Easter Sequences

Suggestions for musical settings of the Easter Sequence accommodating various styles and ensembles.

In the rich tapestry of Catholic liturgy, few musical forms carry the historical depth and poetic intensity of the Sequence. Emerging in the early Middle Ages, the Sequence developed from the musical practice of extending the final jubilant melisma of the Alleluia chant at Mass. What began as an elaborate flourish of melody—known as the jubilus—eventually inspired the addition of texts that matched the rhythmic flow of the music. These newly texted chants became the Sequences: lyrical, often highly structured hymns that illuminated the theological meaning of major feasts.

Among the Sequences that remain in use today are three that mark pivotal moments in the liturgical year: Victimae Paschali Laudes for Easter, Veni Sancte Spiritus for Pentecost, and Lauda Sion Salvatorem for Corpus Christi. Each represents the Sequence at its most expressive—poetry wedded to melody in a way that both proclaims doctrine and invites the assembly into deeper contemplation of the mystery being celebrated.

Easter Sequences

Easter Sequence and Gospel Acclamation - arr. Rory Cooney

A masterful blend of Mode I and O Filii et Filiae, this setting uses medieval choral harmonies and colorful instrumentation to illuminate this rich text. It also conveniently leads seamlessly into the Gospel Acclamation, using the same O Filii et Filiae melody the assembly had been singing throughout the Sequence.

Christians, Praise the Paschal Victim! - arr. John Sittard

A more recent addition to the GIA catalog, “this setting was inspired by the liturgical practice of Notre Dame Cathedral, Paris, under the direction of Jehan Revert, Maître de chapelle. It consists of a new harmonization, as well the addition of a congregational refrain, using an English translation of the Easter Sequence by Peter J. Scagnelli.” -John Sittard

Easter Sequence - arr. Mikey Needleman

This setting is well-suited to music ministries seeking a more contemporary feel. While envisioned for full rhythm section, it could also be done very simply with cantor and keyboard. Its use of call-and-response provides immediate access for the singing assembly.

Additional settings of the Easter Sequence:

Easter Sequence - arr. Richard Proulx

The Easter Sequence - arr. J. William Greene

Easter Sequence and Gospel Acclamation - arr. Howard Hughes

Victimae Paschali Laudes - arr. Katie Barton