• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

Weddings: Some Practical Advice – The End of the Beginning, Part 2

Andrew R. Motyka · September 2, 2014

T’S EASY to describe what the rite describes, but is usually more helpful to explain why. This is especially true when working with couples who are looking to be married, even those who attend Mass regularly. Most people attend Mass and believe what they should, but don’t have a particular interest in liturgical theology, so they may have quite a few questions about the Whys of the Nuptial Mass. Always be ready to answer those who ask you why they have to process into the Church that way (Andy: 1; Accurate Scriptural Quotation: 0).

Everything we do in liturgy, we do for a reason, and it’s usually symbolic in some way. When you deviate from the Rite, sometimes you unknowingly create a symbol that is the complete opposite of what you (and the Church) are trying to convey. For example, the Church’s entrance procession for the Nuptial Mass has both the bride and the groom processing in, demonstrating that they are the ordinary ministers of this sacrament, and that they are equals entering the Church to proclaim their vows publicly. The “traditional” bridal procession, in which the bride is “given away” by her father to the groom, sends a message that a woman is owned by her father right up until she is owned by her husband. This is obviously not an intentional message, but it is present. (If it were an intentional message, that very symbol would instantly provide grounds for an annulment.)

So what about the music during the procession? The argument about “traditional” music such as “Here Comes the Bride” has been made countless times (see here for one of the best ones). Thankfully, it’s becoming an argument that I’ve had less and less; the Wedding March is finally being seen as the cliche that it is.

Of course, telling people what they can’t do is never a great way to lead a discussion. Providing better options is much more effective. Here is where your experience as a musician comes in, and of course must be developed over time with your expansion of your own musical literature. One processional that I encourage the use of (if I can’t get them to use an actual sung procession, that is to say, nearly always) is the piece Processional from Maestoso, a great collection of processionals by Cal Shenk. This particular piece from that set is one that brides choose constantly; if I had to ballpark it, I would say that anywhere from 50-75% of brides choose that piece after I play it once (and it’s not because I’m a good player). It is a solid, solemn processional with a clear A’ section for full organ. I’ve even woven a simple Meinrad-tone Entrance Antiphon into it from time to time.

Don’t forget that, even if it is not the time for you to eliminate the Big Bridal Procession (and it probably isn’t), an Entrance Chant should be sung as normal for Mass. This is a great opportunity to push for the Introit! Congregations do not usually sing very well at weddings, and since the Introductory Rites are particularly front-loaded, encouraging the couple to have the cantor/choir sing the antiphon is a good option. The antiphons can either be found in the “Pro Sponsis” section of the Graduale Romanum or there are several options in the Missal (it’s the same Entrance Antiphon as the 17th Sunday in Ordinary Time).

The Penitential Act is omitted at weddings, but a Gloria is sung at all wedding Masses unless they are celebrated on a Sunday of Lent or Advent. The reason for this is that all Ritual Masses now have a Gloria (even during Lent and Advent), and the only days Ritual Masses are disallowed are Sundays of Advent, Lent, and Easter, and on Solemnities. Of those days, Sundays of Advent and Lent are the only days you would not sing a Gloria anyway. This is new in the 3rd edition of the Roman Missal, and I suspect many people have been pretending it is not there. While in the previous edition, the Gloria was optional, it is required now.

After that, the Mass proceeds as normal. Next week, we’ll finally get past the beginning of Mass and into some other practical advice. So far, this writing has been nearly as long as the actual beginning of the Nuptial Mass (not quite). Tune in next week for more of my unsolicited opinion, and to see if I can write a whole blog post without savaging the use of parentheses (not likely).


Series by Andrew R. Motyka:   “Weddings: Some Practical Advice”

FIRST PART • Introduction

SECOND PART • The Very Beginning, Part 1

THIRD PART • The End Of The Beginning, Part 2

FOURTH PART • Word and Vows

Stay tuned for more additions!

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

Filed Under: Articles Tagged With: Introductory Rites, Nuptial Mass, Roman Missal Third Edition Last Updated: January 1, 2020

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Andrew R. Motyka

Andrew Motyka is the Archdiocesan Director of Liturgical Music and Cathedral Music for the Archdiocese of Indianapolis.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “14 September 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 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“We know that originally the offertories of the repertoire included a series of verses, just like the introit and the communion, but generally more ornate. Many of these are musical compositions of great beauty. They quickly fell into disuse, and we find them only in the most ancient manuscripts. The only remaining trace of this older arrangement in our present-day liturgy is that of the offertory of the Requiem Mass.”

— Dom Joseph Gajard (1956)

Recent Posts

  • Charlie Kirk’s Fascination with Traditional Catholic Liturgy
  • “Novus Ordo Parish … With Polyphony?” • Is that possible? How specifically does that work?
  • “The Injustice of Traditionis Custodes” • (Private Meetings at the Vatican)
  • New Bulletin Article • “14 September 2025”
  • PDF Download • Croft’s “Canonic Kyrie” (SATB)

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.