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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

    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
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th 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 spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “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
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“To me nothing is so consoling, so piercing, so thrilling, so overcoming, as the Mass, said as it is among us. I could attend Masses for ever, and not be tired.”

— John Henry Cardinal Newman (1848)

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  • “American Catholic Hymnal” (1991)

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