A Christian wedding is not only a solemn exchange of sacred vows by an engaged couple, but it is also an act of worship by all present. It is not a private affair. It is a communal liturgical celebration. All liturgy is, by its very nature, public. The purpose of music at the celebration of marriage, like music in any liturgical action, is to glorify God and edify the assembly.
The singing of the Order of Mass, the responses, the Ordinary, and the processional chants by the assembly is an excellent way of inviting those assembled into the liturgical act of the wedding ceremony. Priests and musicians are urged to do all they can to include music for congregational singing at weddings.
Vocal soloists and/or choirs have a genuine liturgical ministry. However, they should never replace the obligatory musical portions assigned to the assembly by the rubrics or use the wedding liturgy as a stage for musical performance.
Normally the Parish Ministers of Music have the responsibility for providing music for weddings. Couples and families should think carefully before inviting non-parishioner soloists and/or musicians to take part in the wedding liturgy. Parishes should develop their own specific policies in this regard. It may be that a guest musician is invited to assist with the wedding music (usually in a very limited way). In that case, great care must be taken that this person knows the nature of liturgical music, the uniqueness of Catholic worship, and the limited place that solo music has in the liturgy.
Songs honoring Mary: Although the marriage liturgy does not contain a specific Marian theme, popular devotion does. When requested and properly planned, a hymn to Mary could be sung during the prelude music, during the preparation of the gifts, or possibly after communion.
Musical Judgment
Is this music technically aesthetically and expressively good?
Liturgical Judgment
Suitability of Text
The Christian concept of “love” is characterized by commitment and fidelity and supported by the love of Christ. Popular love songs often stress the couple only and exclude God and the Church. While they may say good things, they often do not say enough about the origin of love and God’s role in a Christian marriage. The following principles may be used to judge the appropriateness of any text.
Suitable Texts
The texts follow the directions for selecting texts as outlined in the GIRM for each section of the Mass that is sung. If selecting another liturgical chant that is suited to the sacred action (e.g., GIRM, 48, Option 4) for a processional chant or hymn after communion, then the text, if on the theme of love, should:
Speak explicitly of the Christian, religious dimension of love
Express trust in, thanksgiving to, or praise of God
Unsuitable Texts
The text does not follow the directions for selecting texts as outlined in the GIRM for each section of the Mass that is sung. If selecting Option 4 for a processional chant or hymn after communion, the text is unsuitable if it:
Explicitly or implicitly denies the Christian dimension of love (e.g., texts that imply that “my life has no meaning without you” or “life is not worth living without you”) or fails to mention God
Refers in purely secular terms to love or only faintly alludes to the Christian dimension of love
Suitability of Music Style
The Church clearly holds a style preference when it comes to marking music as sacred. Words alone do not make music sacred. The more the music conforms to Gregorian chant and sacred polyphony, in actual use or stylistic imitation, and the organ's use as the musical instrument of choice, the more it conforms to the Church’s notion of sacred. The more the music at the wedding ceremony upholds the Church’s ideal of sacred style, the more the wedding will be experienced as a sacred act rather than a secular one. This does not, however, exclude the possibility of other musical styles or instrumentation (See Sing to the Lord, pp. 89–90).
Pastoral Judgment
As in any liturgy, the assembly should be actively engaged in participating in the music. Weddings often have assemblies from a diverse range of backgrounds. In these cases, it would be wise to plan music of a responsorial or short refrain-like nature that would lend itself to successful participation by the assembly. Couples should not plan their wedding with the assumption that all the singing will be done by a soloist or a choir.
Consequences
These principles would exclude secular love songs. They would more appropriately be performed at the wedding reception. They must not be considered for use before, during, or after the wedding liturgy. Discuss with your parish musician how the assembly may best participate in your wedding liturgy as well as his or her suggestions for suitable music selections.
Music for the wedding should be planned jointly by the couple and the parish priest or deacon and parish musicians. The planning should begin the moment that the date is set for the wedding. Parish and diocesan guidelines should be given to the couple at that time for study and planning.
Prelude Music
While the guests are gathering and entering the church, the organist, musicians, or singers may provide appropriate music. This period is not appropriate for pieces of music that would be inappropriate during the liturgical celebration.
