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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

“Ad Orientem” Explained

Daniel Tucker · February 13, 2021

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HIS YEAR, the priest at my parish will be offering the Holy Sacrifice of the Mass ad orientem on Fridays during Lent. In parishes that are not used to having Mass offered ad orientem, introducing it at daily Mass on the Fridays of Lent is an excellent way to begin the practice. I wrote the following “explainer” to help my parishioners understand what’s going on and why.

What does “ad orientem” mean?

“Ad orientem” is Latin for “toward the East.” It refers to the direction that the priest faces during particular moments in the Holy Sacrifice of the Mass. Historically, Catholic churches and cemeteries have always been built along an East-West axis whenever possible. This is because the Holy Sacrifice of the Mass is not merely a closed-circle, communal event taking place between the priest and people, but a heavenly mystery encompassing the whole cosmos: “In the earthly liturgy we take part in a foretaste of that heavenly liturgy which is celebrated in the holy city of Jerusalem toward which we journey as pilgrims, where Christ is sitting at the right hand of God…” (Sacrosanctum Concilium, paragraph 8). 

It seems like the priest is facing the wrong way. What’s going on?

During those portions of the Mass that are addressed to the people, the priest faces the people. However, because the Eucharistic prayer is addressed to God the Father, the normal posture of the priest has always been to face with the people toward the Lord while the priest, acting “in persona Christi capitis” (“in the Person of Christ the Head”), re-presents Christ’s saving sacrifice to the Father in an unbloody manner through the power of the Holy Spirit.

Didn’t Vatican II get rid of this?

Actually, no. Nowhere in the documents of Vatican II (nor in any other magisterial documents before or since) has the Church ever directed the priest to face “versus populum” (Latin, “toward the people”) for the entire duration of the sacred liturgy. In fact, the current edition of the General Instruction of the Roman Missal (the priest’s “instruction book” for Mass) presumes the “ad orientem” posture because it directs the priest to turn and face the people at certain points, implying that he had not been facing them beforehand.

What does this mean for me?

While the priest’s “ad orientem” posture may seem unusual at first, with repeated exposure many people find that the “ad orientem” celebration allows them to enter more deeply into the prayer of the Mass and to focus more intently on the mystery of Christ’s Real Presence – Body, Blood, Soul, and Divinity – in the Most Holy Eucharist.

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

Filed Under: Articles Tagged With: Ad Orientem Last Updated: February 13, 2022

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About Daniel Tucker

Daniel Tucker is choirmaster at the Cathedral of St. Matthew in South Bend, IN. He holds degrees from Western Michigan University and Yale University. —(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

“The spark of conversion can be struck by a single perfect liturgical gesture.”

— Cristina Campo (1966)

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