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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

5 Ways to Make Your Music Program More Marian

Daniel Tucker · August 9, 2022

Detail of a window at Notre Dame de Bon Secour, Montreal.
HE CHURCH RIGHTLY PROMOTES Marian devotion in a special way during the months of May and October, but the accompanying flurry of articles on Marian devotion usually comes too late to be implemented in time for these special months. Rather than wait for an especially Marian month, I wanted to share these five tips for making your parish music program more Marian now, during early August, when music directors are busily planning and preparing to kick off a new year of choral and/or school music programming after the summer recess.

St. Louis de Montfort notes that entrusting ourselves and all of our actions to Mary is “the surest, the easiest, the shortest and the most perfect means of going to Jesus Christ” (True Devotion to Mary I.3.2), who Himself deigned to be born of the Blessed Virgin Mary for the sake of our salvation. With that end in mind, here are five ways to start incorporating (think about that word – one could just as easily say incarnating!) more Marian devotion into the life or your parish or school choir.

1. Open or close your rehearsals with a Marian prayer.

More than anything else, prayer has to be the lifeblood of our work as church musicians. We ought to be praying for and with the members of our ensembles, both corporately and individually. And we can foster this culture of prayer particularly by utilizing the treasury of Marian prayers offered to us by the Church. Consider:

  • Opening your rehearsal with a few moments to share prayer requests and a collective Hail Mary for those intentions.
  • Leading your choir in the ancient prayer Sub tuum praesidium (“We fly to thy protection, O Holy Mother of God…”) as an act of intercession for those members who are absent due to travel or illness.
  • Closing your rehearsal with a Memorare (“Remember, O most gracious Virgin Mary…”) for the various intentions expressed earlier, for the health and safety of the members of your choir and their families, for the fruitfulness of your work as liturgical musicians, etc.

2. Teach your choir to sing the seasonal Marian antiphons.

Push for the singing of the Marian antiphons at Mass (perhaps they would make a good substitute for a recessional hymn), but teach them to your choristers whether you will sing them at Mass or not. The investment of a few precious minutes of rehearsal time will be well worth your choristers’ knowing these melodies by heart for the rest of their lives (especially if they are children).

  • Alma Redemptoris Mater (used from Advent I to Candlemas)
  • Ave Regina Caelorum (used from Candlemas until the Easter Vigil)
  • Regina Caeli (used from the Easter Vigil until Pentecost)
  • Salve Regina (used from Pentecost until Advent I)

BONUS • Jeff Ostrowsky, president of Corpus Christi Watershed, recently published this huge article on the Salve Regina.

3. Promote the Five First Saturdays devotion.

Our Lady of Fatima promised to assist at the hour of death with the graces necessary for salvation all those who devoutly undertake the following practices on the first Saturdays of five consecutive months:

  • Make a sacramental Confession (within a week before or after, if not on the first Saturday itself)
  • Receive Holy Communion in a state of grace (preferably, but not necessarily, within the context of a Mass)
  • Recite five decades of the Most Holy Rosary
  • Meditate on the mysteries of the rosary for fifteen minutes (in addition to the recitation of the five decades)

4. Encourage the recitation of the rosary by and for your musicians.

Even in the 20th century alone, Our Lady has appeared to the faithful many times (such as at Fatima, Akita, and Kibeho), and her most insistent request has always been the recitation of the daily rosary. Consider:

  • Taking up the practice of a daily rosary yourself. Intercede not only for yourself and your family, but also for your parish priest(s), for the members of your choir, and for the edification and sanctification of every person at your parish. If you’re already praying one rosary each day, try four.
  • Lead your choir in praying the rosary before or after Mass, in pilgrimages, on bus trips, etc.
  • Teach your choristers to make rosaries (this is especially fun for children!) and sell them to parishioners as a fundraiser for your music program.

5. Lead your choir members in a Marian consecration.

Along with the 54-day rosary novena, the 33-day preparation for Marian consecration is a veritable treasury of graces. Many texts are available. Consider:

  • The original: True Devotion to Mary: With Preparation for Total Consecration by St. Louis de Montfort.
  • The more modern version: 33 Days to Morning Glory by Fr. Michael Gaitley, MIC, available as an inexpensive booklet for group use.
  • The short version: Marian Consecration with Aquinas: A Nine Day Path for Growing Closer to the Mother of God by Matt Fradd and Fr. Gregory Pine, OP.

How will you and your choir grow closer to Jesus through Mary this year?

Mary, Mother of God and Mother of the Church, pray for us!

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

Filed Under: Articles Last Updated: August 10, 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

    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). 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 the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“…it would be a very praiseworthy thing and the correction would be so easy to make that one could accommodate the chant by gradual changes; and through this it would not lose its original form, since it is only through the binding together of many notes put under short syllables that they become long without any good purpose when it would be sufficient to give one note only.”

— Zarlino (1558) anticipating the Medicæa

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