• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
    • “Let the Choir Have a Voice” (Essay)
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
    • Feasts Website
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

From Sentiment to Sacrament: Reclaiming Sacred Music for the Wedding Mass

Mark Haas · March 25, 2026

FEW MONTHS AGO, I had a bride call to ask me if they could have the theme for “Beauty and the Beast” played during their wedding Mass. My first thought was: She could very well be the beauty, but my heavens, what does the groom look like?! Assisting engaged couples with their wedding music can be one of the most rewarding—and sometimes one of the most challenging—aspects of parish music ministry. Every couple brings their own hopes, tastes, and expectations into the process, often shaped by what they’ve seen in movies, on television, or across social media. They imagine the perfect “walk down the aisle” moment underscored by a love song that carries personal meaning. Yet within the context of the Catholic wedding Mass, the goal of sacred music is not to showcase sentimentality or individual preference, but to glorify God and reflect the sacred reality of the Sacrament taking place.

Who Marries Whom? • It’s important for couples to be actively involved in planning the music for their wedding, because they are not mere spectators—they are the principal ministers of the Sacrament of Matrimony. The priest, deacon, or bishop does not “marry” the couple in the same sense; rather, the couple confers the sacrament upon one another. The ordained minister serves as the Church’s official witness to this covenant. As the Order of Celebrating Matrimony states, “In the Latin Church, it is the spouses themselves who, as ministers of Christ’s grace, mutually confer upon each other the Sacrament of Matrimony by expressing their consent before the Church” (no. 75). This reality means that couples should indeed participate thoughtfully in preparing their wedding liturgy—especially in choosing music that reflects both their love for one another and their love for Christ, who is the true source of all love.

However, when problematic music choices arise, they often reveal a deeper misunderstanding of what the Catholic wedding is—and what it is not. A Catholic wedding, particularly when celebrated within the Holy Mass, is not a private ceremony centered on personal taste or romantic expression. It is first and foremost a sacred act of worship, oriented toward Jesus Christ and the Paschal Mystery made present on the altar. The couple’s vows take place in the context of the Eucharistic Sacrifice, where Christ gives Himself in total love to His Bride, the Church. The music, therefore, should help draw all present into this profound mystery—not distract from it with secular or sentimental associations.

A helpful introduction • For parish music directors, navigating these waters requires both pastoral sensitivity and firm liturgical formation. One of the most effective ways to foster understanding is through clear and charitable communication. At my parish, I share the following introductory statement with every couple preparing for marriage. It sets the tone for our collaboration while grounding the process in the Church’s vision for sacred music. Here is a generic version:

“The following music planning guide is intended to be used as suggestions by helping couples choose from many selections of available music that are acceptable to Catholic wedding liturgies here at St. Miscellaneous Parish. This is not an exhaustive list of music selections but should be considered a guide in liturgical preparation for weddings.

St. Miscellaneous has a rich history of Sacred music, which glorifies God through theologically rich hymnody, chant, and polyphonic works. Couples should choose music that glorifies both their nuptial union, and the Lord Jesus Christ, who is made present on the Altar at the Holy Sacrifice of the Mass. Note: The parish only permits the organ to lead Mass music. Piano and guitar could be utilized for perhaps the Wedding Reception. Also, the parish does not sing ‘Contemporary Christian Music’ within the Mass, as the theological nature of the music – and their composers – are often at odds with Catholic teaching concerning the nature of the Mass and the Sacraments.

All music selections – including those outside of this list – should be approved by the music director. Secular music choices (non-sacred) should be reserved for perhaps the Wedding Reception.”

This statement establishes a pastoral yet firm foundation. It reminds couples that while their wedding day is deeply personal, it is also a public act of the Church’s worship. By choosing music that glorifies God, honors the sacredness of the Mass, and reflects the beauty of Catholic tradition, couples are invited into something far greater than sentiment—they are invited into the mystery of divine love itself.

When couples understand that their marriage mirrors Christ’s love for His Church, the music they choose begins to reflect that reality: timeless, reverent, and oriented toward heaven. And for those of us who serve as music directors, there are few greater joys than helping them discover that beauty.

It’s a tale as old as time.

