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Corpus Christi Watershed

“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

A Different Offering

Andrew R. Motyka · July 30, 2014

OST OF US are at least passingly familiar with the practice of a choral offertory, of omitting an offertory hymn in favor of a “choir piece.” In parishes that have a tyranny of congregational singing, this can be the choir’s only time to exercise its ministry alone. Taking this practice to the next level and abandoning the congregational offertory altogether has, in my experience, been very effective.

In my experience, most parishes have some form of the “four-hymn sandwich.” Whether these are hymns in the traditional strophic sense, or other songs that have been plugged in to fill musical slots in the liturgy is irrelevant. There exist 4 main places for the congregation to sing, and darn it, they will sing. This has been the case in most parishes where I have served, as well.

Many times on this blog, we have discussed that singing at Mass and congregational participation not only extends beyond the 4-Hymn Sandwich, but should look quite different indeed. When everyone sings together the typical four hymns, plus the Mass ordinary, plus the dialogues (ideally!), that is quite a bit of singing. Maybe we need to get a chance to catch our collective breaths and pray. Maybe even listen.

It is important to recognize when in the liturgy the music is part of the action, accompanying the action, and when it IS the action. During the Gloria, for example, the music IS the action. During the processional, the introit is part of the action. Unless you are singing the proper (in which case you hardly need my advice), during the offertory, the music is accompanying the action. What is happening is a combination of housekeeping and preparatory prayers for the Liturgy of the Eucharist. I have always thought that insisting on a congregational song at this time feels a bit like “busy work.” We are being given something to do to keep us entertained while the other stuff happens up there. The music is hardly an engagement with the liturgical action.

In my experience, a choral offertory does well here. This is an opportunity for the choir to sing its more challenging repertoire without pushing aside congregational singing at other moments of the liturgy. But let’s be honest: how many of us have choirs at every single Mass on a weekend? No, you don’t. You have one choir Mass, maybe two if you have different groups, and that’s it. We’re right back to the musical wallpaper for the other Masses.

When I arrived here at the Cathedral in Indianapolis, they had an interesting and long-standing (read: at least 25-30 year) tradition of not having a congregational offertory. Either the choir sings, or the organ plays. I thought this an odd practice, but it just works. The break in song gives everyone a chance to catch their breaths and prepare themselves for the coming rites. I like it. Besides, you know that on any given Sunday, you can find about 2 hymns, maybe 3, that really fit well with the celebrated feast. That fourth one is almost always a stretch. So don’t do it. Play the organ or have the choir sing.

Bonus: during Lent, when the choir isn’t singing, I don’t use the organ for solo work, per the GIRM. This is a good time to introduce the oft-neglected Offertory Antiphons, starting with a simpler source like the Lalemont Gradual or the Simple English Propers. I have gotten a fantastic response from these.

If you sing the dialogues and the ordinary, as well as a hymn at the end and perhaps the beginning of Mass, that is plenty of singing for the average congregation. Not only will most people not miss it, but many will be relieved to not sing one more thing at the Offertory, especially if it’s just busy work.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    15th Sunday in Ordinary Time (Year C)
    This coming Sunday—13 July 2025—is the 15th Sunday in Ordinary Time (Year C). All the chants have been conveniently assembled and posted at the feasts website. The OFFERTORY, Ad Te Levávi, is particularly beautiful.
    —Jeff Ostrowski
    Music Director Job • $80,000 per year
    Our readers will be interested in this job offering for Music Director at Saint Adalbert’s Basilica, located 40 minutes from where I live. My pastor was recently elevated to this basilica. He is offering $80,000 per year, plus benefits. I’m told Saint Adalbert’s Basilica is utterly gorgeous and contains one of America’s most magnificent pipe organs. It would be fantastic to have a colleague nearby!
    —Jeff Ostrowski
    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“I examined him in your presence, and could find no substance in any of the charges you bring against him; nor could Herod, when I referred you to him. It is plain that he has done nothing which deserves death. I will scourge him, and then he shall go free.”

— Pontius Pilate

Recent Posts

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  • 15th Sunday in Ordinary Time (Year C)
  • The Tallis Scholars
  • Music Director Job • $80,000 per year
  • Pope Saint Paul VI to Consilium (14 October 1968)

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