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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

Ad Orientem and Sacred Music

Dr. Lucas Tappan · July 19, 2016

299 Archbishop Sample CONTINUALLY struggle to understand the relationship between the treasury of sacred music (specifically the ordinary of the Mass) and Mass celebrated in the Ordinary Form, but a recent conversation with my pastor might shed a small ray of light on the subject from the perspective of the priest.

In our parish, the congregation regularly sings the Mass XVI Kyrie along with a metrical setting of the rest of the Ordinary. However, after the Schola Cantorum returned from Rome last January, the choristers asked me before Mass if they could continue singing all of Mass IX (Cum jubilo), which they had sung at St. Peter’s. I decided it wouldn’t cause too much of a tizzy if the choir sang the Kyrie from Mass IX by themselves, so they sang it for the next few Sundays.

After several weeks the pastor asked me about it and in the nicest way possible told me he really didn’t care for it. I was a little taken aback simply because it was a very minor change to only one Mass of our Sunday Masses. I asked him if he could pinpoint for me what it was specifically about the Kyrie that bothered him in order for me to understand better. Was it the sound of Gregorian chant, or that the congregation couldn’t sing it, or that each invocation was repeated three times? His answer was something I had never thought of before. He told me that he felt extremely awkward standing in the sanctuary for two minutes while the congregation did nothing but look at him. I would be curious to know how this affects other priests.

It is true that in the Ordinary Form of the Mass the priest doesn’t face east during the Kyrie and Gloria, but if the priest were to change the direction of his chair so that he wouldn’t be directly facing the congregation (for example, facing liturgical north), it would help. A choral Sanctus or Agnus Dei might not be so awkward if the priest were facing east during the Eucharistic Prayer. He could even close his eyes and pray.

I realize that the obstacles to celebrating Mass ad orientem and restoring a tradition of good sacred music (both choral and congregational) are varied and numerous and I don’t want to simply a complex problem, but perhaps this is another facet to that problem.


Note from CCW President: The Cathedral in Corpus Christi, Texas, did exactly what Dr. Tappan suggests. The rector rotated the chairs precisely as he describes, and (for the record) it looked a lot better. Moreover, Pope Francis’ chief liturgical officer recently wrote the following:

Contrary to what has sometimes been maintained, it is in full conformity with the conciliar Constitution—indeed, it is entirely fitting—for everyone, priest and congregation, to turn together to the East during the penitential rite, the singing of the Gloria, the orations, and the Eucharistic prayer, in order to express the desire to participate in the work of worship and redemption accomplished by Christ. This practice could well be established in cathedrals, where liturgical life must be exemplary (cf. §41).

Many were surprised by this, because a “rigid” reading of the current Missal would not have the priest facing East for the GLORIA, as far as I know.

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

Filed Under: Articles Last Updated: January 1, 2020

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About Dr. Lucas Tappan

Dr. Lucas Tappan is a conductor and organist whose specialty is working with children. He lives in Kansas with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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

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

I feel the greatest destroyer of peace today is abortion, because it is a direct war, a direct killing—direct murder by the mother herself. And we read in the Scripture, for God says very clearly: “Even if a mother could forget her child, I will not forget you: I have carved you in the palm of my hand.”

— Mother Theresa (11 Dec 1979)

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  • “Reminder” — Month of October (2025)

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