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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

Palm Sunday Outline • Extraordinary Form

Jeff Ostrowski · March 29, 2015

10a. The singing the Antiphon “Hosanna Filio David” begins the ceremony, as the celebrant walks to a table:

Ant. HOSANNA FILIO DAVID   •   PDF Score   •   1st Video   •   2nd Video   •   Organist


12a. Then comes the blessing of the palms.

Dominus vobiscum. etc.

The celebrant sings a Collect beginning with Oremus.


14a. Celebrant sprinkles with Holy Water the palm branches—those on the table, as well as those in the hands of the people (unless branches will be distributed to them after the blessing).

“Two methods of blessing the branches are offered in the restored Ordo Hebdomadae Sanctae. First, the branches may be prepared by the faithful and brought by them to the church, where they are blessed before the procession. Or the branches may be prepared in the church, blessed, and then distributed to the faithful for the procession. In any case the branches for the clergy and servers are not distributed to them until after the blessing.”


16a. Celebrant incenses the branches on the table and those held by the people (unless branches will be distributed to them after the blessing).


18a. Having kissed the Altar, the Celebrant distributes palm branches to the servers and people (unless the people have theirs already). During the distribution, the following antiphons & psalms are sung:

Two antiphons w/ psalms: PUERI HEBRAEORUM   •   First Antiphon   •   Second Antiphon

If these chants are not long enough, they are repeated until the distribution of palm branches is finished. If, on the other hand, the distribution ends first, the “Gloria Patri” is sung at once, followed by the antiphon.

Therefore, this PDF SCORE will be useful where the people are already holding the palm branches—since the only distribution in that case will be to the Altar Servers, which takes a very short time.


20a. After a Gospel (Mt 21: 1-9) is sung or read, the procession begins, when the Deacon (or Celebrant) sings:

101 Procedamus in pace


22a. During the procession—wherein the people process holding palm branches—all or some of the following selections may be sung:

First Antiphon • Occúrrunt turbae

Second Antiphon • Cum ángelis et púeris

Third Antiphon • Turba multa quae convénerat

Fourth Antiphon • Coepérunt omnes turbae

Hymn to Christ the King • “Glória laus et honor”
Vocal Score   •   Organist Score   •   1st Video   •   2nd Video

Fifth Antiphon (Version A) with Psalm • Omnes colláudant nomen tuum

Fifth Antiphon (Version B) with Psalm • Omnes colláudant nomen tuum

Sixth Antiphon • Fulgéntibus palmis prostérnimur

Seventh Antiphon • Ave Rex noster

The faithful may also sing the hymn CHRISTUS VINCIT or any other chant in honor of Christ the King.


24a. When the procession enters the church, that is, as the celebrant goes through the door, a Responsory (Ingrediénte Dómino) is begun, which is found at the GoupilChant Website, along with the rest of the Mass chants for Palm Sunday.



HELPFUL RESOURCES for PALM SUNDAY in the EXTRAORDINARY FORM:

1   Msgr. Frederick R. McManus • RITES of HOLY WEEK (1956). Courtesy of RARTY.

2   St. Peter’s Abbey, Solesmes • REVISED PALM SUNDAY with MUSIC (1957).

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

Filed Under: Articles Tagged With: Palm Sunday Extraordinary Form 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

    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) 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
    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

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

[Speaking about the Silent Canon, with audible “per ómnia”] — “So in all such cases it is usual for the otherwise silent celebrant occasionally to sing a clause aloud, to show how far he has arrived.”

— Father Fortescue (pages 313-314) • “A Study of the Roman Liturgy”

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