Sorrowful tune
The sorrowful tune is a named melody type in Coptic liturgical music, associated with the week before Easter; Idribi is a sorrowful Good Friday chant expressing the tragedy of the Crucifixion.
Also known as: Lahn al-Huzn · al-ḥazainī · Hazin tune
In brief
The sorrowful tune, called Lahn al-Huzn, is a named melody or melody type in Coptic Orthodox liturgical music. The sorrowful category is associated with the week before Easter and distinguished from ordinary fasting melodies. A notable sorrowful chant is Lahn Idribi, sung during the Sixth Hour on Good Friday.
Name and liturgical use
The sorrowful tune is designated by the name [[Lahn]] al-Huzn, meaning a melody “of sorrow.” In Coptic liturgical books, lahn can refer either to a particular melody or to a recognizable melody type used for singing a text.1
The term belongs to the wider vocabulary of Coptic chant: lahn, whose plural is alhan, is the Arabic translation of the Coptic term adopted from Greek echos, used in liturgical books and manuscripts to specify the music for a given text.5 English renderings include “air,” “tone,” “melody,” and “mode,” although the term's possible affinities with Byzantine echos and Arabic maqam remain to be elucidated.6 Other descriptive names in this vocabulary include Lahn al-Farah, “of joy,” Lahn al-Tajniz, “for the dead,” and al-Lahn al-Ma‘ruf, “familiar.”7
Magdalena Kuhn lists al-ḥazainī among six main types of Coptic melody and assigns it to the week before Easter. Her classification distinguishes it from al-ṣiyāmī, the melody type used during fasting periods.2
The remaining categories in Kuhn's classification are al-sanawī, the daily melody encompassing Adam and Batos; al-faraiḥī, used for feasts, weddings, and baptisms; Kiyahk, used during Advent; and al-sha‘anīnī, used on Palm Sunday and the feasts of the Cross.8
Melody types and liturgical terminology
In the fourteenth century, some twenty-six alhan were named, most of which were still known at the time of the account.9 Some are designated sanawiyyah, or annual, and are sung throughout the year, whereas others may be reserved for a single occasion.10 The relationship between melody and text is not necessarily exclusive: the same text may be sung to different alhan, and the same lahn may carry different texts.11 A lahn may also have three forms, described as short (qasir), abridged (mukhtasar), and long (tawil).12
Alongside these names, Adam and Batos, also called Watus in Arabic, are the two melody types most frequently named in the chant repertory.13 Hymns labeled Adam are assigned to Sunday through Tuesday and certain specified days, while those labeled Batos are reserved for Wednesday through Saturday, the evening service, and Holy Week.14 Their names come from the opening words of the Monday and Thursday Theotokias for Kiyahk, respectively, and although they differ in verse structure, length, and mood, their music differs little in contemporary practice and both can occur in the same service.15
A sorrowful chant: Idribi
Lahn Idribi is a sorrowful chant performed during the Sixth Hour on Good Friday, expressing the tragedy of the Crucifixion. Its text is the Psalm versicle preceding the Gospel reading, so it is also called Mazmur Idribi (“Psalm Idribi”).3
The same source offers two possible explanations for the name Idribi: it may derive from the ancient village of Atribi near present-day Suhaj, or from a Coptic expression meaning “one causing grief.” Neither derivation is presented as certain.4
Musical structure and interpretation
In her discussion of Coptic melodies generally, Kuhn explains that familiar melodies can carry different hymns and serve as a memory aid for singers.16 She notes that melodic intervals—the distances between successive notes—are normally small.17 A chant's placement in a high, middle, or low vocal register has no symbolic meaning in her account; the register should suit the human voice and can be adapted to an individual singer.18 She also distinguishes a musical formula from its placement: a formula has no special character in itself, but acquires significance from its position within the melody, while both that position and the melody's overall structure are important for recognizing a chant.19
Coptic music generally is formally constructed rather than simply an apparently endless succession of spontaneous improvisations.20 It includes compositions built from brief phrases woven into repeated sections and ending in a prescribed cadence, compositions built from longer self-contained phrases repeated as strophes or refrains, and more syllabic melodies adapted to the inflection and rhythm of their texts.21
Holy Week texts and language
The relationship between language and melody is illustrated by two examples from Holy Week: “Remember me, O Lord,” sung during the Sixth Hour on Good Friday, and “Judas, Judas,” reserved for Maundy Thursday.22 In the former, the text is sung first in Coptic and then in Greek without changing the music.23 In the latter, comparison of Greek and Arabic performances suggests that basic melodic lines and rhythms, and even a considerable degree of ornamentation, are retained across languages.24 Although scholars had observed a tendency for melodies adapted to Arabic to become simpler, shorter, and less ornamented, firm conclusions require much further comparison.25
Transmission and documentation
The broader musical tradition in which these Holy Week chants are preserved has depended on oral teaching and rote learning, with music passed from one person and generation to the next.26 The manuscripts and books available at the time of the account recorded texts and rubrics rather than music, and no notation designed specifically for Coptic music was then known to survive, although manuscripts bearing ancient Greek notation had been found in Egypt.27
Marian Robertson's comparisons of transcriptions made decades apart suggested that simpler melodies might have remained intact for centuries.28 Comparisons of recordings made years apart at the Institute of Coptic Studies also showed stable basic melodies, with embellishments occurring in the same places despite slight variation, especially in choral compositions.29 Solo performances allowed more variation and improvisation, particularly in embellishments and melismata.30
A documented recording resource for this liturgical season is The Holy Week Services, edited by Ragheb Moftah and recorded at the Higher Institute of Coptic Studies in Cairo in 1972.31
Questions
Frequently asked questions
- What does Lahn al-Huzn mean?
