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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

PDF Download • “Wedding Sheet” (Showing Prices)

Jeff Ostrowski · April 19, 2024

F YOU’RE SITTING in a cocktail lounge, you’ll notice people placing cash into a jar on top of the piano. Once the lucre has been paid, the cocktail pianist plays whatever tune is requested. In other words, you put money into a jar and the person in charge of the music plays your favorite song. That may be an excellent procedure for a cocktail lounge, but the public worship of Almighty God isn’t a cocktail lounge. (At least I’ve never considered it to be.) At the same time, couples want their weddings to be perfect—which is both understandable and natural. So it becomes a type of “balancing act” wherein reasonable compromise is important.

Regarding Weddings • When being hired as organist or choirmaster for Catholic weddings, I believe it’s crucial to “give no quarter” to what might be called THE COCKTAIL PIANIST MENTALITY. That is to say, the bride and groom assume that once they pay the musician a small fee, he must play whatever they request.* Over the years, we’ve received countless inquiries asking how much musicians should charge for weddings. While I don’t pretend to have all the answers, feel free to examine the pay-scale chart I’ve used for years at my parish:

*  PDF Download • WEDDING PAYMENT SHEET
—Given to those requesting Nuptial Masses, Quinceañeras, and other “special” Masses.

Weddings Are No Joke • I’ve been handling music at weddings for more than twenty years. I still get nervous for each one. I still take each one seriously. I am eminently aware that those getting married want everything perfect, just like they always dreamed. Indeed, I spent about a year preparing for my own wedding, and even constructed my own High Altar for our ceremony, which the local ecclesiastical authorities gave permission for—provided it was destroyed after the wedding!

A “Super Strict” Priest • For years, I played the pipe organ for weddings (and conducted choirs) for free, as a volunteer. I gained a lot of experience. I remember one priest who was “super strict.” His sister was getting married, and I volunteered to provide the choir and play the pipe organ for free. The priest’s sister had her heart set on me beginning the ceremony by playing the theme song from MASTERPIECE THEATRE. I was shocked, because that’s secular music. I felt certain the “ultra traditional” priest would immediately shoot down the idea. However, he was fine with it—undoubtably because his sister was the one asking—and that taught me a valuable lesson. I also spent a lot of time (without remuneration) transcribing the MASTERPIECE THEATRE for pipe organ. That taught me a valuable lesson as well.

Never Forget This! • Musicians always want to offer their very best for weddings. I suspect they’re almost never paid a just wage for what they provide. I don’t pretend to have all the answers, but below are some tips I’ve picked up along the way. In terms of your interaction with those hiring you for a wedding, do everything through email. That way everything gets documented (minimizing the potential for confusion and misunderstandings). The bride and groom will usually demand endless meetings in person with you. They are excited. They want their day to be extra special. Never agree to such meetings! Providing a piece of paper with your policies and prices does not require a face-to-face meeting. It’s absolutely crucial that—throughout the entire process—you always frame things as: “This is what we’re able to offer.” In other words, the musician is not a slave. The musician can only offer what he can offer. Those hiring you are free to accept or reject your services. What they are not free to do (in my opinion) is “modify” or “revise” or “nitpick” what you offer.

Horror Stories • I could tell you unbelievable horror stories about weddings. I suspect many readers could do likewise. I remember warning our priest over and over again about a particular couple. I knew this couple was always tardy. Indeed, I refused to hire a choir for that wedding (since I knew the couple was always shamefully tardy for everything). When all was said and done, they showed up two hours (!) late for their wedding. I’ll never forget seeing the priest sit there waiting patiently—fully clothed in his vestments—for two solid hours.

What Will Never Happen • Never expect anyone to warn you when the wedding is about to begin. In 20+ years, not once have I ever been given proper notification that the bride is going to start walking. (Perhaps before I die it will happen; but so far it never has.) Often, the WEDDING COORDINATOR or altar boy will come and say to you: “The wedding is about to start!” But often they’re wrong. In other words, they’ll tell you to start playing—even though the bride doesn’t actually begin walking for another 25 minutes. This free collection of interludes for manuals only has a wonderful wedding PROCESSIONAL that can be repeated over and over again. My advice to organists would be: Never trust anyone vis-à-vis when the wedding will begin. Situate yourself in such a way that you can physically observe when the wedding party starts walking down the aisle. In my experience, that’s the only way you’ll know when the wedding is actually beginning. If I had a nickel for every time a WEDDING COORDINATOR or altar boy lied to me about when a wedding was starting, I’d be rich.

Hymns And Songs • Sometimes a bride or groom will request inappropriate songs for a wedding. The best plan is to obtain a solid hymnal, such as the Brébeuf Catholic Hymnal, and simply say to the couple: “This book has about 800 hymns; whatever you find inside is fully appropriate and can be chosen.” Done! If the bride or groom is adamant about a particular secular song, gently say: “You know, that song might be quite moving to have performed at your wedding reception.” Some of the Brébeuf hymns are extremely “bright” and “happy”—which might be nice for a wedding:

To access this hymn’s media in the Brébeuf Portal, click here.

Final Word Of Warning • Never allow individual singers to “volunteer” to sing a wedding. Often, they will “volunteer”—then cancel shortly before the wedding starts. Perhaps they don’t feel like singing the wedding. Perhaps they decide at the last minute they have another priority. Since they aren’t getting paid, they feel they can cancel without any issues. If someone insists on volunteering, say: “Here’s the procedure. I’ll get payment (for you) from the wedding couple, and you can give it right back to them—as a wedding present—as soon as the wedding is over.” Believe it or not, they usually end up deciding to keep the money. That’s because they don’t realize weddings take up one’s entire Saturday. And that’s why people who promised you a billion times they’d “sing for free” usually end up keeping their stipend—or at least a portion of it.

* Zero consideration is given to the hours and hours required to teach a choir, for example, a Mass setting by Lassus, Josquin, or Morales. Moreover, learning the pitches and rhythm is just the beginning. A choir must sing a piece together many times before it “meshes” or “clicks” properly. In my seminar, I spent a long time demonstrating rehearsal techniques that help assure a solid and artistic performance.

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

Filed Under: Articles, PDF Download Tagged With: Catholic Wedding Nuptial Mass Music, Salary For Weddings Last Updated: April 20, 2024

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(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

Although the New Testament is now so much more important to us than the Old, we must remember that the archetype of the Canon of Scripture is the Old Testament. At first that was the whole Bible, to Christians as to Jews. When the apostles speak of “Scripture” they mean the Old Testament only. Indeed, the way in which the books of the New Testament came to be considered canonical was by making them equal to those of the Old.

— Rev’d Doctor Adrian Fortescue

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