Two young men in formation join “Beyond the Spire”. Charles and Joshua introduce to the practical side of chant: books, notes and breathing. The guests explain the role of the Liber Usualis, online chant libraries, the difference between modern notation and neumes, and the importance of legato singing, modest breaths and listening to each other so that one unbroken line of prayer emerges.

Content

• Beginners are pointed to concrete tools: classic books such as the Liber Usualis (aka n°800, 801 or 780) and online libraries like ⁠GregoBase⁠, which effectively place a full chant repertoire within reach.
• The episode introduces the basic building blocks of notation: the square punctum, simple neumes (from Greek πνεῦμα, “breath”), and how chant notation differs from modern scores.
• Chant is presented first as prayer and profession of faith: the Latin text comes before the melody, and understanding what one sings matters more than vocal display.
• Unity is essential: Gregorian chant is monophonic, so many voices must blend into one humble line, with no space for soloistic performance.
• Practically, the guests stress legato and discreet breathing: modest, staggered breaths within the group, constant listening, and an unbroken musical line that embodies a single act of worship.

Guests

• Charles Thompson
• Joshua Mambwe Haines

Sponsors

• ⁠⁠⁠⁠⁠⁠⁠National Lottery Heritage Fund⁠⁠⁠⁠⁠⁠⁠: 
• ⁠⁠⁠⁠⁠⁠⁠Global Sound Movement⁠⁠⁠⁠⁠⁠⁠
• ⁠⁠⁠⁠⁠⁠⁠University of Lancashire⁠⁠⁠⁠⁠⁠⁠
• ⁠⁠⁠⁠⁠⁠⁠Institute of Christ the King Sovereign Priest⁠⁠⁠⁠⁠⁠⁠

External Links

Available on ⁠⁠⁠⁠all podcasts platforms⁠⁠⁠⁠
Watch on YouTube ⁠⁠⁠⁠@Beyond_the_Spire⁠⁠⁠⁠

—

More about St Walburge’s Shrine

Website: ⁠⁠⁠⁠icksp.org.uk/preston⁠⁠⁠⁠
YouTube: ⁠⁠⁠⁠@ICKSPPrestonSt.Walburge⁠⁠⁠⁠
Instagram: ⁠⁠⁠⁠st_walburge_s_preston⁠⁠⁠⁠
Facebook: ⁠⁠⁠⁠icksp.preston⁠⁠⁠
TikTok: ⁠⁠⁠⁠stwalburge.icksp

Gregorian chant is the Church’s natural 'musical breath'. Through the sung Ordinary and Proper parts of the Holy Mass, it unites our emotions to Christ and guides them towards the Father. Each part, from the Kyrie and Gloria to the Introit, Gradual, Offertory and Communion, carries a particular moment or aspect of the sacrifice.

Content

• The Holy Mass is described as the renewal of Christ’s sacrifice on Calvary and the ‘source and summit’ of all Christian life.​
• Gregorian chant is the Church’s natural ‘musical breath’, a way of praying aloud that follows the heart rather than display performance. However, it requires voice technique that improves with years of practice and tradition.
• Chant cannot make the Mass itself more perfect, but it helps us to unite our minds and affections more closely with Christ’s perfect prayer, renewed on the altar.
• The sung ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei, Ite missa est) expresses stable elements of the Mass that are repeated at each celebration. Thus, the variety of melodies ensures they are appropriate for the solemnity of the day.
• The proper chants (Introit, Gradual, Alleluia or Tract, Offertory, Communion) change with the feast and season, so that each Mass is clothed with texts and melodies that are specific to that particular mystery.

Guests

Sisters Aline-Marie & Inmaculada

Sponsors

• ⁠⁠⁠⁠⁠⁠National Lottery Heritage Fund⁠⁠⁠⁠⁠⁠: 
• ⁠⁠⁠⁠⁠⁠Global Sound Movement⁠⁠⁠⁠⁠⁠
• ⁠⁠⁠⁠⁠⁠University of Lancashire⁠⁠⁠⁠⁠⁠
• ⁠⁠⁠⁠⁠⁠Institute of Christ the King Sovereign Priest⁠⁠⁠⁠⁠⁠

External Links

Available on ⁠⁠⁠all podcasts platforms⁠⁠⁠

Watch on YouTube ⁠⁠⁠@Beyond_the_Spire⁠⁠⁠

—

More about St Walburge’s Shrine

Website: ⁠⁠⁠icksp.org.uk/preston⁠⁠⁠

YouTube: ⁠⁠⁠@ICKSPPrestonSt.Walburge⁠⁠⁠

Instagram: ⁠⁠⁠st_walburge_s_preston⁠⁠⁠

Facebook: ⁠⁠⁠icksp.preston⁠⁠⁠

TikTok: ⁠⁠⁠stwalburge.icksp

Two religious sisters explain what it means to devote one's life to God and spend each day singing His praises. They offer insight into a life structured around the canonical hours, describing the Divine Office and its various parts — from 'Deus in adjutorium' to 'Benedicamus Domino' — and demonstrating how chant carries the words of Scripture, the Church Fathers and the saints throughout the day in the form of psalms, antiphons and hymns, offering continuous praise to God.

