Here is another example of the Rēš Qālā (Model melody), Yādā Hūšāwē, in the voice of a celebrated singer, Fr. Paul Kodamullil from the diocese of Kothamangalam. Res Qala is a melodic and metric model to generate new compositions. Transmission of the Res Qala system was through oral tradition.
A coda (an additional conclusion to an existing melody) to the Syriac chant - Qandisa Alaha from the Qurbana of Fr Cyril Thayyil at Alangad Church. Paulose Pallikkara, harmonist and lead vocalist. 9 September 2021.
A different Performance practice (manner of executing a melody) of Qandisa Alaha. From the solemn Qurbana (pre-1962 missal) of Fr. Probus Perumalil, CMI (1922-2009). Recorded at St. Joseph's Monastery Chapel, Mannanam, Kerala, India. Early 1980s.
Here is another example of the performance practice (manner of singing) of the Syriac Trisagion. Fr. Sebastian Sankoorikal designed this format with his choir members, The choir sings the first incipit (deacon's invitation) in 4/4 rhythm. The celebrant sings the text and concludes with the second incipit (the first part of the minor doxology), the choir sings the second time and concludes with the third incipit (the response to the minor doxology).
This is the fourth video introducing different performances practices of the most popular Syriac chant, Qandisa Alaha. The videos cover samples from an extended period of time. The present video is a segment from a historical event of the Syro Malabar Qurbana in English at the largest Catholic Church in America, the Basilica and Cathedral of the Immaculate Conception in Washington, D. C., on Saturday, 7 September 2013.
This is the final segment on a series of videos on the application of a coda to the traditional melody of Qandisa Alaha. The four videos covered four different periods and four different styles, depending on the musicality of the celebrants.
This video shows another example of the coda to the Trisagion. In the Syriac era, local choirs enjoyed the freedom to compose new melodies to texts and experiment new performance practices. This video adds to the set of examples we posted earlier under the series of Aramaic Project-252.
The Syriac generation treated Qandisa Alaha differently from other Syriac chants. The celebrants and church choirs took the freedom to add several musical elements to the chant.
Fr. Cyril Thayyil has been kind enough to conduct this interview with the Syriac choir of the Marth Maryam Church at Alangad that has a unique place in the history of the St. Thomas Christians.
