In the Syriac tradition the hymns contain theology, doctrines, spiritual discourses , praise and petitions. Depending on the content of the hymn, the hymns are classified as:
Monophonic Hymns
Madrosho
The Syriac word Madrosho which sounds similar to the Arabic/Islamic word for teachings, Madrassa, means the same thing. Madrosho hymns are spiritual teachings and advises.
Memro
Memro are spiritual discourses or homilies to defend the truth.
Sogito
The word meanings of Sogito which is commonly pronounced as Sogiso in Malankara is 'additional'. These are usually similes or metaphors. Sogito is a dramatical presentation of spiritual message. A good example is 'kallanmarude samvadam' ie the conversation between the thieves from the Good Friday service. We know that there was no such lengthy conversations between the two thieves, but the hymographer is using this Sogito to dramatically present the spiritual message of Good Friday. Another one is the dialogue between Our Lord Jesus Christ and St. John the Baptist.
Eniyono
These are hymns chanted by the congregation in response to or in answering to a reading by the Priest or Deacon. Eniyono means responsaria.
Manito, Mabartho, Takshepto
These are all hymns of praise. The most familiar one is the Manito of Mor Severious , (in Malankara pronounced as Maneesa) which is sung at the beginning of the Holy Qurbana. 'Nin mathavu vishudhanmaar, ennirvar than prarthanayal, Swarga Pithavin Eka Sutha, Vachanamatham Raajadheesha'
Hymns based on Octo Echoes
Bovootho
This means a petition or request. Usually all canonical prayers ends with a Bovootho. The most common Bovootho (petition hymn) is a petition for the souls of the departed; the Bovootho of Mar Balai (in Malankara pronounced as Bovooso) which starts with : 'Karuna Niranjavane- Punarudhanathil, Ninnude Shrushtiye nee Puthuthakkedaname'.
Quqleeyown.
This is a Greek word that is borrowed into Syriac which means cycle or cyclical structure of prayer. The cycle is:
1. Pethgomo (a verse from the Psalms)
2. Ekbo (base or feet)
3. Prumeon (Introductory Prayer)
4. Sedro
5. Qolo
6. Bovootho
Qolo
Mavurbo
This means praise or magnificat.
1. Syllabic Structure
Syllable is taken from the Greek word “syllabi”, which is a unit of organization for a sequence of sound. It is a unit of spoken language consisting of a single unit of uninterrupted sound formed by a vowel. It is not based on the number of letters alone, but the number of letters in one beat or meter. For example, ‘man’ is monosyllabic, meaning having only one syllable, while ‘Moses’ is disyllabic, having two syllables i.e. Mo/ses. Syriac music follows the methodology of Hebrew music viz. writing music in syllabic structure and in metrical style. Syllabic means the number of syllables and vowels used in one line. The following are
the examples.
a. Pentasyllabic Structure
Bardaisan was the first writer who wrote in the pentasyllabic (five syllables per line) structure. This structure is seen extensively in the liturgical prayers of the West Syriac tradition and was made popular by Mar Balai, who wrote couplets of pentasyllabic structure. He is considered the pioneer of pentasyllabic structure. The following example is one of the most famous examples of the couplets of Mar Ba‘lai used in daily liturgical worship.
ܚܰܕܶܬ̣ ܡܠܶܐ ܪ̈ܚܡܶܐ
ܒܪܺܝܬ̣ܳܟ̣ ܒܢܽܘܚܳܡܳܐ
b. Heptasyllabic Structure
The heptasyllabic (seven syllables per line) structure is also very common in Syriac poetry. Most of the compositions of Mar Ephrem are in hepta syllabic structure. His poetry popularized this structure which is known by his name. The following is a commonly chanted heptasyllabic verse from Mar Ephrem.
ܡܳܪܰܢ ܐܶܬܪܰܚܰܡܥܠܰܝܢ
ܡܰܪܰܢ ܩܰܒܶܠ ܬܶܫܡܫܬܰܢ
c. Dodecasyllabic Structure
The dodeccasyllabic (twelve syllables per line) structure was most famously employed by Mar Jacob of Serug. This structure is known in his name and is one of the most popular poetic structures in the Syriac tradition. The following verse is attributed to Mar Jacob and is often the introductory verse for many of Mar Jacob’s poems.