Often held on Saturday nights before Sunday’s Divine Liturgy, Tasbeha connects worshippers with ancient Christian roots and the monastic tradition, while also sharing resonant elements with other liturgical practices.
The Structure of Tasbeha: A Hymn of Praise
The word Tasbeha itself means “praise,” and it’s not only a title but a purpose. Tasbeha follows a consistent structure that guides worshippers through stages of prayer, each with its own deep meaning and purpose. The service generally begins with the First Hoos, which includes portions from the Song of Moses in Exodus 15, recounting God’s victory over Pharaoh and the salvation of His people. This part of the service calls to mind the power of God in delivering His people from bondage—a theme echoed in the prayers of thanksgiving within Tasbeha.
This continues with the Second Hoos from Psalm 135, known as the “Praise the Lord” psalm, and the Third Hoos, which is the Song of the Three Holy Youths from the book of Daniel. The Third Hoos is particularly beloved because it celebrates God’s protection and steadfastness, recalling the story of the three youths in the fiery furnace. Just as God preserved these saints, Tasbeha reminds worshippers of His enduring faithfulness.
The service moves into the Fourth Hoos, which incorporates various Psalms. This is followed by the Theotokia—hymns that honor the Virgin Mary. The Theotokia reflects on her unique role in salvation history, as the one who bore God incarnate. Throughout the service, worshippers also chant the Doxologies (prayers of glorification) and conclude with hymns in praise of Christ, celebrating His role as Redeemer and Lord.
Roots in Scripture and Monasticism
Tasbeha has deep scriptural roots, as shown in the themes drawn from Exodus, Psalms, and Daniel. This focus on scripture reflects a shared reverence for holy texts seen across Orthodox Christian and Jewish traditions. Much like Jewish synagogue services, which feature psalms and scripture readings central to worship, Tasbeha takes scriptural passages and reimagines them as songs of praise, intended to unite worshippers with the events, heroes, and faith in God represented in these stories.
Tasbeha’s current form developed largely within the monastic tradition, beginning as an extension of the monastic hours and particularly the Midnight Hour. Monastics in the deserts of Egypt would gather for all-night vigils, chanting Psalms and hymns as a means of continual praise. In this way, Tasbeha embodies the spirit of monasticism within parish life, calling each worshipper to a practice of prayer, praise, and meditation on God’s works.
Hymns and Chants: Elevating the Heart
Central to Tasbeha is its music—a tapestry of hymns and chants performed in the traditional Coptic language. The hymns are not simply sung; they are carefully chanted, often with complex melodies that create an atmosphere of reverence and awe. The melodies are slow, repetitive, and contemplative, inviting worshippers to meditate deeply on the words. This practice shares similarities with other forms of Orthodox and even Jewish worship, where chant serves to elevate the words, creating a spiritual experience that transcends ordinary speech.
A unique aspect of Coptic chant is its varied tempo. Some hymns are slow and solemn, while others, especially those toward the end of Tasbeha, are faster and more jubilant. The idea is to progress from contemplation to celebration, as if the soul is being lifted through different stages of joy in God’s presence. This pattern reflects the journey from preparation to union with God—a concept familiar in other liturgical traditions but expressed uniquely in the rhythm and style of Coptic music.
