The Ordo Cantus Missae says to sing the Sequence after the Alleluia: see page 9 of my translation of the introduction and norms.

The Gregorian Missal, like the Solesmes Graduale Romanum, follows the norms in the OCM: thus the discrepancy vs. the GIRM.

Any canonists here? It's hard to know how to deal with cases like this. Some laws remain in effect, even if contradicted, until a new law names the old one and expressly states that it's intended to override the older one. Sometimes contradictions remain unresolved until someone asks the Roman curia to settle things.

Here's how I split the hairs: I've figured that, in the context of the Ordinary Form, OCM was binding for Masses in Latin (the decree promulgating it said so in 1972, and probably nothing has changed that), and the GIRM for vernacular Masses.

Following our pastor's wishes, we sing the sequences before the alleluia. It works very well. The schola sings the sequence, then, when the Alleluia begins, the pastor and parishioners stand while the pastor moves to the ambo.

Or is this just one of the many build-a-Mass options of the Novus Ordo?

This isn't snide. This is the consensus of every competent liturgist in the world.

Erik, I haven't looked very hard, and the only typos I can think of off the top of my head aren't earth-shattering: In EP III, "An so, Father, we bring you ..."; in the rubric for the Ite Missa Est of the Easter Vigil, "the dimissal is sung as follows"; the heading for one page in the section for dedication of a church randomly reads "Dedicace of a Church." I was probably overstating things to say you should just chalk up a variance in the order of chants to a typo, I was happy to find that this is just due to a change in the GIRM.

Jeffrey: "build-a-Mass options of the Novus Ordo" is a snide-sounding way of phrasing the remark. I accept Erik's explanation, but I hope that the next time someone says something like, "Bishop Slattery spent most of the Mass with his back turned on the faithful," you'll be so quick to reply that it's the consensus of anyone with two eyes that the Bishop's back actually was pointing toward the congregation.

EFT, you're quite right about the search function! Bruce Ford's remarks in this thread seem particularly astute.

At any rate, these discussions don't amount to much more than, "They did it one way for centuries, and now they've changed it. So what do we actually do?" That's a question that pretty much answers itself. As far as the modern form of the rite is concerned, contra Chonak I can't see that it matters whether Mass is in Latin or the vernacular, since after all the GIRM is really the IGMR, an instruction in Latin for a missale in Latin. And comments elsewhere on this site indicate it was promulgated with an "anything to the contrary notwithstanding."

.

Our Mass is mostly English, although we sing a fair amount of Latin. We will do the proper Alleluia from the Chants Abreges on Pentecost. The cool thing about our pastor is that, although he sticks to the vernacular (either English or Spanish, depending on the Mass scheduled), he sings a large part of the Mass. Before our schola was in existence and for all the years he has been a priest, cooperative choir or not... (or mariachis or not), he sings his prayers, sings the dialogs, sings the Gospel reading... sings the intercessions...

So... our chants don't seem out of place.

It's not just that the EF "Alleluia" verse doesn't end with "Alleluia", so the Sequences must add it. It's because the entire Sequence evolved out of the Alleluia - as a set of tropes, each ending with its own "Alleluia". Eventually those Alleluias between all the verses disappeared, and the Sequence sounded more like a hymn, with emphasis on its own rhyme and meter, including the "Amen. Alleluia." in question.

Whoever put the Sequence before the Alleluia had little or no understanding of this - or maybe just didn't care, since the liturgical history was simply in the way of their vision of the new Mass. I like incantu's suggestion that we had already jettisoned the Gradual, Tract, and Alleluia in favor of a "Responsorial Psalm" and a "Gospel Acclamation". (I personally don't care for either.)

My practical solution on Easter Sunday (which I intend to repeat on Pentecost) was to sing everything as written, omitting the "Amen. Alleluia.", but going right into the Alleluia after the Sequence. Now I mean that quite literally - not waiting for a signal like the Celebrant standing, or a liturgical/meditative "pause", and without any organ introduction to the "Gospel Acclamation". Without even a one-beat rest, the Cantor began "Alleluia. Alleluia. Alleluia." This made the music of the Sequence/Alleluia totally seamless. (Just be sure you match up the modes/key signatures.)