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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

Nine Rubrics for Mass in the Extraordinary Form

Jeff Ostrowski · January 16, 2017

HE OFFICIAL rubrics for sung Masses were printed in the Vatican Press Graduale (1908). I’m familiar with these rules, as my personal copy was scanned in 2008 by the CMAA on its 100th birthday—the very first time this 940-page masterpiece was posted to the internet. The 1908 injunction against splitting the SANCTUS and BENEDICTUS caused confusion, as you can see by this 1909 article. This was no accident, as shown by the September 1904 resolutions adopted by the creators of the official edition. The Sacred Congregation of Rites reversed course on 14 January 1921, by answering a DUBIUM and ordering their response to be added in all future editions of the Graduale. 1

In 1958, all the rubrics for Sung Mass were drastically altered (SEE BELOW) and the excellent new rule was as follows: SANCTUS & BENEDICTUS are sung together for Gregorian Masses but split for polyphonic settings (“musically developed”).

1. As the Priest draws nigh to the Altar, the Cantors begin on the Antiphon to the Introit; which is done, as far as the asterisk, by one Cantor upon ferial days and simple feasts, but upon other holydays and upon Sundays by two, and upon solemn highdays by four, where these are to be had. The Choir continues up to the Psalm, but the first part of the Psalm-verse (up to the asterisk) and the verse Gloria Patri are performed by the Cantors, the verse being finished by the full chorus. The Introit as far as the Psalm is then repeated, this time by all.

1. Accedente Sacerdote ad altare, incipiunt Cantores Antiphonam ad Introitum. Quae in feriis et festis simplicibus intonatur ab uno cantore, usque ad signum appositum *; in aliis festis et in Dominicis a duobus; sed in solemnitatibus a quatuor, ubi Cantores suppetunt. Chorus prosequitur usque ad Psalmum. Primam partem versus Psalmi, usque ad asteriscum, et Vs. Gloria Patri ipsi Cantores proferunt, versum absolvente universo Choro. Postea repetitur, item ab omnibus, Introitus usque ad Psalmum.

2. The Antiphon done, the Choir sings Kyrie eleison thrice, Christe eleison thrice, and again Kyrie eleison thrice, either alternately with the Cantors, or side to side. The last Kyrie eleison however is divided by the single or double asterisk into two or three distinct parts. If there be two parts only—and thus but one asterisk—the former part is sung by the Cantors alone or by the first chorus, and the latter part by all: if there be three parts—and so a single asterisk at the former division and a double asterisk at the latter—the first part falls then to the same voices as before, but the second part (which repeats the opening phrase of the tune) is sung by the second choir: and finally the third part is completed by the voices of all together. In other cases as many as five parts are found: wherein the manner of allotting the alternate turns of singing is likewise shewn by dividing signs both single and double, noted as often as need be: which will be interpreted well enough from the foregoing.

2. Chorus, finita Antiphona, ter Kyrie eleison, ter Christe eleison, et iterum ter Kyrie eleison, alternatim cum Cantoribus aut altero Choro persolvit. Ultimum autem Kyrie eleison dividitur in duas vel etiam in tres partes ab asterisco simplici aut duplici distinctas. Si duae tantum sunt partes, ac proinde unus asteriscus, prima pars ab ipsis Cantoribus aut a primo Choro cantatur; altera vero ab omnibus. Si tres occurrunt partes et ideo asteriscus simplex ad primam divisionem et duplex ad alteram, tunc prima pars ad eosdem pertinet quos supra; secunda vero, quae primae partis melodiam repetit, cantatur ab altero Choro; tertia demum conjunctis omnium vocibus absolvitur. Aliquando etiam quinque partes contingunt: tunc modus dividendi alternas cantandi vices similiter notatur per signum divisionis tum simplex tum duplex pluries interpositum, et satis intelligitur ex dictis.
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3. The Priest alone begins with a loud voice Gloria in excelsis Deo, and the choir continues Et in terra pax hominibus etc., divided again into two parts answering one another; or singing alternately with the Cantors. Next follows the choir’s reply to Dominus vobiscum.

3. Incipit solus Sacerdos clara voce Gloria in excelsis Deo: deinde Chorus prosequitur Et in terra pax hominibus, etc., divisus quidem in duas partes invicem sibi respondentes, aut cantat alternatim cum Cantoribus. Sequitur responsio chori ad Dominus vobiscum.

