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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

Tutorial For Priests: Singing The Prayers After The “Asperges Me”

Jeff Ostrowski · November 29, 2014

625 Oration Demonstration 1513 AD F THE QUESTION asks for the capital of Tennessee, “Nashville” would be CORRECT, but if the question asks for Nebraska’s capital, “Nashville” would be INCORRECT. In other words, the question determines whether a particular answer is correct. Pretty obvious, right?

Wrong. Many priests ask me, “Am I singing this Collect correctly?” Others ask, “Am I singing this Gospel correctly?” It depends on which tone they’re trying to sing.

Here are the texts 1 :

Osténde nobis, Dómine, misericórdiam tuam.
R. Et salutáre tuum da nobis.
Dómine, exáudi oratiónem meam.
R. Et clamor meus ad te véniat.
Dóminus vobíscum.
R. Et cum spíritu tuo.
    Orémus.  Exáudi nos, Dómine sancte, Pater omnípotens, ætérne Deus, et míttere dignéris sanctum Angelum tuum de cælis, qui custódiat, fóveat, prótegat, vísitet, atque deféndat omnes habitántes in hoc habitáculo. Per Christum Dóminum nostrum.  R. Amen.

Show us, O Lord, Thy mercy.
R. And grant us Thy salvation.
O Lord, hear my prayer.
R. And let my cry come unto Thee.
The Lord be with you.
R. And with thy spirit.
    Let us pray.  Graciously hear us, O Holy Lord, Father Almighty, Eternal God; and vouchsafe to send down from heaven Thy holy Angel, to guard, cherish, protect, visit and defend all who dwell in this house. Through Christ our Lord.  R. Amen.

They’re supposed to be sung like this (pay special attention to the “Dominus Vobiscum” section):

      * *  PDF Download: “Simple Tone”

      * *  Mp3 Recording: “Simple Tone”

Yet many priests sing these prayers incorrectly. To understand how such a mistake is possible, one must realize that several tones can lawfully be chosen. Priests often mix the various tones unknowingly, which is not allowed. Even popular reference books get this wrong! For example, the CMAA’s Psallite Sapienter (2008) and Nicola Montani’s St. Gregory Hymnal (1920) give erroneous information about this tone. 2

If you don’t believe me, download the official rubrics from 1961. Or, you can consult the official rubrics from 1908, which reproduce my version exactly. 3 These same rubrics can also be found in the 1912 Antiphonale Romanum (Editio Vaticana). Their technical name is “Toni Communes” and I could easily include many more versions. 4

WITH REGARD TO the “erroneous version” sung by most priests, they confuse the “Simple Tone” (given above) with this one:

      * *  PDF Download: “Ferial Tone B” • This tone may also be used.

To discover the origin of “Ferial Tone B,” one must carefully examine Page 99 in the Liber Usualis. Even though these words have remained unchanged for 109 years, few people are aware of their existence.

In the famous 1941 Mass, 5 the priest correctly sings “Ferial Tone B,” but the choir sings the “Amen” incorrectly. For proof, you can watch the video excerpt, but you have to listen carefully because Msgr. Sheen speaks during some of it. The SSPX priest shown in this video excerpt from 2006 almost sings the tone correctly, but turns the “Oremus” upside down (and the congregation fails to sing “Et cum spiritu tuo” properly).

By the way, here is how the “Vidi Aquam” and “Asperges Me” appear in the St. Edmund Campion Hymnal, which is the only congregational hymnal for the Extraordinary Form.



NOTES FROM THIS ARTICLE:

1   The word Alleluia is added to several of these prayers during Eastertide, when the Vidi Aquam is sung.

2   Both books assume only one tone can be chosen, which is false. By the way, the St. Gregory Hymnal contains a surprising rubric about when the choir sings the Gradual.

3   The only difference is that I took advantage of the “descending fifth option” on the word «HABITACULO» which is specifically allowed by the 1961 rubrics for a Full Stop.

4   If you visit the Lalande Library, you’ll discover that most versions of the Kyriale contain the “Toni Communes.” The 1905 version from Styria is notable, since its font sizes are gargantuan. However, before the Vatican Edition appeared in 1905, there was great melodic variation. For example, the 1895 Liber Usualis of Abbot Pothier only includes one version of the Collect Tone, called the “Monastic Tone.” Notice, too, the interesting melodic variant chosen for the Pater Noster (people’s response) in that 1895 book.

5   A Traditional Latin Mass filmed in Our Lady of Sorrows Church (Chicago) and narrated by Msgr. Fulton J. Sheen.

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

Filed Under: Articles Tagged With: Asperges Me PDF Score Audio Recording Last Updated: January 1, 2020

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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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Corpus Christi Watershed

President’s Corner

    “Music List” • 29th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 19 October 2025, which is the 29th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the sensational feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed

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

“Franz Liszt was an eminent keyboard virtuoso but a dangerous example for the young. … As a composer he was terrible.”

— Clara Schumann

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