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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

Three Entrance Antiphons for the Celebration of Marriage

Richard J. Clark · October 6, 2017

EDDINGS ARE a vital part of the sacramental life of the Church. Likewise, the music must reflect the joy of a life with Christ at the center.

The catalyst for this collection of simple Entrance Propers in English was Msgr. Rick Hilgartner. In 2016, I was assisting with music for an FDLC workshop on the Revised Order of Matrimony. During a lengthy discussion on processions, Msgr. Hilgartner suggested singing one of the three antiphons for Marriage in the Roman Missal, all of which he read aloud for emphasis. Another priest turned to me and made a gesture that I should get busy writing. Inspired by my wife, I got to work.

These texts are beautiful, inspiring, and should be sung in their own right. Singing the Entrance Antiphon at a wedding is not simply a liturgically conservative gesture. It is a progressive act—an invocation inviting God to permeate the center of their love. As the couple confers the sacrament upon each other, these texts are a beautiful way to being the Mass. They are a beautiful way to begin life together.

PDF Download:
      * * Three Entrance Antiphons for the Celebration of Marriage • for Assembly, Cantor, SATB, Organ, Trumpet
      * * Congregation inserts are included at the end.

ABOUT THESE SETTINGS
      • Designed to work for a Liturgical Procession
      • OR sung as a Gathering Song after the more typical procession
      • All are in the key of D to transition easily from any number of common processional pieces.
      • Antiphons are METERED in 4/4
      • The Verses are identical for all three: Psalm 128 — very appropriate for a wedding—and found as the verse for Deus Israel conjugat vos, the Introit from the Graduale Romanum for the Nuptial Mass.
      • While choirs are not the norm for weddings, the option is available.
      • Given the potential for varied instrumentation at weddings, guitar chords are provided. Although composed for organ and trumpet, these can be adapted for piano and other instruments.

Here are more free scores for weddings compiled and arranged by Jeff Ostrowski.

Finally, here are practice videos for the Nuptial Blessing: Nuptial Blessings • Practice Videos • Order of Celebrating Matrimony

Soli Deo gloria

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

    “Lamb of God” (Musical Setting)
    The MASS OF SAINT ANNE LINE has been quite popular ever since ROMAN MISSAL Third Edition was released circa 2011. You can now download the musical score (PDF) for this setting, placed into five (5) different keys; i.e. “pitch levels” that are high and low. This makes it possible to adjust based upon who’s singing at which time of day.
    —Jeff Ostrowski
    PDF Download • Introit (2nd Sn. Ord.)
    This coming Sunday, 18 January 2026, is the 2nd Sunday in Ordinary Time (Year A). The ENTRANCE CHANT is set according to the fourth mode, which sounds ‘serious’ or ‘dark’ or ‘haunting’ or ‘mysterious’—and its English adaptation corresponds to the authentic version (“Omnis terra adóret”) found in the GRADUALE ROMANUM. In this rehearsal video (click here) I attempt to sing the melody while simultaneously accompanying myself on the organ. I encourage you to print off the organ accompaniment (PDF) and play through it, because the harmonies are delightful.
    —Jeff Ostrowski
    Spectacular Communion Setting!
    The FAUXBOURDON setting of the Communion for the Baptism of the Lord (which will occur this coming Sunday) strikes me as quite spectacular. The verses—composed by the fifth century Christian poet, Coelius Sedulius—come from a long alphabetical acrostic and are deservedly famous. The feast of the LORD’S BAPTISM was traditionally the octave day of Epiphany, but in the 1962 kalendar it was made ‘more explicit’ or emphasized. The 1970 MISSALE ROMANUM elevated this feast even further.
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski
    PDF Download • “In Paradisum” in English
    We always sing the IN PARADISUM in Latin, as printed on this PDF score. I have an appallingly bad memory (meaning I’d be a horrible witness in court). In any event, it’s been brought to my attention that 15 years ago I created this organ accompaniment for the famous and beautiful ‘IN PARADISUM’ Gregorian chant sung in English according to ‘MR3’ (Roman Missal, Third Edition). If anyone desires such a thing, feel free to download and print. Looking back, I wish I’d brought the TENOR and BASS voices into a unison (on B-Natural) for the word “welcome” on the second line.
    —Jeff Ostrowski

Random Quote

“No living writer possesses a greater command over the English language than Msgr. Knox, but in this instance one cannot help feeling that he has allowed his virtuosity to get the better of him, and, in his anxiety to shield the holy of holies from vulgar intrusion, produced a text that would either pass over the listener’s head as completely as the original Latin, or else leave him groping so long after the meaning that he would be quite unable to keep pace with the officiating priest.”

— Dr. Herbert Patrick Reginald Finberg (University of Leicester)

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