The first part of the Mass is for the entrance procession and its accompanying chant. There is no need for special music to accompany the seating of special guests or for the entrance of bridesmaids, groomsmen, ring bearers, flower girls, matrons of honor, etc. If prelude music is playing, breaks or silences need not correspond with the starts of any of these entrances.
The Processional and the Two Forms of Entrance
The rubrics for the revised rite of marriage uphold the primacy of maintaining the liturgical norms for the entrance rite of Mass. Priests need to be sensitive to American cultural expressions while making every effort to uphold the liturgical norms.
The First Form
OCM, no. 45, implies a procession in correct processional order while the entrance chant is sung. An example of the processional order can be found in the Pastoral Manual section on Marriage or on the diocesan website.
In the First Form, there should be no change of music for the bride. This is because the bride and groom are equal partners in the covenant relationship.
Best Practice: People in the assembly want to see the bride and groom and the other players who make up this festive procession. Here are some suitable options to provide for this while remaining faithful to sacramental prayer.
Play an instrumental that accompanies the procession through the assembly, followed by the Entrance Song once all are in place.
Sing the first two or three verses of the Entrance Song. Then, the procession moves through the assembly accompanied by an instrumental piece that improvises the song's tune or is in harmony with it. Then, all sing the final verse or the doxology of the song once all are in place.
Sing an Entrance Song with a short, easy-to-remember assembly refrain that accompanies the entire procession.
In all of these ways, the whole assembly does its job of singing the Entrance Song. The entire assembly also gets to visually participate in the pageantry of the procession. And all remain faithful to the Church’s liturgical business, i.e., continually delving into the Paschal Mystery of the Lord Christ Jesus and singing its praise.
The Second Form
When the couple arrives at their place, the priest receives them and warmly greets them. Then, during the entrance chant, the priest goes to the altar, reverences, venerates, and goes to his chair.
Note that in both the first and second forms, the entrance chant is an element of the liturgy, not an option.
The following are recommended as suitable options for the second form:
Play an instrumental piece that accompanies the procession through the assembly. After the priest has warmly greeted the couple and is approaching the altar, the entrance chant is begun.
Sing an entrance chant while the bridal party and couple are approaching the altar. And continue the entrance chant while the priest is reverencing the altar.
The Glory to God
When the ritual Mass for the Celebration of Matrimony is used, the Gloria must be sung or recited.
The Responsorial Psalm
Should be sung, if possible.
The Gospel Acclamation
Should be sung, otherwise, it should be omitted.
Acclamation
After the reception of consent and before the blessing and giving of rings (no. 65), the presider invites those present to praise God by saying, “Let us bless the Lord.” All reply by saying, “Thanks be to God,” or another acclamation may be sung or said. For example, the refrain from the responsorial psalm in this liturgy may be used.
Bible and/or Rosary (optional)
If the Bible and/or Rosary are presented to the couple, this is done after OCM 67B and before the hymn at OCM 68.
Hymn of Praise (optional)
After the giving of rings and optional giving of the arras, a hymn or canticle of praise may be sung by the whole community (OCM, no. 68). This is not a solo. It is sung by all. If the unity candle is used, the center candle is lit by the bride and groom from the side candles during the optional hymn at OCM 68. Alternatively, the unity candle may be lit in silence or accompanied by a brief instrumental piece.
The Preparation of the Gifts
Instrumental music, a congregational hymn, or the Offertory antiphon may accompany the presentation and preparation of the gifts.
The Eucharist Acclamations
The Sanctus, Memorial Acclamation, and Great Amen should be sung in a music setting familiar to the congregation and in such a way that encourages their participation. These three musical acclamations should be from the same Mass setting or stylistically, at least be very similar.
The Lord’s Prayer
Should be sung or said by the congregation together. It is never sung by a soloist or choir alone.
The Lamb of God
Should be sung or said.
Communion Music
Music during the distribution of Holy Communion can be instrumental, vocal solo, or choral. It should be kept in mind that the music with a sung text must be either the communion Proper’s appropriate for the day or reflect the liturgical action taking place. It is always appropriate for the assembly to sing at this time.
The Recessional
A strong joyous recessional is appropriate, though not mandated, using any available musical resource singularly or in combination.