- It means a melody “of sorrow.” In Coptic liturgical terminology, lahn can designate either an individual melody or a recognizable melody type.
- When is the sorrowful melody type used?
- Magdalena Kuhn assigns al-ḥazainī to the week before Easter, distinguishing it from al-ṣiyāmī, the melody type for fasting periods.
- What is Lahn Idribi?
- It is a sorrowful chant sung during the Sixth Hour on Good Friday, expressing the tragedy of the Crucifixion. Its text is the Psalm versicle preceding the Gospel reading.
- Where does the name Idribi come from?
- The Coptic Encyclopedia suggests either the ancient village of Atribi near present-day Suhaj or a Coptic expression meaning “one causing grief,” without treating either derivation as certain.
- Does a low vocal register symbolize sorrow in Coptic chant?
- Kuhn states that a chant's high, middle, or low vocal register has no symbolic meaning and can be adapted to suit the singer's voice.
References
Sources
- 1.The Coptic Encyclopedia, Volume 5 — Aziz S. Atiya (Editor in Chief) (p. 184)
Sometimes translated into English as "air," "tone," "melody," or "mode," it refers basically to either a certain melody or melody type that is readily recognized by the people and known by a specific, often descriptive name, such as Lahn al-Farah (. . . of joy) and Lahn al-Huzn (. . . of sorrow).
- 2.Coptic Melodies: Structure and Significance — Magdalena Kuhn (p. 3)
In Coptic music, six main types of melody are used for ordinary days or special occasions: al-sanawī daily melody (ADAM and Batos); al-faraiḥī for feasts, weddings, baptisms, etc.; Ⲭⲟⲓⲁⲕ (Kiyahk) during Advent; al-ṣiyāmī during fasting periods; al-sha‘anīnī on Palm Sunday and feasts of the Cross; al-ḥazainī in the week before Easter.
- 3.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
Among many beautiful alhan, the sorrowful lahn Idribi may be cited as one of the most eloquent. Performed on Good Friday, during the Sixth Hour, it expresses vividly the tragedy of the Crucifixion. Its text being the Psalm versicle preceding the Gospel lection, it is also called Mazmur Idribi (Psalm Idribi).
- 4.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
This name may derive from the ancient village Atribi, which once stood near present-day Suhaj, or it may stem from Coptic eterh/bi (one causing grief).
- 5.The Coptic Encyclopedia, Volume 5 — Aziz S. Atiya (Editor in Chief) (p. 184)
LAHN (plural alhan), Arabic translation of Coptic /,oc, adopted from Greek ekhos, a term used in Coptic liturgical books and manuscripts to specify the music to be sung to a given text.
- 6.The Coptic Encyclopedia, Volume 5 — Aziz S. Atiya (Editor in Chief) (p. 184)
Sometimes translated into English as "air," "tone," "melody," or "mode," ... Lahn may have some affinities yet to be elucidated with the Byzantine echos and the Arabic maqam.
- 7.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 77)
lahn al-huzn (“... of grief”), lahn al-farah (“... of Joy”), lahn al-tajniz (“... for the dead”), al-lahn al-ma‘ruf (“familiar”), etc.
- 8.Coptic Melodies: Structure and Significance — Magdalena Kuhn (p. 3)
al-sanawī daily melody (ADAM and Batos) al-faraiḥī for feasts, weddings, baptisms, etc. Ⲭⲟⲓⲁⲕ (Kiyahk) during Advent al-ṣiyāmī during fasting periods al-sha‘anīnī on Palm Sunday and feasts of the Cross
- 9.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
in the fourteenth century, IBN KABAR named some twenty-six alhan, most of which are still known today.