Content

• The religious life consecrates one’s life entirely to God, renouncing marriage and children so that the heart is not divided by human affections.​
• The Divine Office (Opus Dei) is one of the Church’s principal liturgical acts: her public daily prayer, praising the Saviour and rising to the Father.​
• Over the centuries the Church has ordered this prayer into eight canonical hours, filled with psalms, Scripture, patristic texts and writings of major saints.​
• Within the sung Office, the melodies and modes of psalmody, antiphons and hymns have distinct roles. Even the structure — free-rhythm psalms versus metrical hymns, for example — helps convey the Church’s interior dispositions in various forms.​
• The psalms and canticles are sung alternately by two choirs and framed by an antiphon at the beginning and the end.​
• The Office begins with petition and ends in thanksgiving; in between, the Church leads us through adoration and reparation as we sing, so that all four ends of prayer are fulfilled.

Guests

Sisters Aline-Marie & Inmaculada

Sponsors

• ⁠⁠⁠⁠⁠National Lottery Heritage Fund⁠⁠⁠⁠⁠: 
• ⁠⁠⁠⁠⁠Global Sound Movement⁠⁠⁠⁠⁠
• ⁠⁠⁠⁠⁠University of Lancashire⁠⁠⁠⁠⁠
• ⁠⁠⁠⁠⁠Institute of Christ the King Sovereign Priest⁠⁠⁠⁠⁠

External Links

Available on ⁠⁠all podcasts platforms⁠⁠

Watch on YouTube ⁠⁠@Beyond_the_Spire⁠⁠

—

More about St Walburge’s Shrine

Website: ⁠⁠icksp.org.uk/preston⁠⁠

YouTube: ⁠⁠@ICKSPPrestonSt.Walburge⁠⁠

Instagram: ⁠⁠st_walburge_s_preston⁠⁠

Facebook: ⁠⁠icksp.preston⁠⁠

TikTok: ⁠⁠stwalburge.icksp

Rather than 'music with words', Gregorian chant is the sacred text itself set to music. The liturgical text takes precedence, and the melody is crafted to serve it, with every note, accent, and rise or fall created to enhance the meaning of the prayer. The interplay of words and melody evokes a spectrum of emotions, ranging from the bold and grand to the simple and clear.

Content

• Gregorian chant starts from the liturgical text: the words are written first, and the melody is then composed to serve and illuminate them.​
• The melody highlights key words through length (melismas on important syllables), repetition, and changes in range, making their meaning stand out in prayer.​
• Higher melodic lines suggest brightness and joy, while lower ones suggest interiority, sorrow, penance or humility.​
• Latin accents and syllable stresses act like the natural “rhythm” of chant, shaping the flow and dynamics of the melody.​
• By wedding text and melody so closely, Gregorian chant drives the words deeper into the heart and teaches the faithful how to pray with greater intensity and attention to the Church’s perspective.

Sponsors

• ⁠National Lottery Heritage Fund⁠: 
• ⁠Global Sound Movement⁠
• ⁠University of Lancashire⁠
• ⁠Institute of Christ the King Sovereign Priest⁠

External Links

Available on all podcasts platforms
Watch on YouTube @Beyond_the_Spire

—
More about St Walburge’s Shrine

• ⁠⁠⁠⁠Website⁠⁠⁠⁠
• ⁠⁠⁠⁠YouTube⁠⁠⁠⁠
• ⁠⁠⁠⁠Instagram⁠⁠⁠⁠
• ⁠⁠⁠⁠Facebook⁠⁠⁠⁠
• ⁠⁠⁠⁠TikTok

Description

In this episode, we cross the Atlantic—virtually—to welcome Abbé Raymond Schmidt, an oblate brother of the Institute of Christ the King in Chicago, for a deep yet accessible conversation on the eight modes of Gregorian chant. He explains how these ancient musical “families” each carry a distinct spiritual character, and how intervals, finals and ambitus quietly shape the soul’s affections towards God rather than towards mere emotion or entertainment.

