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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

Comparing Canons

Fr. David Friel · January 26, 2014

HERE CAN BE a tendency (especially among those of us in the Roman Rite) to obsess over the amount of time we spend in church. This syndrome is probably truer of priests than anyone else. Like many public speakers, they may not know how long they preach, but the majority of priests I believe are thoroughly conscious of how long they take to celebrate Mass.

When the fear of going too long arises and visions of a congested parking lot come to mind, what is the priest to do? For many, the first solution is to use Eucharistic Prayer II. While that is certainly a common tendency, is the canon of the Mass really the best place to “make up time”? Moreover, does that solution take into account the appropriate usage of the various approved canons? The entire liturgy of the Church moves in the direction of the Eucharist, and the consecratory prayers are the most important words of Holy Mass. Would it not make more sense to preach shorter and use the Roman Canon?

The Roman Canon, by virtue of its universal & nearly unaltered usage over nearly 1500 years, holds a unique & venerable place among the canons and, as such, is not just one among several equal options. It is the only canon that liturgical directives say “may always be used” (GIRM 365a). Eucharistic Prayer IV has limitations for when it can be used, on account of its proper preface. Eucharistic Prayer III is most apt for memorials of saints, and Eucharistic Prayer II is specifically not recommended for use on Sundays and other solemnities & feasts. These are not my personal categorizations of the four major canons, but rather the norms given in Chapter VII of the General Instruction of the Roman Missal (available here).

In the celebration of the Mass, there ought to be a balance. Our Holy Father, Pope Francis, recently made this point beautifully:

The homily . . . should be brief and avoid taking on the semblance of a speech or a lecture. A preacher may be able to hold the attention of his listeners for a whole hour, but in this case his words become more important than the celebration of faith. If the homily goes on too long, it will affect two characteristic elements of the liturgical celebration: its balance and its rhythm. . . . The words of the preacher must be measured, so that the Lord, more than his minister, will be the centre of attention. (Evangelii Gaudium, 138)

This means, furthermore, that the lesser parts of the Mass ought never to dominate those which are greater. When we offer 14 prayers of intercession and spend only 10 seconds in silence after Communion, there is an imbalance; when we sing four hymns and recite all the dialogues and acclamations, there is an imbalance; when we preach for 25 minutes and offer Eucharistic Prayer II, there is an imbalance.

HE ARGUMENT AGAINST defaulting to Eucharistic Prayer II to “save time” is not only theoretical; it can also be based on practical evidence. The pagination of altar missals can make it seem as though the Roman Canon is inordinately longer than the other prayers, but I have often thought that a closer study would show the actual lengths to be not so wildly disparate. So I decided to undertake this closer study for myself by counting the words of the four major canons and comparing the length of time it takes to recite them.

Below are the results of the word counts, which unsurprisingly show that Eucharistic Prayer II is, in fact, the shortest canon. It is shorter than the Roman Canon by a margin of 453 words. Not included in these word counts are the Preface, the Sanctus, the Mysterium fidei, the Per ipsum, the special forms of the Communicantes & the Hanc igitur, and the special commemorations for Masses of the Dead.

Into what amount of speaking time does the disparity of the word counts translate? I considered timing myself while reading each text sitting at my desk, but I feared subconsciously rushing one or more of the texts so as to skew the data to suit my purposes.

Instead, I found here recordings of each prayer that were made by Fr. James Lyons of the Archdiocese of Wellington, New Zealand to assist priests in learning the new translations. Below is a graph showing the length of those four recordings. Interestingly, the longest prayer is not the Roman Canon, but Eucharistic Prayer IV; although the fourth prayer contains approximately 100 fewer words than the Roman Canon, its phrasing must demand more pauses. (Please note: the original lengths of the audio files are longer than the times presented here, because I have excised the introductions given by Fr. Lyons for more precise measurement.)

While recordings from just one priest admittedly constitute a small sample size, I suspect that the data I took from Fr. Lyons’ recordings are fairly representative of what would be the average of a larger study. Furthermore, what is at issue here is not so much the actual time it takes a particular priest to pray the anaphora, but rather the comparative length of the various prayers. And what do these data show? Just how much longer is the Roman Canon than Eucharistic Prayer II? Less than two minutes.

HE SUPPOSITION that using Eucharistic Prayer II saves time is deeply imbedded in many priests and Mass-goers. Yet, by both theoretical and practical considerations, it would appear that this supposition is founded upon two false assumptions: first, that the canon is the best (or easiest) place to “save time,” and, second, that offering Eucharistic Prayer II saves significant time. From my perspective, however, there are better parts of the Mass to shorten than the canon, and the time saved by Eucharistic Prayer II is rather negligible.

I am as guilty as any Catholic I know, but I still long for a world in which we weren’t so concerned about the length of Mass. While we wait for the arrival of that world, let’s at least keep things in perspective. The next time your priest offers Eucharistic Prayer II on Sunday, ask yourself if you could spare two extra minutes.

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

Filed Under: Articles, Featured Tagged With: History of the Roman Canon, Pope Francis, Roman Missal Third Edition Last Updated: November 30, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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President’s Corner

    PDF Download • “Eb Organ Postlude”
    Gustav Adolf Merkel (d. 1885) was a German organist, teacher, and composer. Although a Lutheran himself, he held the appointment at the (Roman Catholic) Cathedral of Dresden from 1864 until his death. You can download his Organ Postlude in E-Flat, which I like very much. He has an interesting way of marking the pedal notes. What do you think?
    —Jeff Ostrowski
    Music List • (Palm Sunday, 2026)
    Readers have expressed interest in seeing the ORDER OF MUSIC I created for Palm Sunday—a.k.a. “Dominica in palmis de Passione Domini”—which is 29 March 2026. Please feel free to download it as a PDF file if such a thing interests you. The OFFERTORY (Impropérium exspectávit cor meum) is quite moving. Even though the COMMUNION ANTIPHON is relatively simple, the Fauxbourdon makes it sound outstanding.
    —Jeff Ostrowski
    Easter • Would You Sing This Hymn?
    He who examines Laudes Dei: a hymnal for Catholic congregations (St. Louis, 1894) will discover this pairing of a hymn for Easter. For the record, this isn’t the only Catholic hymn book to marry that text and melody; e.g. Saint Mark’s Hymnal for Use in the Roman Catholic Church in the United States (Peoria, 1910) does the same thing. Sometimes an unexpected pairing—chosen with sensitivity—can be superb, forcing singers to experience the text in a ‘fresh’ and wonderful way. On the other hand, we sometimes encounter something I’ve called “PERNICIOUS HYMN PAIRINGS.” If you find the subject in intriguing, feel free to peruse an article I published in May of 2023. As always, my email inbox is open if you have a bone to pick with my take.
    —Jeff Ostrowski

Quick Thoughts

    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —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
    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

Random Quote

Luys de Villafranca, master of the altar boys—who are to be distinguished from the choirboys (“seises”) because they study only plainchant whereas the choirboys live with the chapelmaster and study polyphony and counterpoint as well—is rewarded on October 17 with a salary increase of 6,000 maravedís and an extra 12 bushels of wheat.

— Sevilla Cathedral: Chapter Resolution (7 September 1565)

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