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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

The Responsorial Psalm: What You Never Knew!

Guest Author · September 1, 2015

347 Replace Psalter ERE’S SOMETHING I bet you never realized: the Ordinary Form rubrics allow the responsorial psalm found in the Lectionary to be replaced by any other psalm. If this coming Sunday has psalm 25, you can replace it with psalm 56. If the following Sunday has psalm 68, you can replace it with psalm 104. Here’s the proof:

“In the Dioceses of the United States of America, instead of the Psalm assigned in the Lectionary, there may be sung … an antiphon and Psalm from another collection of Psalms and antiphons—including Psalms arranged in metrical form—providing that they have been approved by the Conference of Bishops or the Diocesan Bishop.”

—§61d of the General Instruction of the Roman Missal

I WANTED TO MAKE ABSOLUTELY SURE, so I recently wrote to the USCCB. Here’s what they said (with their emphasis):

It seems pretty clear to me: “instead of the Psalm assigned…”. It appears that, yes, an entirely different Psalm can be chosen, so long as it comes from an approved source.

As someone who has labored—with very little success—to introduce the propers at my parish, this whole thing came as quite a shock. Why does almost every Catholic parish replace the propers each Sunday, but never the Responsorial Psalm? Whenever I try to promote the propers, people inevitably say, “The GIRM allows us to replace the propers; it’s called fourth option.” Yet, the GIRM also allows us to replace the Responsorial Psalm…

I was prepared to present my theory about why this is, before I submitted this guest blog. I was going to say that the liturgical books only give certain options, and not others. I was going to say something like, “Why isn’t there a book which provides the traditional Gradual psalm as an option? What about that?” However, before posting, the editor at CCW pointed out that the Jogues Missal does provide the Gradual as an option, although somehow my eyes never noticed this before:

349 Gradual


It turns out the Gradual is specifically listed by the GIRM as an option; sometimes it’s listed as 1st option, while other documents place it as 2nd, behind the Lectionary psalm. Perhaps I’m the only one who never knew about all this stuff…

If so, feel free to ignore my article!   🙂


We hope you enjoyed this guest article by J. Michael Ney.

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

Filed Under: Articles Tagged With: Responsorial Psalm Last Updated: January 1, 2020

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President’s Corner

    Music List • (3rd Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday: the 3rd Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are available at the monumental feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    “Holy Name Hymn” (2-Voice Arrangement)
    When we post a direct URL link, we frequently get thousands of downloads. But when scrolling is required, very few take the time. I mention this because those who click on this URL link and scroll to the bottom can download—completely free of charge—a clever 2-voice arrangement for a famous hymn to the Most Holy Name of Jesus. In a pinch, it can be nicely sung by one male and one female! It will be of interest to those who seek arrangements for two voices.
    —Jeff Ostrowski
    PDF Download • Introit (3rd Sn. Ord.)
    This coming Sunday, 25 January 2026, is the 3rd Sunday in Ordinary Time (Year A). The ENTRANCE CHANT (“Dóminus secus mare”) is somewhat rare because it comes from the New Testament. The authentic version in Latin—of astounding antiquity—was jettisoned in 1955 but restored in 1970. This rehearsal video has me attempting to sing the melody while simultaneously accompanying myself on the organ. I encourage you to print off the organ accompaniment (PDF) and play through it because it has extremely ‘happy’ harmonies.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —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
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

The ratio of voices in modern choirs is usually wrong. Basses should be numerically greatest, then altos, then tenors, then sopranos. One good soprano can carry a high “A” against 30 lower voices.

— Roger Wagner

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