"Andante" and "Adagio" in Coptic hymns

Andante is the musical term for a moderate speed or tempo. 
Adagio is the musical term for a slow speed or tempo. 

these terms can be applied to hymns because most hymns have a tempo. 

In the last verse of "Agios", the hymn is prayed andante, or in a moderate tempo, and then at the last words "eleyson emas" are prayed adagio, or in a much slower tempo. 


  • the professional scale goes

    Presto   -    Very Fast  168-208 Beats Per Minute

    Allegro  -     Fast   120-168 BPM

    Moderato  -  Moderate speed  108-120 BPM

    Andante   -   Moderate to slower speed  76-108 BPM

    Adagio   -    Slow 66-76 BPM

    Largo    -   very slow and solemn 40-66 BPM

    For example, the last two verses of Thok Te Ti Gom, go much slower than the first repetitions, 
    usually it goes two steps lower than the starting term. so if the hymn starts at Moderato, then the last few verses will be prayed in Adagio. Or if the start was in Andante the last two verses would be in Largo. 

    There are many other applications for these terms in Coptic hymnology, because the hymns have a BPM. 

  • So here is a problem with such classifications...these terms, from doing a simple search since i am not a pro, are applied to only classical ganres of music. And there are a lot of tempo markings, and there are markings for different languages (more like different families of languages)....and all of these are probably different when it comes to "modern classical music."

    That being said, I have two questions:
    - What classifies Coptic hymnology to be "classical"?
    - How is that applied to other Middle Eastern styles--would you classify an as a classical music ganre?

  • Well said Mr @minatasgeel
    Ⲟⲩϫⲁⲓ ϧⲉⲛ Ⲡϭⲥ
  • @minatasgeel, Yea, these are not really classifications to be held, I just wrote it as food for thought, with an ecperimental attitude. 
  • Seems more difficult that our current system: a metronome led by the chorus leader's hand :))
  • Well I wouldn't say we have a system. But, the problem is thinking that we can take what we have and just applying an existing system without considering the foundations of our hymnology. 
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