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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

A Mini History of the Sequences

Fr. David Friel · May 24, 2015

HE SEQUENCES are an interesting facet of the liturgy. Their historical origin is difficult to trace, but they are generally thought to be an outgrowth of the melismatic jubili at the end of Gregorian Alleluias. Sequences originally served as an artful accompaniment to the sometimes lengthy Gospel procession.

First appearing in the ninth century, the sequence rose to a level of fair prominence in the medieval period. Their heyday lasted until the liturgical reforms enacted during the Counter-Reformation. At the height of their usage, there were proper sequences for nearly every Sunday and feast day (outside penitential seasons). Their usage varied widely, however, since the sequences were never obligatory.

In 1570, the liturgical use of sequences was restricted to just four of these texts, including: Victimae paschali for the octave of Easter, Veni Sancte Spiritus for the octave of Whitsun (now called Pentecost), Lauda Sion for the octave of Corpus Christi, and Dies irae for All Souls’ Day and Requiem Masses that immediately follow a death. Then, in 1727, the Stabat mater was added for the new feast of the Seven Sorrows of Our Lady. Notably, these were not the only sequences allowed; they were, however, the only sequences prescribed for the liturgy.

The sequence for today’s feast of Pentecost is the Veni Sancte Spiritus, and it was probably retained because of the many customs and traditions associated with the annual feast in medieval times. This text was likely composed by Pope Innocent III at the turn of the thirteenth century, but it may have been the earlier work of King Robert the Pious of France at the turn of the eleventh century. It is sometimes called the “Golden Sequence” because of the esteem it has long enjoyed among the faithful. One should not confuse this composition, though, with the Veni Creator Spiritus, which is another very worthy but separate composition, attributed to Charlemagne.

Veni Sancte Spiritus is a true masterpiece of Latin poetry. In rhyme scheme, it is complex and gorgeous; lines one & two rhyme with each other, and line three always ends in the syllable –ium. In meter, the sequence is a very faithful example of trochaic dimeter. In content, it is a magnificent meditation on the Spirit’s guidance through consolation & desolation. So much is lost when this sequence is not sung in its original Latin.

Even today, in the Extraordinary Form, this sequence is sung daily throughout the octave of Pentecost. This serves as an excellent bridge to the Feast of the Most Holy Trinity, and it provides ample time for the faithful to digest the depth of faith contained in the Golden Sequence.

The liturgical reforms of Vatican II further reduced the number of sequences in the missal. Presently, in the Ordinary Form, sequences are only appointed for two feasts (Easter and Pentecost) and recommended for one (Corpus Christi). The Dies irae and Stabat mater, meanwhile, have been relegated to the breviary, where they have become optional hymns for the Office of the Dead and in the days anticipating penitential seasons.

Another change brought on at Vatican II concerns the placement of the sequence. Historically, the sequence had always followed the Alleluia. This is suggested even by the name “sequence,” which derives from the Latin sequere, meaning “to follow.” In this position, the sequence served as a sort of introduction to the Gospel. The present placement, however, is before the Alleluia, rather than after it. This modern rubric seems anomalous, since it separates the sequence from the Alleluia—the very part of Mass from which the sequence first drew its life.

Editor’s Note : Fr. Friel is quite correct in pointing out that Sequences were created to help singers memorize the long jubilus of the Alleluia. Indeed, many of the early Sequences ended each line with the letter “A” to bring this point home. However, not everyone is aware that there was an serious effort made in 2000 to restore the Sequence to its proper place in the Ordinary Form.

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

Filed Under: Articles Tagged With: Annibale Bugnini Reform, Extraordinary Form 1962 Missal, Gregorian Chant, Gregorian Sequences, Liturgical Sequences, Liturgy of the Second Vatican Council, Omitting The Sequence On Pentecost Last Updated: October 10, 2021

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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’ with regard to 1960s switch to 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

“In my opinion, there should be reached the aim that all priests could continue to use the old Missal.”

— ‘Cardinal Ratzinger, Letter to Wolfgang Waldstein (14 December 1976)’

Recent Posts

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  • “American Catholic Hymnal” (1991)
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