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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Why Should We Sing the Psalms at Mass?

Richard J. Clark · May 8, 2015

HE PSALMS ARE AN endlessly rich source of spiritual nourishment. Whether it is the liturgy of the hours or the mass, the Psalms—some of the most ancient of scripture—are a central focus of our prayer. But for many who attend mass regularly, this is a head scratcher. Often “The Psalm” only refers to the Responsorial Psalm. And that’s it. No more psalms sung in the mass.

Furthermore, only a few short verses appear in the Responsorial Psalm. This is intentional, of course, as it is a direct reflection or “response” to the previous reading. However, if we do not sing the antiphons proper to the day—and the corresponding psalm verses—this may be all we get.

AM VERY FORTUNATE to have a number of choir members with training in theology, some with advanced degrees. We have lively discussions, and I am often the beneficiary of their insights.

Recently, I received some reflections from one such choir member, comparing the version of Psalm 22 we sing as the Responsorial on Palm Sunday, and the verses of Psalm 22 we sing on the Fifth Sunday of Easter in Cycle B. (Keep in mind, that if one sings the Communion Antiphon on Psalm Sunday, a great deal more of Psalm 22 is sung!)

Each year on Palm Sunday we rehear the striking words “My God, My God, why have you abandoned me?” I would propose for reflection that the many iterations of reflections on this one verse have trapped us into thinking a quite narrow and certain way. A case in point: if we say the word “prodigal,” we immediately add the word “son.” However, the father is much more lavish and generous in a substantial way than the younger son’s wild spending.

The real point in the use of the psalm comes from an understanding of how those who heard it said would have understood. Jesus was preaching from the cross. He was using the words his Father spoke through him [THE WORD] to proclaim his mission to the last breath. The psalms are among the earliest scripture. By and large they were handed over orally. If a person heard the first words of a PSALM it would trigger the recollection of the whole psalm. So, the verses of Ps 22 on Palm Sunday lead us to the verses used here [Easter 5B] as well and those of today looking back to Palm Sunday—certainly much more than a lament and how “abandoned” Jesus felt. We are not abandoned, we are saved.

The final words of Psalm 22 are not well known: Psalm 22:32. “The generation to come will be told of the Lord, that they may proclaim to a people yet unborn the deliverance you have brought.” Jesus’ message from the cross was ultimately that of redemption.

This is what the psalms teach us. Jesus taught through the psalms. Sing the Mass. Sing the Psalms!

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

Filed Under: Articles Tagged With: Propers, Singing the Mass Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Music List • (2nd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 2nd Sunday of Lent (1 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its somber INTROIT is particularly striking—using a haunting tonality—but the COMMUNION with its fauxbourdon verses is also quite remarkable. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    Like! Like! Like!
    You won’t believe who recently gave us a “like” on the Corpus Christi Watershed FACEBOOK PAGE. Click here (PDF) to see who it was. We were not only sincerely honored, we were utterly flabbergasted. This was truly a resounding endorsement and unmistakable stamp of approval.
    —Jeff Ostrowski
    Which Mass?
    In 1905, when the Vatican Commission on Gregorian Chant began publishing the EDITIO VATICANA—still the Church’s official edition— they assigned different Masses to different types of feasts. However, they were careful to add a note (which began with the words “Qualislibet cantus hujus Ordinarii…”) making clear “chants from one Mass may be used together with those from others.” Sadly, I sometimes worked for TLM priests who weren’t fluent in Latin. As a result, they stubbornly insisted Mass settings were ‘assigned’ to different feasts and seasons (which is false). To understand the great variety, one should examine the 1904 KYRIALE of Dr. Peter Wagner. One should also look through Dom Mocquereau’s Liber Usualis (1904), in which the Masses are all mixed up. For instance, Gloria II in his book ended up being moved to the ‘ad libitum’ appendix in the EDITIO VATICANA.
    —Jeff Ostrowski

Quick Thoughts

    Extreme Unction
    Those who search Google for “CCCC MS 079” will discover high resolution images of a medieval Pontificale (“Cambridge, Corpus Christi College, MS 079”). One of the pages contains this absolutely gorgeous depiction of the Sacrament of Extreme Unction.
    —Corpus Christi Watershed
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“To me it is a most inspiring reflection that, while empires and kingdoms have tumbled down, while language and custom of every kind have changed beyond recognition, still day by day the humblest Catholic priest in the remotest mission stands at his altar dressed in the garb of old Rome.”

— Father Adrian Fortescue (8 February 1912)

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