Many Church musicians will want to know whether the Chabanel Psalms (based on Gregorian chant) adhere to the principles of "old Solesmes."

The answer is a bit complex.

The author believes that the "old Solesmes" method is, generally speaking, the very best method of all for singing Gregorian chant because, in his opinion, it produces the most beautiful music and has the trait of universality.

However, the author does not favor the Solesmes method of organ accompaniment (exemplified by authors like Bas, Potiron, Desrocquettes, Manzetti, Ferdinand Portier, and Bragers).

The author favors a slightly different "brand" of modal accompaniments, exemplified especially by the authors of the Nova Organi Harmonia (like Flor Peeters, Monsignor Jules Van Nuffel, and Marinus de Jong), and the modal organ works of Dom Gregory Murray.

Some might scoff when they learn that the author highly commends the Solesmes method (but not the Solesmes organ accompaniments) yet, at the same time, lauds the modal organ accompaniments of Dom Murray (but rejects his method of singing Gregorian chant). It is hoped that the next essay (Modus Operandi of Modal Accompaniment) will clear up this odd but true statement.

Finally, the author believes that, as wonderful as the Nova Organi Harmonia Gregorian accompaniments are, the very best Gregorian accompaniments of all come from skilled organists who adjust their "method" of accompaniment to each and every chant, each and every choir, each and every organ, and each and every performance space. For those interested, the author believes that the Benedictine P. Petrus Eder of Austria is one of the very best in this regard. Samples of his artistry can be heard on the FSSP CD Tu Es Petrus.