Ethan Walker
A sequence is a chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel. The sequence is primarily syllabic, with short neumatic moments, and is vocal and monophonic. Historically, the Sequence was sung before the last Alleluia before the Gospel. The Sequence for Easter Sunday, for example, is Christ, our paschal lamb, has been sacrificed; let us then feast with joy in the Lord. The Sequence for Pentecost is Come, Holy Spirit, fill the hearts of your faithful and kindle in them the fire of your love. The Dies Irae sequence, on the other hand, is sung in churches where the Tridentine Mass is celebrated.
| Characteristics | Values |
|---|---|
| Definition | Chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel |
| Origin | Developed from a teaching tool for singers into a musical reflection on the Alleluia verse |
| History | First appeared in the ninth century, rose to prominence in the medieval period, and were most commonly used until the liturgical reforms enacted during the Counter-Reformation |
| Usage | Sequences are now only appointed for two feasts (Easter and Pentecost) and recommended for one (Corpus Christi) |
| Structure | Distinguished by a structure dominated by rhyming couplets, primarily syllabic with occasional short neumatic moments, and almost never containing melismas |
| Examples | Easter Sequence, Pentecost Sequence, Dies Irae, Stabat Mater, Ave maris stella, Lauda Sion, Swan Sequence |
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What You'll Learn
The historical origin of sequences
The jubilus was challenging to learn, so poets and musicians started using prose texts to help singers memorise the long and complex melodies. Many of the earliest sequences ended each line with the letter "A" to emphasise its connection with Alleluia. The name "sequentia" was bestowed upon these hymns as a result of the works of Notker Balbulus, who popularised the genre in the ninth century by publishing a collection of sequentiae in his Liber Hymnorum. Notker's texts were meant to be sung, and they were written in rhythmic prose, also called proses (Latin: prosae).
Sequences first appeared in the ninth century and rose to prominence in the medieval period. Their heyday lasted until the liturgical reforms enacted during the Counter-Reformation. At the height of their usage, there were sequences for nearly every Sunday and feast day (outside of penitential seasons). Their usage varied widely, as the sequences were never obligatory. In 1570, the liturgical use of sequences was restricted to just four texts: Victimae paschali for the octave of Easter, Veni Sancte Spiritus for Pentecost, Lauda Sion for the octave of Corpus Christi, and Dies irae for All Souls.
Sequences are distinguished by a structure dominated by couplets, in forms such as AA'BB'CC'... and ABB'CC'DD'...Z. They can be thought of as unfolding in layers that overlap, rather than falling into early, middle, and late periods. In the early period, sequences often included single lines that were not part of a couplet. These single lines most often appeared at the beginning or end of the sequence but could also appear in the middle. Sequences from the middle period, starting around the 11th century, such as the sequence for the Mass of Easter Day, are less likely to have single lines outside of couplets, and their couplets are more likely to rhyme. By the 12th century, later sequences, such as the sequence for Pentecost, showed increasing regularity of structure, with rhyming couplets throughout.
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The placement of sequences in the liturgy
However, in the years following the Second Vatican Council, the sequence was moved to after the concluding Alleluia. This change was further altered by the 2002 edition of the General Instruction of the Roman Missal, which placed the sequence before the Alleluia. This modern placement separates the sequence from the Alleluia, which is the very part of the Mass from which the sequence originated.
The sequence's original placement before the Gospel procession served a practical purpose, as it developed from a teaching tool for singers into a musical reflection on the Alleluia verse. This is particularly evident in the Easter and Pentecost Sequences, which build upon the Alleluia verse for each respective feast day.
The placement of the sequence in the liturgy has been a subject of reflection and discussion, with some advocating for a return to its traditional position. The sequence's historical role in developing the Alleluia verse and its current position as a contemplative meditation on the day's mystery demonstrate its significance in the liturgy.
Overall, the sequence's placement in the liturgy has evolved, reflecting the dynamic nature of liturgical practices. Its current position before the Alleluia shapes how the congregation engages with the sequence and its thematic connection to the Alleluia verse.
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The development of sequences over time
Sequences, or sequentia (plural: sequentiae), are chants or hymns sung during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel. They are thought to have originated as a genre of poetry in the ninth century when Gregorian Chant was flourishing and spreading throughout Europe.
The early sequences, such as those by Notker, often included single lines that were not part of a couplet. These single lines usually appeared at the beginning or end of the sequence but could also be found in the middle. They ended each line with the letter "A" to emphasise their connection with the Alleluia. Over time, assonance was introduced, with verses ending with the same or equivalent vowels (e.g., e and i, o and u). This marked the transition to the second epoch, which took over a century and led to sequences with regular rhythm and rhyme and uniformity in verse construction.