- 10.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
Some, designated sanawiyyah (annual), are sung throughout the year, whereas others may be reserved for one occasion only.
- 11.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
The same text may be sung to different alhan, and conversely, the same lahn may have different texts.
- 12.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
Furthermore, the same lahn may have three forms: short (qasir), abridged (mukhtasar), and long (tawil).
- 13.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
The two melody types most frequently named are Adam and Batos (Arabic: ADAM and WATUS).
- 14.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
Hymns labeled Adam are to be sung Sunday through Tuesday, and also on certain specified days, while hymns labeled Batos are reserved for Wednesday through Saturday, for the evening service, and for Holy Week.
- 15.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 78)
The two names derive from the Theotokia for Kiyahk ... Adam is the first word of the Theotokia for Monday ... Batos is the first word of the Theotokia for Thursday ... Although they are distinct from each other in verse structure, length, and mood, their music differs little in contemporary practice, and both may be heard in the same service.
- 16.Coptic Melodies: Structure and Significance — Magdalena Kuhn (p. 3)
Different hymns are sung to well-known melodies that are used as a kind of memory aid.
- 17.Coptic Melodies: Structure and Significance — Magdalena Kuhn (p. 3)
The intervals (the distance from one note to the next) are normally small.
- 18.Coptic Melodies: Structure and Significance — Magdalena Kuhn (p. 3)
The level of the melody of a chant—high, low, or middle of a vocal register—has no symbolic meaning. It has to be convenient for the human voice and can be adapted to the voice of every singer.
- 19.Coptic Melodies: Structure and Significance — Magdalena Kuhn (p. 3)
A formula itself does not have a special character; it is a formula’s position in the melody which imbues it with significance. Both the position of a formula in Coptic melody and the structure of that melody are very important for recognizing a chant.
- 20.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 77)
Many scholars have felt that Coptic melodies seem to unfold in spontaneous and endless improvisation. However, analyses reveal that this music has been constructed according to definite forms
- 21.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 77)
(1) Some songs are made up of various brief phrases, which are woven together so as to form clearly identifiable sections ... the piece ends with a prescribed cadential formula. ... (2) Other melodies are composed of longer, individual phrases, complete in themselves ... (3) Some songs are made up of melodic line and rhythm that are simplified to fit the inflection and rhythm of the text. Such melodies tend to be syllabic
- 22.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 90)
the Easter hymn, “Remember me, O Lord” (performed on Good Friday during the Sixth Hour) ... The Easter song reserved for Maundy Thursday, “Judas, Judas ...”
- 23.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 90)
which is sung first in Coptic ... and then in Greek ... the music does not change with the language.
- 24.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 90)
the few studies made of pieces sung interchangeably in Coptic (or Greek) and Arabic seem to show that the basic melodic lines and rhythms are kept intact, and that even the ornamentation is maintained to a remarkable degree. The Easter song reserved for Maundy Thursday, “Judas, Judas ...” ... may be cited as an example.
- 25.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 90)
those melodies put to an Arabic text have tended to become simpler, shorter, and less ornamented than the original Coptic version. ... Nonetheless, conclusions must await much further comparison.
- 26.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 88)
From the beginnings of the church, the music has passed from one person to another, from one generation to the next, by oral teaching and rote learning. Thus Coptic music has always depended on a continuous oral tradition.
- 27.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 88)
All the manuscripts discovered and books compiled to date record only texts and rubrics. There is no known notation now in existence designed specifically for Coptic music, though manuscripts bearing ancient Greek notation have been found in Egypt
- 28.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 88)
Marian Robertson has compared transcriptions of the same piece of music written decades apart by different scholars. These studies indicate that the simpler melodies may have remained intact for centuries.
- 29.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 88)
Other comparisons of recordings made years apart at the Institute of Coptic Studies also show that the basic melodies have remained unchanged, and that even the embellishments, though varying slightly, occur in the same places throughout the melody in question. This is especially true for those compositions sung by the choir.
- 30.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 88)
In the case of solo performers, variation and improvisation are to be found, particularly in the embellishments and melismata, as may be expected.
- 31.The Coptic Encyclopedia, Volume 6 — Aziz S. Atiya (Editor in Chief) (p. 118)
The Holy Week Services, ed. Ragheb Moftah. Recorded at the Higher Institute of Coptic Studies. Cairo, 1972.
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