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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

Weddings: Some Practical Advice – The End and the New Beginning

Andrew R. Motyka · October 15, 2014

FTER the Rite of Marriage is completed in the Nuptial Mass, the rest seems almost anticlimactic. You know, it’s just the miracle whereby the Creator of the universe is consumed by us under the appearance of bread and wine. No big deal.

Snarkiness aside (fat chance), the Liturgy of the Eucharist seems like no big deal because it is so much more routine to us. We have to be careful not to neglect it as “just the Mass” from this point on, because there is nothing routine about the Mass, at least not in the dull, lifeless sense. Just as we seek beauty and excellent worship in our normal parish liturgy, so should we seek it in the Nuptial Mass. Remember that the congregation at this Mass is probably from far and wide, so the Mass Ordinary that works so well on the weekends might draw a dud response from this group. Keep it simple. The Missal chants are pretty well known across the country right now (a great blessing from the new translation). Even though the adaptations of these chants are, in my opinion anyway, not particularly inspired, they are a good common repertoire for these kinds of Masses. They are much better than many of the newer settings pushed by the major publishers, to be sure.

One custom that has worked its way into the Nuptial Mass, toward the end, is the presentation of flowers to an image of the Blessed Virgin Mary. While I am reluctant to discourage any kind of devotion to Our Lady, this probably isn’t the best time for it. It would be much better placed at the rehearsal, or even directly after Mass. Private devotions like this are not particularly suited to the public act of the Mass. That said, there are far worse corruptions that have wormed their way into the wedding liturgy.

The rest is easy. While Mass should never be mindlessly easy, we are still back in the comfort zone at this point. As an additional point of advice, now that I consider the mixed congregation we have at these liturgies, is to make a good worship aid. I don’t mean the little card programs that get handed out, the “cast of characters” that make sure everyone knows who the 8th bridesmaid processing down the aisle is. I mean a full blown, texts-and-music order of service, including the full spoken responses for the congregation. If these texts are available in a hymnal or missal in the pews (I have no idea where you could find a good one of those), then that can function, too. Just make sure the congregation is made aware of these texts before the liturgy starts. Many of them are not Catholic, and some that are have not darkened the doors of a church in some time. Make them welcome and help them re-acclimate to the liturgy. For that matter, including the norms for receiving Holy Communion is a good idea, too.

I know it’s a grand cliche, but remember that this sacrament is the beginning, not the end, of a couple’s journey together toward salvation. Too often it is seen as the goal line, and “happily ever after” is the end of the story. That’s one of the reasons people overdo it with all the bells and whistles at their wedding. Put more effort into your marriage than into your wedding, and you’ll be much more successful.

And by the way, congratulations to my baby sister, Laurie, who is getting married this weekend.

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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Corpus Christi Watershed

President’s Corner

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (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. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

At papal Masses, the regulations against tardiness were more stringent than at Masses celebrated by cardinals or bishops. Giovanni Maria Nanino records that any singer who is not in his place—and in his vestments—by the end of the repetition of the “Introit” will be fined eight vinti. At papal Vespers, the singer who is not present at the “Gloria Patri” of the first psalm pays a fine of fifty balocchi.

— Giovanni M. Nanino (d. 1607), Papal “Maestro di Cappella”

Recent Posts

  • Entrance Chant • Before or After Opening Hymn?
  • “Unfair Characterization” • (But Good Question)
  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”
  • “Reminder” — Month of May (2026)

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