HbSHalballels

HbSHalballels is a lesser-known but historically significant form of liturgical music originating from the Ethiopian Orthodox Tewahedo Church. The term "Halballel" derives from the Hebrew word *hallel*, meaning "praise," and is associated with the biblical Psalms of Ascent (Psalms 120–134), which are traditionally recited or sung during pilgrimages to Jerusalem. In the Ethiopian context, the prefix "HbS" (likely an abbreviation for *Habesha*, the self-designation for Ethiopians) distinguishes this tradition from its Jewish and Christian counterparts.

The music of HbSHalballels is characterized by its melodic complexity, modal scales, and rhythmic intricacy, often performed a cappella or accompanied by traditional instruments such as the *masenqo* (a stringed lute) or *krar* (a lyre). Unlike the more widely recognized *zema* (Ethiopian Orthodox hymns), Halballels tend to be shorter, more contemplative, and structured around specific liturgical moments, particularly during processions or communal prayers. The melodies frequently employ microtonal inflections, reflecting the Ethiopian musical tradition’s use of *entonna* (modal systems).

HbSHalballels are primarily sung in Ge'ez, the liturgical language of the Ethiopian Orthodox Church, though some adaptations incorporate Amharic. The texts often draw from biblical passages, saints’ lives, or devotional poetry, emphasizing themes of repentance, ascension, and divine praise. While not as prominently documented as other Ethiopian liturgical genres, Halballels remain an integral part of certain monastic and parish traditions, particularly during major feasts like Timket (Epiphany) or during pilgrimages to sacred sites like Lalibela’s rock-hewn churches.

Scholars note that HbSHalballels share stylistic affinities with other East African liturgical music, including those of the Eritrean Orthodox Tewahedo Church, though distinct regional variations exist. The practice has seen limited modern revival, with efforts by ethnomusicologists and clergy to preserve its oral transmission. As with many traditional forms, its continued relevance depends on the preservation of knowledge within monastic communities and the adaptation of contemporary worship practices.