By the Middle Ages, sequences had become more structured, with the 11th-century middle-period sequences, such as the Mass of Easter Day, showing a preference for rhyming couplets. The 12th-century late-period sequences, like the Pentecost sequence, featured consistent rhyming throughout. During this time, secular and semi-secular sequences were also written, such as the Goliards' satirical verses.
In the years following the Second Vatican Council, the placement of the sequence was changed. Originally sung before the last Alleluia before the Gospel, it was moved to after the concluding Alleluia, creating an extension of the Alleluia and accompanying the procession with the Book of the Gospels. Today, the sequence has been moved back before the Alleluia, maintaining its historical connection while also serving as a meditation on the day's mystery before the Gospel proclamation.
The popularity of sequences in the liturgy grew to the point of becoming "unwieldy," and Catholic reformers at Trent reduced their number. This continued into the 20th century, with the 2002 edition of the General Instruction of the Roman Missal reversing the order once more, placing the sequence before the Alleluia.
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The structure and characteristics of sequences
Sequences are a chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel. Historically, the Sequence was sung before the last Alleluia before the Gospel. The Sequence was added before the Alleluia refrain returned. In the years following the Second Vatican Council, the Sequence was moved to just after the concluding Alleluia. The Sequence precedes the Alleluia in today's liturgy, maintaining its historical origin of developing the Alleluia verse.
The Sequence is believed to have originated in the ninth century and rose to prominence in the medieval period. By the time of the Council of Trent (1543–1563), there were sequences for many feasts in the Church's year. The composition of sequences became less frequent when Humanist Latin replaced medieval Latin as the preferred literary style. Sequences are generally thought to be an outgrowth of the melismatic jubili at the end of Gregorian Alleluias. They were created to help singers memorize the lengthy jubilus of the Alleluia.
Sequences are distinguished by a structure dominated by rhyming couplets, in forms of AA'BB'CC'. Sequences from the middle period, starting around the 11th century, are less likely to have single lines outside of couplets, and their couplets are more likely to rhyme. By the 12th century, later sequences showed increasing regularity of structure, with rhyming couplets throughout. Medieval sequences are usually modal melodies. While primarily syllabic, sequences can occasionally have short neumatic moments, but they almost never contain melismas. The two verses of each couplet are sung to the same musical line, usually ending on a tonally stabilizing pitch, with variety being created by couplets of different lengths and with different musical arches.
The Sequence for Easter Sunday is: "Christ, our paschal lamb, has been sacrificed; let us then feast with joy in the Lord." The Easter Sequence begins with this theme and builds on it with its opening line: "Christians, to the Paschal Victim, offer your thankful praises!". The Sequence for Pentecost develops the Alleluia verse: "Come, Holy Spirit, fill the hearts of your faithful and kindle in them the fire of your love."
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Examples of well-known sequences
The Easter Sequence, which begins with the theme of "Christ, our paschal lamb, has been sacrificed; let us then feast with joy in the Lord", is a well-known sequence that develops the Alleluia verse. It starts with the line, "Christians, to the Paschal Victim, offer your thankful praises!" and continues with "A Lamb the sheep redeems; Christ, who only is sinless, Reconciles sinners to the Father".
The Pentecost Sequence, considered one of the most beautiful poetic masterpieces, begins with "Come, Holy Spirit, fill the hearts of your faithful and kindle in them the fire of your love".
Other well-known sequences include the ninth-century Swan Sequence, Tommaso da Celano's Dies Irae, St. Thomas Aquinas' Pange lingua in praise of the Eucharist, the anonymous medieval hymn Ave maris stella ("Hail, star of the sea!") and the Marian sequence Stabat Mater by Jacopone da Todi.
The Christmas carol Adeste Fideles, or "O Come, All Ye Faithful" in English, is also considered one of the best-known later sequences.
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Frequently asked questions
A sequence is a chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel.
The sequence is thought to have originated in the 9th century as an artful accompaniment to the lengthy Gospel procession. In the Middle Ages, they rose to prominence, with hundreds of sequences composed and used in Mass. Their heyday lasted until the liturgical reforms enacted during the Counter-Reformation. Today, sequences are only appointed for two feasts: Easter and Pentecost.
Some well-known sequences include the ninth-century Swan Sequence, Dies Irae, St. Thomas Aquinas' Pange Lingua in praise of the Eucharist, and the Marian sequence Stabat Mater. The sequence for Pentecost, Veni Sancte Spiritus, is considered one of the most beautiful poetic masterpieces of our time and is sometimes referred to as the Golden Sequence.
