Views from the Choir Loft

Printable Card • “Prayers at the Foot of the Altar”

Fr. David Friel · October 1, 2017

OR PRIESTS and servers new to the Extraordinary Form, it is often helpful to have a card from which to read the prayers at the foot of the altar until they are memorized. Finding the “perfect” card, however, is more difficult than one might expect.

Incorporating the best features of the various cards I have seen, while eliminating a wide array of defects, I am pleased to present my own feeble attempt at this useful altar card. It is available here in .pdf format:

* * PDF • Prayers at the Foot of the Altar

The file is set up in such a way that it is possible to print the card twice, using both sides of the same sheet of paper. After laminating and slicing the sheet once down the middle, you’ll have yourself two copies of the card.

What are the features of this card that I believe make it more useful than some of the other options available for purchase or download? They include the following:

1. The card presents the full text of Psalm 42, not simply the first and last words of each line.

2. It indicates where the Sign of the Cross is to be made with a “+” symbol.

3. Pertinent rubrics are included, in red ink.

4. Accent marks are included in the text.

5. The prayers for ascending the altar steps (Aufer a nobis and Oramus te) are provided.

6. Everything fits on a card half the size of a normal sheet of paper.

This card may be freely reproduced and distributed. Corrections and recommendations for improvement are quite welcome. I hope this resource proves useful to some of our readers!

About Fr. David Friel

Ordained in 2011, Father Friel served for five years as Parochial Vicar at St. Anselm Parish in Northeast Philly. He is currently a doctoral candidate in liturgical theology at The Catholic University of America in Washington, D.C.

“Daily I sat in the temple, close to you…”

Fulton J. Sheen always said the “very best translation” of Sacred Scripture was the version by Monsignor Ronald Knox, and here’s what Knox had for the Passion read today (Pre-1955 Palm Sunday): “And Jesus said to the multitude at that hour, You have come out to my arrest with swords and clubs, as if I were a robber; and yet I used to sit teaching in the temple close to you, day after day, and you never laid hands on me.” (Mt 26:55)

Did you catch that? Our Lord sat close to them! He was near them! The Second Person of the Blessed Trinity touched them, and was friendly toward them! Truly, the people who can hurt us the most—and betray us the most—are those whom we have loved.

—Jeff Ostrowski

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski