eight unique melodies and you have the same melodic and/or harmonic pattern shared by about 22-25 antiphons. The challenge would be, then, to compose melodies that could be adapted, with minimal alteration, to the texts, while being suitably engaging, yet accessible to the people.

***For example, C. David Burt’s Anglican Use Psalter sets the propers found in the Anglican Use Missal (which, as far as I can tell, are identical to those found in the Graduale Romanum) to four basic Gregorian psalm tones. The antiphons are sung in the solemn psalm tone, and the verses are sung in the simple psalm tone.