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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

Musical Resources • “The Season of Septuagesima”

Andrea Leal · December 29, 2023

OR THOSE WHO ATTEND the Extraordinary Form of the Mass, we have a very short Epiphany season this year. There will be only 3 Sundays of Epiphany before we get into the season of Septuagesima and then Lent. Easter Sunday comes very early this year, on March 31st. While it may seem too soon to even think about that while we are in the Octave of Christmas, choirmasters must plan ahead. If you are leading a choir of any size, it is not just about picking a lineup a week beforehand. You have to consider the abilities of your singers, how long it will take them to learn something, and how ambitious your selections are.

Fun Fact: If Epiphany were any longer than three Sundays, you would repeat the same propers for 3rd Sunday of Epiphany in the same way that you do for the 23rd Sunday after Pentecost.

A Bit Of History • The season of Septuagesima, which was entirely eliminated in the Novus Ordo is a sort of “pre-Lent”. In the Extraordinary Form, we prepare (Septuagesima) for the preparation (Lent) of the resurrection of Christ (Easter)! I admit I have always struggled to completely understand it from a musical perspective and to program songs for it, but essentially you can sing anything that would be considered Sundays after Pentecost. In the Novus Ordo this is called “Ordinary Time.” Anything Eucharistic is always appropriate. I always want to program something specifically matching the propers, but our former priest, Fr. Philip O’Donnel (requiescat in pace), once advised me once that the propers already perfectly contain everything necessary for that particular Sunday. That idea has released me from the bond of trying to be too specific, although I still combat the instinct to do so. By the way, it turns out there’s actually a hymn specific to the season of SEPTUAGESIMA.

To assist other choirs, I am sharing my lineup for the season Septuagesima. Feel free to copy whatever parts of this works for your choir.

Septuagesima Sunday
23 January 2024
Opening: Organ Processional
Introit: Polyphonic Circumdederunt Me (SATB) by Heinrich Isaac1
Kyrie XVI
Gradual: Men, pg. 94 Goupil Gradual (top)
Tract: Men, pg. 95 Goupil Gradual (bottom)
Credo VII
Offertory Antiphon: Treble, full offertory pg. 97
Offertory Hymn: Jesu Dulcis Memoria chant, alternatum
Sanctus XI, Orbis Factor
Agnus Dei XI, Orbis Factor
Comm. Ant.: Men, pg. 98 Goupil Gradual
Communion Hymn: CONFITEOR DEO OMNINPOTENTI, Kevin Allen
Post-Communion: Organ postlude
Close: Ave Regina Caelorum chant

Sexagesima Sunday
4 February 2024
Opening: Organ Processional
Introit: Men
Kyrie XI, Orbis Factor
Gradual: Men, pg. 100
Tract: Men, pg. 100
Credo VII
Offertory Antiphon: Treble, full offertory pg. 103
Offertory Hymn: Misericordias Domini, Henryk Jan Botor
Sanctus XI, Orbis Factor
Agnus Dei XI, Orbis Factor
Comm. Ant.: Men, pg. 104
Communion Hymn: Jesu Dulcis Memoria, Victoria
Post-Communion: Organ postlude
Close: Ave Regina Caelorum chant

Quinquagesima Sunday
11 February 2024
Opening: Organ Processional
Introit: Men
Kyrie XI, Orbis Factor
Gradual: Men, pg. 106
Tract: Men, pg. 106
Credo VII
Offertory Ant.: Adv. Treble, full Offertory
Offertory Hymn: Pange Lingua chant (alternatum)
Sanctus XI, Orbis Factor
Agnus Dei XI, Orbis Factor
Comm. Ant.: Adv. Treble
Communion Hymn: Anima Christi, Marco Frisina2
Post-Communion: Organ postlude
Close: Ave Regina Caelorum chant

1 My choir will attempt a somewhat long polyphonic Introit, but we will chant it as a psalm tone the first time, then the polyphonic version the second time. To make up for the extra length of time it will take to sing a polyphonic Introit, we will sing the shortest Kyrie we can, which is Kyrie XVI. Kyrie XVI is well known to many as the typical Kyrie for a Sunday Mass but is, technically, a Kyrie meant for Masses during the week.
2 “Anima Christi” is under copyright, so I cannot provide it here. You will have to find a copy for purchase.

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

Filed Under: Articles Tagged With: Season of Septuagesima Last Updated: December 29, 2023

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About Andrea Leal

Andrea Leal is a wife and homeschooling mother of 6 children. She serves as choir director for the Traditional Latin Mass in Las Vegas.—(Read full biography).

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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

“It is when they are practicing that large groups stop in order to sleep; they don’t give themselves a new impetus after a pause (even if it is minimal) and singers pause when they should not (quarter-bar, half-bar)—everything provides temptation to go to sleep! It is thus not a question of rhythm but of musical integrity.”

— Justine Ward (20 July 1952)

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