This Passiontide alternatum is designed to accompany the adoration of the Cross for the Good Friday Liturgy.

Vexilla Regis, a hymn to the Holy Cross, which is believed to have been first sung as a processional chant on November 19, 569. It accompanied the translation of a relic of the True Cross from Byzantium to Poitiers, where the Frankish queen, St. Radegunda, had retired and founded the Abbey of the Holy Cross. Venantius Fortunatus, a 39 year-old cleric and Italian “poet in residence”, was inspired to write its eight verses to mark the occasion. In the 10th century the last two verses were replaced before being adopted into the Latin Church’s universal divine office for Passion-tide and the feast of the Exultation of the Holy Cross (Sept 14). In the interest of Latin prosody, the hymn was heavily revised in the 17th century but restored to its ancient form at the turn of the 20th century.


Find the score here.


This is part of an ongoing series of equal-voice fauxbourdons designed to accompany antiphons and psalmody for both the Mass and Divine Office. I plan on making these for all eight tones and setting them to the Magnificat as well as Sunday Communion Psalm verses that accompany the antiphons. Tones 1, 2, 7, and 8 are completed. Four more to go!

Plainchant Antiphon: Beata viscera from Communion Proper from the Common of the Blessed Virgin Mother

Psalm 44: Communion verses

Fauxbourdon: Nicholas Lemme


Recorded Feb.4, 2022 at Our Lady of Guadalupe Seminary, FSSP

Singers: Jacob Kasak, Adrian Fyda, Quinn Gomez, Christopher Eichman, Charles Ohotnicky, John Francis Sulzen, Andrew Daniels, Conan McGonagle, Marhall Harmon, David Carter, Thomas Clovis, Joseph Falciano, Dominic Rumore, Michael LaRochelle, Michael Mays, Joshua McDonald

Director: Nicholas Lemme


Purchase the score here.

More info about Our Lady of Guadalupe Seminary here.




This is the traditional Gregorian chant for the offertory of the third Sunday after Easter. The traditional verse (Qui custódit veritátem) has been set for TTB voices (01:19), in which the baritone line uses a Tone 4 psalm tone as its cantus firmus. The chant returns to the psallam Deo meo in keeping with the traditional form of the offertory as a responsory.

Offertorium (Corpus) anon: Graduale Romanum

Lauda ánima mea a Dóminum: laudábo Dóminum in vita mea: psállam Deo meo, quámdiu ero, alleluia.


(Versum) composer: Nicholas Lemme ( *1978)

Qui custódit veritátem in sáeculum: fáciens judícium injúrian patiéntibus: dat escam esuriéntibus.


Translation Praise the Lord, O my soul: I will praise the Lord in my life: I will sing a song to God as long as I shall be, alleluia. Who keepeth truth forever: Who executeth judgment for them that suffer wrong: Who giveth food to the hungry.


Recorded: Our Lady of Guadalupe Seminary | Denton, NE May 2021