Content

• Gregorian chant is the Church’s model of sacred music, meant above all to draw souls to Christ rather than entertain.
• The eight modes: four basic tones (Protus, Deuterus, Tritus, Tetrardus), each with authentic and plagal forms built on final notes re, mi, fa and sol.
• Each mode has a specific spiritual “colour” (grave, penitential, serene, hopeful, etc.) arising from its particular pattern of intervals.
• These technical elements (final, recitative tone, ambitus) are not abstract theory but shape the affections of the heart and help fit the chant to the Church’s seasons, feasts and prayers through the whole liturgical year.
• Gregorian chant is a shared patrimony of the Church, not the property of performers, and that it forms a cohesive supernatural and family spirit in the Catholic life across the world.

Guest

Abbé Raymond Schmidt

Sponsors

• ⁠National Lottery Heritage Fund⁠: 
• ⁠Global Sound Movement⁠
• ⁠University of Lancashire⁠
• ⁠Institute of Christ the King Sovereign Priest⁠

External Links

Available on all podcasts platforms
Watch on YouTube @Beyond_the_Spire

—
More about St Walburge’s Shrine

• ⁠⁠⁠⁠Website⁠⁠⁠⁠
• ⁠⁠⁠⁠YouTube⁠⁠⁠⁠
• ⁠⁠⁠⁠Instagram⁠⁠⁠⁠
• ⁠⁠⁠⁠Facebook⁠⁠⁠⁠
• ⁠⁠⁠⁠TikTok

A bridge between two worlds: the world of melodies known by heart and shared through practice and listening, and the world of books, handwriting and then printing. In this engaging dialogue, Canon Cristofoli explains how notation preserved the Gregorian tradition, while also slightly flattening it and opening the door to authorship and fame for composers. This led to a new relationship between the music and the Church.

Content

• Cluny represents a “golden age” of monastic life, during which countless monks worship God with a solemn liturgy that feels like heaven on earth.
• Until the 11th century, Gregorian chant is largely transmitted orally and notated only with “adiastematic” neumes, which indicate contour but not exact pitch.
• Step by step, thanks to Guido d’Arezzo, lines are added above the text (first a C line, then an F line), paving the way for a four‑line staff where every note has a precise pitch.
• This new staff notation enables chant to be read without first hearing it and, with the advent of printing, to spread widely, while also revealing and enabling small regional variants.
• Written notation and printing promote musical authorship: composers can sign, share, and sell their own works. This marks a transition from the anonymous, universal chant of the Church to named compositions and a new musical culture.
• Modern notation makes chant easier to learn and unify, but it risks losing some of the subtle interpretative tradition that was once handed down directly from elder monks to novices.

Guest
Canon Gwenaël Cristofoli

Resources

• Gradual from Abbey of St. Gall, St. Gallen (Switzerland), Stiftsbibliothek, ca. 1135, Cod. Sang. 375, p. 38 - https://www.e-codices.unifr.ch/en/searchresult/list/one/csg/0375

Sponsors

• ⁠National Lottery Heritage Fund⁠: 
• ⁠Global Sound Movement⁠
• ⁠University of Lancashire⁠
• ⁠Institute of Christ the King Sovereign Priest⁠

External Links

Available on all podcasts platforms
Watch on YouTube @Beyond_the_Spire

—
More about St Walburge’s Shrine

• ⁠⁠⁠⁠Website⁠⁠⁠⁠
• ⁠⁠⁠⁠YouTube⁠⁠⁠⁠
• ⁠⁠⁠⁠Instagram⁠⁠⁠⁠
• ⁠⁠⁠⁠Facebook⁠⁠⁠⁠
• ⁠⁠⁠⁠TikTok

The Christian life spreads across Europe, covered by the white cloak of monasteries, mainly shaped and governed by the rule of St. Benedict. Canon Cristofoli tells how monks understand their chant as prayer turned into music, joining the angels’ song, and how every part of the liturgy – from the altar and ministers to the nave and the schola – reflects the ordered worship of heaven.

Content

• Benedictine monasteries, shaped by the rule of St Benedict, spread across Europe and carry the Church’s liturgy and chant with them.​
• The monastery is a community under an abbot, ordered to continual praise of God through prayer and work, as an anticipation of heavenly life.
• The hierarchical structure of the Mass – altar, ministers, schola and faithful – mirrors the ordered worship of heaven.​
• Gregorian chant is “prayer becoming music”, by which monks truly join the saints and angels’ hymn before the throne of God.​
• The Church entrusts the ordinary parts to the whole community and reserves the more ornate pieces for the schola cantorum. Certain texts belong specifically to the ministers, others to the cantors, so the sacred liturgy leaves no room for approximation.