4. When the Epistle or Lesson is finished, the Responsory called the Gradual is begun by one or two singers as far as the asterisk, where the whole chorus, or at least the selected chanters, are instantly to follow on at this point. The verse of the Gradual is sung by two voices, and is completed by the whole choir from the asterisk near the end. Alternatively, the Responsorial mode may be followed when this is more suitable, all the choir then repeating, after the verse has been finished by the solo singer or singers, the first part of the Responsory up to the Verse.

4. Finita Epistola aut Lectione, ab uno vel a duobus inchoatur Responsorium, quod dicitur Graduale, usque ad signum *, et cuncti, aut saltem Cantores designati, prosequuntur debita cum attentione. Duo dicunt Versum Gradualis, quem ab asterisco circa finem totus Chorus absolvit; aut juxta ritum responsorialem, quando magis id videtur opportunum, post versum a solis Cantoribus aut a Cantore expletum, cuncti repetunt primam partem Responsorii usque ad Versum.
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If two Alleluias with a verse are to be sung, the first Alleluia is chanted by one or two voices up to the asterisk: the choir then repeats the Alleluia and adds the neum or jubilus, drawing out the syllable a. The Cantors sing the Verse, which is completed in full chorus from the asterisk, as before. The Verse done, the Cantor or Cantors repeat the Alleluia, and the chorus adds the neum only.

Si Alleluia, alleluia cum versu sunt dicenda, primum Alleluia cantatur ab uno vel a duobus usque ad signum *; Chorus autem repetit Alleluia et subjungit neuma, seu jubilum, protrahens syllabam a. Cantores versum concinunt, qui, ut supra occurrente asterisco a toto Choro terminator. Finito versu, Cantor vel Cantores repetunt Alleluia et Chorus addit solum neuma.

From Septuagesima Sunday onwards the Alleluia and its verse are omitted and the Tract is sung, the verses of which are performed alternately by two choirs answering one another, or divided between Cantors and the full chorus.

Post Septuagesimam, omissis Alleluia et “Vs.” sequenti, dicitur Tractus, cujus versiculi alternatim cantantur a duabus sibi invicem respondentibus Chori partibus, aut a Cantoribus et universo Choro.

In Eastertide the Gradual is omitted, and is replaced by two Alleluias with a verse, as above: and a third Alleluia follows at once, begun by one or two up to the neum, and continued by all without any repetition. A Verse and one final Alleluia are sung in the aforesaid manner.

Tempore Paschali, omittitur Graduale et ejus loco dicitur Alleluia, alleluia cum versu, ut supra. Sequitur statim unum Alleluia, quod ab uno vel duobus inchoatum usque ad neuma absque repetitione absolvitur ab omnibus. Versus et unum Alleluia in fine cantantur modo supra descripto.

Sequences are sung alternately, either between Cantors and chorus, or between two divisions of the choir.

Sequentiae cantantur alternatim, aut a Cantoribus et Choro, aut a duabus Chori partibus.

5. When the Gospel is done, the Priest intones Credo in unum Deum if this is to be sung, the choir continuing with Patrem omnipotentem and the rest, all together or alternately, following the custom of the place.

5. Finito Evangelio, Sacerdos intonat, si dicendum est, Credo in unum Deum, prosequente Choro Patrem omnipotentem, et reliqua, conjunctim aut alternatim pro loci consuetudine.

6. The Offertory is begun by one, two or four Cantors, as at the Introit, and is carried on by all.

6. Offertorium ab uno, duobus aut quatuor Cantoribus intonatur, uti ad Introitum, et finitur ab omnibus.

(1908) 7. When the Preface is finished, the choir continues with Sanctus etc. While the Sanctissimum is being elevated, the choir is to be silent and adore with the rest.

(1908 Version) 7. Finita Praefatione Chorus prosequitur Sanctus etc. Dum autem elevatur Sacramentum, silet Chorus et cum aliis adorat.

(1921) 7. When the Preface is finished, the choir follows with Sanctus etc., only as far as Benedictus qui venit; and this being reached (but not before) the Elevation of the Host is made. At this point the singers are silent and worship with the rest. When the Sacrament has been elevated, the choir goes on with the Benedictus.

(1921 Version) 7. Finita Praefatione chorus prosequitur Sanctus etc., usque ad Benedictus qui venit, etc. exclusive; quo finito, et non prius, elevatur Sacramentum. Tunc silet chorus et cum aliis adorat. Elevato Sacramento, chorus prosequitur canticum Benedictus.
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8. When reply has been made to Pax Domini, Agnus Dei is sung thrice, either by the full choir led out by one, two or four Cantors as the method may be, or in alternate chorus, in such wise that the close Dona nobis pacem (in Requiem Masses, the last word Sempiternam only) is sung in full.