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

Filed Under: Articles Last Updated: March 26, 2026

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

About Mark Haas

Mark Haas is a composer and speaker whose music has been sung in over 600 parishes and 10 countries. He serves as the Music Director at Ave Maria Parish in Ave Maria, Florida where he lives with his wife and seven children.—(Read full biography).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    PDF Download • “For Pentecost Sunday”
    Yesterday morning, I recorded myself singing the ENTRANCE CHANT for Pentecost Sunday while simultaneously accompanying myself on the pipe organ. Click here to see how that came out. At the end of the antiphon, there’s a triple Allelúja and I just love the chord at the end of the 2nd iteration. The organ accompaniment—along with the musical score for singers—can be downloaded free of charge at the flourishing feasts website. For the record, the antiphon on Pentecost Sunday doesn’t come from a psalm; it comes from the book of Wisdom.
    —Jeff Ostrowski
    PDF Download • “Organ Accompaniment”
    Over the past few years, I’ve been harmonizing all the vernacular plainsong Introit settings by the CHAUMONOT COMPOSERS GROUP. This coming Sunday—10 May 2026—is the 6th Sunday of Easter (Year A). The following declaration will probably smack of “blowing my own horn.” However, I’d rank this accompaniment as my best yet. In this rehearsal video, I attempt to sing it while simultaneously accompanying myself on the pipe organ. The musical score [for singers] as well as my organ accompaniment can be downloaded free of charge from the flourishing feasts website.
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 4 May 2026
    A few days ago, the CORPUS CHRISTI WATERSHED Facebook page posted this Gregorian Chant quiz regarding a rubric for the SEQUENCE for the feast of Corpus Christi: “Lauda Sion Salvatórem.” There is no audience more intelligent than ours—yet surprisingly nobody has been able to guess the rubric. Drop me an email with the right answer, and I’ll affirm your brilliance to everyone I encounter!
    —Jeff Ostrowski

Quick Thoughts

    “Thee” + “Thou” + “Thine”
    Few musicians realize that various English translations of Sacred Scripture were granted formal approval by the USCCB and the Vatican for liturgical use in the United States of America. But don’t take my word for it! Here are four documents proving this, which you can examine with your own eyes. Some believe the words “Thine” and “Thou” and “Thee” were forbidden after Vatican II—but that’s incorrect. For example, they’re found in the English translation of the ‘Our Father’ at Mass. Moreover, the Revised Standard Version (Catholic Edition) mentioned in those four documents employs “Thine” and “Thou” and “Thee.” It was published with a FOREWORD by Westminster’s Roman Catholic Archbishop (John Cardinal Heenan).
    —Jeff Ostrowski
    “Reminder” — Month of May (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    Simplified Version • “Canon in D” (Pachelbel)
    I published an article on 11 November 2023 called Wedding March For The Lazy Organist, which rather offhandedly made reference to a simplified version I created in 2007 for Pachelbel’s Canon. I often use it as a PROCESSIONAL for weddings and quinceañeras. Many organists say they “hate” Pachelbel’s Canon. But I love it. I think it’s bright and beautiful. I created that ‘simplified version’ for musicians coming to grips with playing the pipe organ. It can be downloaded as a free PDF if you visit Andrea Leal’s article dated 15 August 2022: Manuals Only: Organ Interludes Based on Plainsong. Specifically, it is page 84 in that collection—generously offered as a free PDF download. Johann Pachelbel (d. 1706) was a renowned German organist, violinist, teacher, and composer of over 500 works. A friend of Bach’s family, he taught Johann Christoph Bach (Sebastian Bach’s eldest brother) and lived in his house. Those who read Pachelbel’s biography will notice his connection to two German cities adopted as famous hymn tune names: EISENACH and ERFURT.
    —Jeff Ostrowski

Random Quote

“Eucharistic Prayer II, on account of its particular features, is more appropriately used on weekdays or in special circumstances.”

— §365 from the “General Instruction for the Roman Missal”

Recent Posts

  • Entrance Chant • Before or After Opening Hymn?
  • “Unfair Characterization” • (But Good Question)
  • “Thee” + “Thou” + “Thine”
  • PDF Download • “For Pentecost Sunday”
  • “Reminder” — Month of May (2026)

Subscribe

Subscribe

* indicates required

Copyright © 2026 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.