Guest
Canon Gwenaël Cristofoli

Resources

• Gradual from Abbey of St. Gall, St. Gallen (Switzerland), Stiftsbibliothek, ca. 1135, Cod. Sang. 375, p. 38 — ⁠Link⁠
• Graduale Romanum, Desclée Ed., № 696 — ⁠Link⁠
• Missale Romanum, Desclée Ed. — ⁠Link⁠

Sponsors

• ⁠National Lottery Heritage Fund⁠: 
• ⁠Global Sound Movement⁠
• ⁠University of Lancashire⁠
• ⁠Institute of Christ the King Sovereign Priest⁠

External Links

Available on all podcasts platforms
Watch on YouTube @Beyond_the_Spire

—
More about St Walburge’s Shrine

• ⁠⁠⁠⁠Website⁠⁠⁠⁠
• ⁠⁠⁠⁠YouTube⁠⁠⁠⁠
• ⁠⁠⁠⁠Instagram⁠⁠⁠⁠
• ⁠⁠⁠⁠Facebook⁠⁠⁠⁠
• ⁠⁠⁠⁠TikTok

Starting with the meticulously recorded historical details in the Bible, Canon Cristofoli traces the origins of Gregorian chant right back to its roots in Israel’s worship, the Psalms and the sacred ceremonies. He shows how chant slowly took shape as the Church’s own voice in Greek and then Latin, from the Jewish temple to the first Christian vigils in Rome, then on through Constantine, Pope Gregory and Charlemagne.

Content

• Sacred music begins in the Bible: Israel transmits Scripture orally with simple, repetitive chant and rhythm, especially in the Psalms and temple worship.​
• The Church’s liturgy and Gregorian chant grow out of Jewish temple and synagogue rites: Christ fulfils this worship rather than abolishing it, so the sung psalms and their spirit remain at the heart of Christian prayer.​
• From the beginning, early Christian communities celebrated long, sung liturgies, rich in hymns and psalms, even before persecution ends under Constantine.​
• With peace and the spread of Christianity in the Roman Empire, chant develops first in Greek and then in a high, sacred Latin, distinct from everyday speech and reserved for addressing God.​
• Pope Gregory’s reform, later strengthened by Charlemagne and Alcuin, gives clear norms for chant and helps spread one Roman liturgy and Gregorian chant across the West, while still allowing genuine local traditions to enrich the Roman rite.

Guest
Canon Gwenaël Cristofoli

Sponsors

• ⁠National Lottery Heritage Fund⁠: 
• ⁠Global Sound Movement⁠
• ⁠University of Lancashire⁠
• ⁠Institute of Christ the King Sovereign Priest⁠

External Links

Available on all podcasts platforms
Watch on YouTube @Beyond_the_Spire

—
More about St Walburge’s Shrine

• ⁠⁠⁠⁠Website⁠⁠⁠⁠
• ⁠⁠⁠⁠YouTube⁠⁠⁠⁠
• ⁠⁠⁠⁠Instagram⁠⁠⁠⁠
• ⁠⁠⁠⁠Facebook⁠⁠⁠⁠
• ⁠⁠⁠⁠TikTok

This opening episode draws you into the world of Gregorian chant, the Church’s own voice, a living breath of prayer. Through candid conversation, two young parishioners explore the sacred stillness of chant, and describe how, in their own experience, this sacred song rises out of silence, unites many voices into one, and gently pulls the soul out of noise back to God. 

Content

• Gregorian chant is the Church’s sacred music. Rising from silence, it expresses interior prayer and returns to silence.
• It is monophonic and unified, with many voices blending into one, leaving no room for performance or showmanship.
• It is integral to the liturgy, with the melody shaped by sacred Latin text that is distinct from everyday, informal speech.
• Its free rhythm and eight modes offer a deeper spiritual 'colour' than standardised major/minor music.
• Thanks to Guido of Arezzo, a benedictine monk, the authentic melody was transmitted from oral tradition to written notation. This notation is still in use today.
• It is a living prayer that orients the soul towards God, setting it apart from the noisy, shallow music of the secular world.
  
  

Guests

• Mr. Kieran O’ Riordan
• Miss Amira Zięba
  
  

Sponsors
National Lottery Heritage Fund: tnlcommunityfund.org.uk
Global Sound Movement: globalsoundmovement.com
University of Lancashire: lancashire.ac.uk
Institute of Christ the King Sovereign Priest: icksp.org.uk & icrsp.org

External Links

Available on all podcasts platforms
Watch on YouTube @Beyond_the_Spire

—
More about St Walburge’s Shrine

• ⁠⁠⁠⁠Website⁠⁠⁠⁠
• ⁠⁠⁠⁠YouTube⁠⁠⁠⁠
• ⁠⁠⁠⁠Instagram⁠⁠⁠⁠
• ⁠⁠⁠⁠Facebook⁠⁠⁠⁠
• ⁠⁠⁠⁠TikTok