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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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President’s Corner

    Typo in the “Missale Romanum” (1962)
    The 1962 MISSALE ROMANUM was a transitional missal. It was on its way to becoming the 1970 version, but wasn’t there yet. It eliminated certain duplications, downplayed the Prayers at the Foot of the Altar, expanded the role of laymen, minimized the Last Gospel, made many items optional, and so forth. Father Valentine Young spotted many typos in the 1962 MISSALE ROMANUM, especially incorrect accents. The Offertory Antiphon for this coming Sunday (OF kalendar) contains an error, citing the wrong verse from Psalm 118. It should be 118:107b, not 118:154. If you read verse 154, you’ll understand how that error crept in. [In this particular case, the error pre-dates the 1962 Missal, since the 1940s hand-missal by Father Lasance also gets it wrong.]
    —Jeff Ostrowski
    “Music List” • 30th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 26 October 2025, which is the 30th 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 top-notch feasts website alongside the official texts in Latin.
    —Jeff Ostrowski
    Little Encouragement?
    In the Gospel, our Savior tells about 10 lepers who were healed. Only one went back to give thanks. Precious few express gratitude, yet many have endless energy to complain. For that reason, I deeply appreciate receiving messages like the following, which arrived a few days ago (about the parish where I direct in Michigan): “Last Sunday, a couple I knew from Grand Rapids was at Mass at 10:00 a.m. I got a chance to talk to them after Mass. I wanted to let you know what they said about the choir. They were absolutely floored by our sound!!!!! They both said they could continuously listen to our choir and the beauty of it. They asked me: “Do you always sound like that?” And they were also very surprised at how packed the church was. They said it was nice for them to be in such a full church. I just thought you would be interested to know their thoughts about our choir.”
    —Jeff Ostrowski

Quick Thoughts

    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —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
    “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

Random Quote

“Père Joseph Gelineau represented everything that had gone wrong with the Church since the new liturgists had gained control.”

— Jean Langlais

Recent Posts

  • PDF Downloads • Four (4) Simple Pieces in Harmony for Men’s Choirs
  • Typo in the “Missale Romanum” (1962)
  • “Music List” • 30th in Ordinary Time (Year C)
  • “Our Father” • Musical Setting?
  • Little Encouragement?

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