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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

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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President’s Corner

    PDF Download • “Offertory” for this Sunday
    This coming Sunday, 12 October 2025, is the 28th Sunday in Ordinary Time (Year C). Its OFFERTORY ANTIPHON (PDF) is gorgeous, and comes from the book of Esther, as did the ENTRANCE CHANT last Sunday. Depending on a variety of factors, various hand-missals (all with Imprimatur) translate this passage differently. For instance, “príncipis” can be rendered: King; Prince; Lion; or Fierce lord. None is “more correct” than another. It depends on what each translator wants to emphasize and which source text is chosen. All these pieces of plainsong are conveniently stored at the blue-ribbon feasts website.
    —Jeff Ostrowski
    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF example) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski

Random Quote

Had the Church never spoken on this matter, it would still be repugnant to our Catholic people’s sense of what is fit and proper in the holiest of places, that a priest should have to struggle through the prayers of the Holy Mass, because of such tunes as “Alice, where art thou?” the “Vacant Chair,” and others of more vulgar title, which, through the carelessness or bad judgment of organists, sometimes find their way into our choirs.

— Preface to a Roman Catholic Hymnal (1896)

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