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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

When Is The Sequence Sung? Before The Alleluia?

Jeff Ostrowski · January 2, 2014

899 Sequence O STUDENT of Gregorian chant needs to be told how sequences came into being, nor why they were always sung after the Alleluia. However, in 1969, things changed somewhat. Let’s take one thing at a time here … this subject confuses many.

So, first of all, when the (ancient) Gregorian Alleluia is sung, the Sequence comes after the Alleluia. If you don’t believe me, read the official Novus Ordo rubrics by clicking here. We provided three (3) different translations of the Ordo Cantus Missae, so there’s no doubt what it says.

However, the Ordo Cantus Missae makes no mention of the Gospel Acclamation, which can replace the (ancient) Gregorian Alleluia. For this, we have to look in the General Instruction of the Roman Missal (GIRM). When the GIRM was first published around 1970, it didn’t specify when the Sequence is sung. It merely said “Sequences are optional, except on Easter Sunday and Pentecost.” However, the postconciliar books moved the Sequence, placing it before the Gospel Acclamation. You can see this by downloading the 1975 Missale Romanum.

If you don’t comprehend Latin, just look at the following:

      * *  1-page PDF • scanned from the very first Lectionary, ©1970

By the way, notice that in the 1970s they included a prose translation in addition to the “poetic” translation which was plagiarized and then horribly mangled (see this article).

THE ODD THING IS, THERE WAS AN EFFORT at restoring the Sequence to its proper place in the most recent edition of the Roman Missal. The Institutio Generalis Missalis Romani (©2000) said in section 64:

Sequentia, quae praeter quam diebus Paschae et Pentecostes, est ad libitum, cantatur post Alleluia.

Fr. Robert Skeris, writing in Sacred Music (Vol. 128, No. 1), correctly translates this as:

The Sequence, which is optional except on Easter and Pentecost, is sung after the Alleluia.   [§64]

Again, to be clear, the GIRM is speaking of the Gospel Acclamation (not the ancient Gregorian Alleluia). You can read more here.

However, a few years later, in the official edition of the Roman Missal, this sentence was altered, and nobody knows why this change was made. Perhaps certain parties were unhappy that the Sequence would be restored to where it always had been, prior to 1969.

The end result is that the current GIRM has the Sequence before the Gospel Acclamation, whereas the 2012 Gregorian Missal continues to place the Sequence after the Alleluia … and they’re both right!

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

Filed Under: Articles Tagged With: Liturgical Sequences, Novus Ordo Lectionary Reform, Ordo Cantus Missae, Roman Missal Third Edition Last Updated: October 12, 2022

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    Music List • (3rd Sunday of Lent)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for this coming Sunday, which is the 3rd Sunday of Lent (8 March 2026). If such a thing interests you, feel free to download it as a PDF file. This feast has magnificent propers. Its stern INTROIT (“Óculi mei semper ad Dóminum”) is breathtaking, and the COMMUNION (“Qui bíberit aquam”) with its fauxbourdon verses is wonderful. I encourage all the readers to visit the feasts website, where the Propria Missae may be downloaded completely free of charge.
    —Jeff Ostrowski
    “Samaritánæ” (3rd Sunday of Lent)
    With regard to the COMMUNION for the 3rd Sunday of Lent (Year A), the Ordo Cantus Missae—which was published in 1969 by the Vatican, bearing Hannibal Bugnini’s signature and approbation in its PREFACE—inexplicably introduced a variant melody and slightly different words, as you can see by this comparison chart. When it comes to such items, they’re always done in secrecy by unnamed people. (Although it is known that Dom Eugène Cardine collaborated in the creation of the GRADUALE SIMPLEX, a book considered by some to be a travesty.)
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Quick Thoughts

    “Dies Irae” • A Monstrous Translation
    It isn’t easy to determine what Alice King MacGilton hoped to accomplish with her very popular book—A Study of Latin Hymns (1918)—which continued to be reprinted in new editions for at least 34 years. This PDF file shows her attempt to translate the DIES IRAE “in the fewest words possible.” There’s a place for dynamic equivalency, but this is repugnant. In particular, look what she does to “Quærens me sedísti lassus.”
    —Jeff Ostrowski
    PDF Download • “Holy, Holy, Holy”
    For vigil Masses on Saturday (a.k.a. “anticipated” Masses) we use this simpler setting of the “Holy, Holy, Holy” by Monsignor Jules Vyverman (d. 1989), a Belgian priest, organist, composer, and music educator who ultimately succeeded another ‘Jules’ (CANON JULES VAN NUFFEL) as director of the Lemmensinstituut in Belgium. Although I could be wrong, my understanding is that the LEMMENSINSTITUUT eventually merged with “Catholic University of Leuven” (originally founded in 1425). That’s the university Fulton J. Sheen attended.
    —Jeff Ostrowski
    Grotesque Pairing • “Passion Chorale”
    One of our rarest releases was undoubtably this PDF scan of the complete Pope Pius XII Hymnal (1959) by Father Joseph Roff, a student of Healey Willan. One of the scarcest titles in existence, this book was provided to us by Mr. Peter Meggison. Back in 2018, we scanned each page and uploaded it to our website, making it freely available to everyone. Readers are probably sick of hearing me say this, but just because we upload something that doesn’t necessarily mean it’s wonderful or worthy of imitation. We upload many publications precisely because they are ‘grotesque’, interesting, or revealing. Whereas the Brébeuf Catholic Hymnal had an editorial board that was careful and sensitive vis-à-vis pairing texts with tunes, the Pope Pius XII Hymnal (1959) seems to have been rather reckless in this regard. Please take a look at what they did with the PASSION CHORALE and see whether you agree.
    —Jeff Ostrowski

Random Quote

“Both priests and people in this country [viz. ENGLAND] were largely taken by surprise by the recent restoration of the Easter Vigil, by the changes in the laws of fasting for Holy Communion, and the advent of the Evening Mass.”

— Dom Oswald Sumner (1955)

Recent Posts

  • “Dies Irae” • A Monstrous Translation
  • PDF Download • “Holy, Holy, Holy”
  • Music List • (3rd Sunday of Lent)
  • “National Survey” (Order of Christian Funerals) • By the USCCB Secretariat of Divine Worship
  • “Samaritánæ” (3rd Sunday of Lent)

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