The choir served for the recitation of the typically monastic hours, as were the matinas, the laudes and the minor hours. The monks, necessarily using the neckula, entered on his knees and, in the cadheral, remained long hours in liturgical corner, following the large books illuminated, placed on the coral shelf, and that were the Bibles, antifonarians, gradual and salteries. Standing alone for the recitation of the psalms and during the readings, they found some comfort with the support in the "mercy" and great stimulus in the example of the lives of S. Bento and Santa scholasticism, represented in the eight large pictures of the choir walls .

The choir is thus essentially occupied by the chain. Built between 1666-1668 and attributed to António de Andrade, it is plant in U and has two rows, with the back in the highest plane. The chairs, with carved decoration, are taken in the underside and have, on the bottom side, small mishles, the mercies, with the form of fantasy masks of human faces, satyrs and animals. The plants, which constitute the most artistic part of the cadheral, are upholstered, golden and polychrome and their imaginary speaks to Benedictine figures and facts. Separated from each other by pilasters with gemway sculptures sporting foliage bullfights are a testimony of the magnificent proto-baroque hoist that has been produced in the Monastery of Tibães and that rivals with the eightocentist black sticks and golden bronzes, with the crucified Christ oratory From Frei José de Santo António Vilaça and with the organ of Mestre Francisco António Solha, with box "scratched" by Frei José de Santo António Vilaça.