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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

Progressive Solemnity

Fr. David Friel · December 21, 2014

ITHIN THE STRUCTURE of High Mass and Low Mass in the Extraordinary Form, the liturgical elements to be sung at a particular Mass are well established. With the loss of that structure in the Ordinary Form, there has come about a new principle, referred to as “progressive solemnity.” In this new model, the rule of the Church permits for only some elements of the Mass to be sung, decided by the priest and liturgical musicians.

In recent weeks, there has been some online discussion of “progressive solemnity.” It began, so far as I can tell, with an article posted by Fr. Thomas Kocik on NLM. Ben Yanke posted a nice response, also on NLM. I would like to add a perspective that has not surfaced in those two very good posts.

“Progressive solemnity” may be a fair theory for working in the Novus Ordo, but, in practice, is it perhaps a concept that is too often employed in reverse?

Quite commonly, priests & musicians ask the question, “What are we going to sing today?” It’s as if there is an assumption that a purely spoken Mass is the default base onto which we add the ornamentation of a little music here, a little music there. But, as the documents on sacred music take great pains to make clear, true liturgical music is never just “ornamentation.”

Would it not be better, more proper, more consonant with the view of Sacrosanctum Concilium, to view the fully sung liturgy as the default and to make that the norm from which we make adaptations?

HE VERY TERM “progressive solemnity,” I believe, is part of the problem. It makes it sound like we should be minimalists, starting with a tabula rasa rather than with the richness of totally sung liturgy. It also seems to advocate the simplistic approach that sprinkling music over the rite adds solemnity. In the Roman Rite, however, solemnity is added not so much by singing more elements, but by raising the form—the nature and style—of what is sung. This explains the existence of the ferial tones & solemn tones found in the missal.

This point has been made persuasively by Prof. William Mahrt, President of the CMAA:

The differentiation of the solemnity of days should be achieved principally through the kind of music employed, rather than how much. As a matter of principle, I would suggest that “progressive solemnity” does not properly serve the sung liturgy, since it omits the singing of certain parts of the Mass which should and could be sung and thus gives up on the achievement of a completely sung service. (Mahrt, The Musical Shape of the Liturgy, 168)

At the very least, if we are to adhere to the principle of progressive solemnity, we should first agree that our starting point is the fully sung Mass, not an entirely spoken Mass. Otherwise, we fall into what might better be called “regressive solemnity.” The fully sung liturgy is our root chord, so to speak, and the innumerable permutations of partially sung liturgy are its various positions.

The phrase “progressive solemnity” first appeared under the heading “Singing in the Office” in the General Instruction of the Liturgy of the Hours (GILOH). It says there:

A celebration performed entirely with singing is commendable, provided that it has artistic and spiritual excellence; but it may be useful on occasion to apply the principle of “progressive solemnity.” There are practical reasons for this; there is also the fact that the various elements of liturgical celebration are not then treated indiscriminately, but each of them can be restored to its original meaning and genuine function. (GILOH, #273)

Of course, the selection of more solemn elements of the liturgy is not limited only to sacred music. Progressive solemnity can refer also to other matters, such as the number of candles on the altar, the nobility of the vestments worn, the length of the processions, etc.

After several decades in force, it is time for an evaluation of the merits of progressive solemnity. Arguments could be made in its favor on the basis that it is a practical solution and that its initial intention was to increase the amount of sacred music at Mass, in contrast with the restrictive High Mass/Low Mass model. The evidence, however, bears clear testimony that the principle of progressive solemnity—whether intentionally or not—has significantly reinforced the errant perception that music is an “extra” in the sacred liturgy. Who hasn’t heard the simplistic argument: “It’s just a ferial day. Why would we sing the [insert name of any Mass part]?”

All of this is why I see a degree of conflict inherent in this teaching from Sing to the Lord:

Music should be considered a normal and ordinary part of the Church’s liturgical life. However, the use of music in the Liturgy is always governed by the principle of progressive solemnity. (Sing to the Lord, #110)

Instead of adopting the view that “adding singing” to the Mass adds solemnity, would it not be better to take the view that “subtracting singing” from the Mass subtracts solemnity? When we embrace this fundamental shift in perspective, the principle of progressive solemnity loses some of its luster in its governance of our liturgy.

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

Filed Under: Articles Tagged With: Liturgy of the Second Vatican Council, Progressive Solemnity, Reform of the Reform, Sacrosanctum Concilium, Singing the Mass, USCCB Sing to the Lord Document on Music Last Updated: January 1, 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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Corpus Christi Watershed

President’s Corner

    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
    “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
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Life need not mean something. Life is something. And what is it? It is: —the present moment (the only one I really have); —my body and soul; —the task at hand; Almighty God, (source of everything) asks just one thing: that I put my body and my soul into this one moment, this one task … that I might do it as God desires it to be done.”

— Based on an article by Robert Keim

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