8. Post responsionem ad Pax Domini, cantatur ter Agnus Dei, aut ab universo Choro, inchoantibus uno vel duobus aut quatuor Cantoribus unaquaque vice; vel alternatim, ita ut in fine ab omnibus decantetur: Dona nobis pacem, in Missa vero pro defunctis ultima tantum dictio: sempiternam.

9. When the Most Holy Sacrament has been received, the Antiphon called Communio is sung by the choir, begun by one, two or four Cantors, following what had been said of the Introit.

9. Sumpto sanctissimo Sacramento, cantatur a Choro Antiphona quae dicitur Communio, intonata ab uno, duobus aut quatuor Cantoribus, ut ad Introitum dictum est.

The Priest or Deacon sings Ite Missa est or Benedicamus Domino, to which the choir answers Deo gratias in the same melody.

Sacerdos aut Diaconus dicit Ite Missa est, vel Benedicamus Domino, et Chorus eodem tono respondet Deo gratias.

To Requiescant in pace at Requiem Masses the reply is Amen.

Ad Requiescant in pace in Missa Defunctorum respondetur Amen.

OPE PIUS XII issued an Instruction on 3 September 1958—just a month before his death—drastically changing the 1908 rules. You can peruse the original 1908 Ritibus, and notice how short it is compared to the 1961 Ritibus. These additions seem to have been taken directly from the 1958 Instruction:

* *  3 September 1958 • Two English Translations

* *  3 September 1958 • Latin Version (Rare)

I haven’t examined each modification, but comparisons like this one bolster my assertion. (Notice the slight difference of celebrans vs. sacerdos.)

While we won’t examine every change, 2 I would like to speak about the Introit.


Notice how Solesmes added a paragraph about the introit a full year before the Instruction by Pius XII—and notice it’s similar but not identical:

* *  PDF Download • Solesmes “Preface” (1957)

A diversity of opinion exists regarding when to begin the Introit. The 1908 said “accedente Sacerdote ad altare”—and this remained unchanged until the 1960s. (There is no dispute when the Asperges is sung, so we won’t consider that scenario.)

The traditional interpretation was to begin when the priest started the Prayers at the Foot of the Altar. Twice the priest says “I will go unto the Altar of God,” and soon thereafter ascends to the Altar, incenses it, and prays the Introit softly. 3 Fr. Andrew Klarmann, in Gregorian Chant for Seminaries (1945) agrees. Sir Richard Terry, in his 1907 book on Catholic Church music, constantly says to start the Introit when the priest reaches the foot of the altar—for example here. Rubrics in 1908 were written in a particular way giving only the bare minimum and also covering various circumstances that may exist: the Asperges, procession from the sacristy, procession from the back of Church, and so forth. It’s difficult to imagine the rubrics in those days specifying the precise music for the procession into church. In any event, the very fact that Solesmes in 1957 felt the need to justify singing the Introit during the actual procession (“it is perfectly legitimate”) demonstrates how common the organ processional was.

On the other hand, some prefer that the Introit be sung as the sacred ministers and servers are processing—and this works particularly well when the Introit is rather long (such as Vocem jucunditatis for the 5th Sunday after Easter).

 


NOTES FROM THIS ARTICLE:

1   Not all publishers obeyed. The 1924 Solesmes edition merely adds a footnote referencing the decision. The 1953 Schwann edition ignores the decision. The 1951 Mechlin edition does it correctly. Incidentally, the English translation given above is based on the Graduale by Nashdom Abbey in 1930.

2   Things become irregular after 1958; for example, the English translation of the Ritibus in the 1961 Liber Usualis adds a tenth item—which I assume also comes from the 1958 Instruction.

3   That is the sense of “drawing nigh” to the altar. It is not talking about (for example) as the priest drives his car toward to the church where the altar is. On the other hand, in the ancient church, the Introit may have been sung as the procession moved through Rome to the Stational Church—that would have been the entire Introit psalm, whereas over the centuries they eliminated all the verses except one.

470 monks singing

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

Filed Under: Articles Tagged With: De Ritibus Servandis, De Ritibus Servandis in Cantu Missae, Sanctus Benedictus Split Broken Divided Last Updated: November 4, 2023

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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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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “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

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

“The traditions of the elders, your glory throughout long ages, must not be belittled. Indeed, your manner of celebrating the choral office [in Latin] has been one of the chief reasons why these families of yours have lasted so long, and happily increased.”

— Pope Saint Paul VI (15 August 1966)

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