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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

Ministry of Consolation • A Case for Congregational Singing at Funerals

Richard J. Clark · August 21, 2017

UNERALS ARE some of the trickiest and most sensitive parts of a church musician’s job. They warrant much pastoral attention and care. This can be a challenge for parishes with many funerals. For some parishes, it is not unusual to have over one hundred per year. As a result, funerals can become rather routine and ho-hum. But for the family and loved ones, it is anything but.

The importance of congregational singing is generally well understood as an important aspect of “full and active participation.” The Ministry of the Assembly, is emphasized in Sing to the Lord: Music in Divine Worship (SttL):

“Holy Mother Church clearly affirms the role within worship of the entire liturgical assembly…Within the gathered assembly, the role of the congregation is especially important. “The full and active participation by all the people is the aim to be considered before all else, for it is the primary and indispensable source from which the faithful are to derive the true Christian spirit.” (SttL § 10-11)

This is all very well and good, but when it comes to funerals, asking for the congregation to sing is a tall, if impossible order. So why bother?

SttL goes on to elaborate about internal and external participation, even quoting Pope St. John Paul II with regard to interior participation:

Participation in the Sacred Liturgy must be “internal, in the sense that by it the faithful join their mind to what they pronounce or hear, and cooperate with heavenly grace.” Even when listening to the various prayers and readings of the Liturgy or to the singing of the choir, the assembly continues to participate actively as they “unite themselves interiorly to what the ministers or choir sing, so that by listening to them they may raise their minds to God.” (SttL §12)

But again, when loved ones are grieving, is it not obnoxious to “make them sing,” especially if many are not regular churchgoers? So, again, why bother?

If there ever was a liturgy in which the entire assembly is participating in some fashion—if only interiorly—it is a funeral. The intensity of the emotion, especially for very difficult cases, draws in all present in whatever way they are capable.

• Four Real Reasons for Roman Catholic Funerals

Y SUGGESTION IS TO ALWAYS PROVIDE a means for participation, regardless of what one might think will or will not transpire. Enormously helpful is even a simple one-page worship aid with numbers listed for a hymnal. Better yet, sing very simple settings of the Acclamations, Responsorial, Gospel Acclamation, and dare I say—even a communion antiphon.

If you do so, will the assembly sing? The grieving families? Unlikely.

Unless, they are parishioners. I have found that when regular parishioners are in attendance, the opportunity for congregational singing is ripe! And even if only ten percent of the congregation sings, it brings extraordinary consolation to the bereaved.

And getting a congregation to sing is not an end in of itself.

Congregational singing at a funeral (no matter how feeble) sends a beautiful message: If you, the bereaved cannot give voice to your grief in this moment, we shall do it for you. To sing for another sends a message of love: We are with you. We pray with you, for you, and for the deceased whom we love.

The Order of Christian Funerals has much to say about the role of the community in the Ministry of Consolation.

“If one member suffers in the body of Christ which is the Church, all the members suffer with that member.” (1 Corinthians 12:26). For this reason, those who are baptized are responsible for one another.” (OCF #8)

As such, “[t]he responsibility of the Community for the ministry of consolation rests with the believing community…Each Christian shares in this ministry according to the various gifts and offices in the Church.” (OCF #9)

As such, if one has the capacity to assist the congregation with singing, one should make every effort. Likewise, the pastoral musicians must make that possible—even if congregational singing is unlikely. One must not judge beforehand!

“The Community’s principal involvement in the ministry of consolation is expressed in its active participation in the celebration of the funeral rites…” (OCF #11)

HAVE ALWAYS FOUND congregational singing at funerals to be an extraordinarily uplifting and consoling experience. I say this from the choir loft, and I say this from the pew. I have felt great consolation and love from strangers who came to pray (and sing those prayers) for a loved one. As the recipient of such generosity, my heart is full.

The more difficult the funeral (especially in cases of unexpected or tragic loss), the more important it is for the community to join together in support in its ministry of consolation. This ministry extends long after the funeral, sometimes for a lifetime.

This message of consolation is most profound and joyful! Our sacred music at a funeral must express “a spirit of hope in the Christian’s share in Christ’s victory over death.” (OCF #31)

Oremus pro invicem
Let us pray for each other.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    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
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

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

“Who dreamed on that day that within a few years, far less than a decade, the Latin past of the Church would be all but expunged, that it would be reduced to a memory fading in the middle distance? The thought of it would have horrified us, but it seemed so far beyond the realm of the possible as to be ridiculous. So we laughed it off.”

— Most Rev’d Robert J. Dwyer, Archbishop of Portland (d. 1976)

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