Welcome to Be a Ba’al Tefillah MP3 Program

Shabbat in the Synagogue

PLEASE READ THIS BROCHURE BEFORE YOU BEGIN LISTENING TO THIS

PROGRAM.

The Shabbat Service

The Shabbat service is the highlight of the week in the synagogue. In contrast to weekday
services when everyone is rushing off to work or school, it is a time when the congregation can
truly sit back and enjoy a good Ba’al Tefillah (cantor) who has a beautiful musical nusach. It is
the one time in the week when an individual can truly concentrate on his prayers and on his
relationship to his God.
This program contains the edited Basic Level of the Belz School of Jewish Music Shabbat
Curriculum at Yeshiva University in New York, in both Ashkenazic as well as Sephardic
pronunciation. In general, it is the same material taught in classes there. In this version, however,
we have simplified some of the more difficult musical passages that would be appropriate for a
more experienced Ba’al Tefillah. It is our hope that those who want to learn how to daven
properly will find this program helpful, and that even the more experienced user will also benefit
from the beautiful musical settings of this program. The nusach recorded here is unquestionably
one of the most authentic versions of the Shabbat Service that has ever been recorded. It is
compiled, arranged, adapted and composed in part by Cantor Bernard Beer, Director of the Belz
School, based on centuries of the davening styles of the finest Ba’alei-Tefillah and the tradition
they have passed down through the generations from the Maharil until the present. The only
differences between this version and the version that we teach at the Belz School are the above-
mentioned phrases I have simplified for the Basic user.
For explanations of Nusach Hatefillah, Congregational Melodies and our approach to Grammar
and Diction, please scroll to the end of the manual.

Cantor Sherwood Goffin New York, July 1, 2007

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The Teshuva (Responsum) of Rav Herschel Schacter on the Use of
God's Name in This Program
In accordance with the Halachic ruling of Rav Herschel Schacter, shlit"a, the Rosh Yeshiva of
Yeshivat Rabbeinu Yitzchak Elchanan at Yeshiva University in New York, we have been
permitted to use the actual Sheim Hashem, the name of God as is recited in the actual service.
This is because this audio program was initially intended for novice learners who wish to learn
how to lead the Shabbat Service, and to thereby enable them to serve as the Ba’al Tefillah
(cantor) for the service in the synagogue.
Since listening to an audio program that uses the word "Hashem" might lead an inexperienced
novice to use that word (“Hashem”) instead of the actual name of God in the synagogue and to
err thereby, we are therefore permitted to recite the actual name of God on this Basic Level
program.
The above is a short, paraphrased synopsis of Rav Schacter’s original text. A copy of the original
handwritten teshuva is available upon request from the publishers of this program.

Instructions for the Program

When the nusach title uses the word “Ashkenaz” or “Sefardit”, this does not refer to the
difference as is seen in the text of siddurim that have the tradition of Nusach Ashkenaz or
Nusach Sefard text. It is rather referring to the Hebrew pronunciation of the words of the
Siddur, depending solely on the custom of the individual and the way he originally learned to
pronounce the Hebrew text. This program follows the format of the text as it is found in
every Nusach Ashkenaz Siddur. The user of this program can choose to listen to the
Ashkenazic or the Sephardic pronunciation of this text, depending on what is most comfortable
for him. Most synagogues will accept either form, as long as the Hebrew is being pronounced
consistently in the one form or the other. Certainly, one may not mix pronunciations from prayer
text to prayer text.

Suggested method for learning the music exactly as recorded

The most efficient way to learn the music exactly as recorded here is to carefully follow these
guidelines. It is a fact that listening to an entire paragraph all at once will not allow you to learn
it well. We therefore recommend the following steps:
1. If you wish, before you begin to learn a particular selection, you may listen to the entire
paragraph once in order to hear what you are about to learn in its entirety. Do this only once.
2. Begin by playing only one phrase at a time, such as: “B’fi yeshorim tishalol…”
3. Repeat it out loud at least three times. If you are not certain that you remember it correctly,
repeat the process from #2 above.
4. When you have learned an entire paragraph or Tefillah, check to see if you know it well by
reversing the process in #2 and #3 as follows: First, recite a phrase. Then, listen to the way
the program sings it to determine if you have learned it correctly.

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5. When you have completed an entire Tefillah section, such as Shacharit, we would strongly
suggest that you review the entire section by utilizing the method in #4.
6. If you have any questions or uncertainties about your accuracy, either for a paragraph or an
entire Tefillah, repeat that section from the beginning, as in #2 and #3.
7. Make sure to review everything you have learned within two or three days, in order to “lock
in” what you have learned before. Within a week or two, you may find that you have
forgotten parts here and there. Remind yourself by repeating the process you have used
before in #2 and #3, and review again within two or three days.
We trust that you will have a pleasant learning experience.
The Editors

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The following instructions pertain to parts of the program that require explanation. The
numbers that precede a prayer in this list are the same file numbers that are in the
program. This will enable you to find the Tefillah easily and to listen to it.

Havarah Ashkenaz – Ashkenazic Pronunciation

Ashkenaz Kabbolas Shabbos Notes

Number Prayer Description

8-12 L’cho Dodi Nusach I: This is the centuries-old nusach chant that is traditional
for synagogues that do not sing L’cho Dodi. It is the original nusach
that Ba’alei Tefillah always sang for L’cho Dodi in previous
generations. (Before 1900, congregational singing was relatively
unknown). Apply to all paragraphs as required.
Nusach II: A popular version from Israel in the 1960s. Apply to all
paragraphs until Lo Sevoshi.
Nusach III: The Bobover “Badekn” melody. Melody A is for verses
1, 2 and 4. Melody B is for 3 and 5.
Nusach IV: A popular “Yedid Nefesh”* for the first 5 verses of
L’cho Dodi.
Nusach V: The Breslover melody*. Part A is for verses 1, 2 and 4.
Part B is for verses 3 and 5.
13-16 Lo Sevoshi Nusach I: A continuation of # II above. We have recorded all
paragraphs.
Nusach II: The “Gerer” melody. We have recorded all paragraphs.
Nusach III: Moshe Laufer’s “Keitsad M’rakdim”* melody. Only
the first two verses are recorded. Continue in the same manner for
the following verses.
Nusach IV: Rabbi Shlomo Carlebach’s “V’ye’esoyu”* melody. It
has become popular as a “L’shono Habo-oh”. Only the first two
verses are recorded here. Continue in the same manner for the
following verses.

NOTE: When you sing the very last paragraph of “Boi B’Sholom”, turn around to the face the
doorway. At the first “Boi Kalloh” you bow towards the door of the synagogue to “welcome” the
Sabbath Queen. At the second “Boi Kalloh”, you bow towards the Ark of the Torah at the front
of the synagogue.

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Ashkenaz Maariv Notes

Number Prayer Description

3 Umaavir Yom II / This is the preferred, ancient traditional nusach for the
Keil Chai paragraphs of Maariv. Many congregations have
unfortunately omitted it because it is difficult for an
untrained Ba’al Tefillah. We have therefore recorded a
simplified version for #2 that comes immediately before
this.
5 Ki Heim Chayeinu II See #3 above.
12 V’Shomru II Niggun This is a melody that was popular in Boro Park, Brooklyn,
New York, in the middle of the 20th century. It is a
preferred melody because it contains many of the elements
of the true nusach of this paragraph as heard in #11.
13 Kaddish I This is the preferred, traditional Kaddish for Shabbos
Maariv.
14 Kaddish II This is a “popular” choral composition of the 19th century
that was composed specifically for this Tefillah. We have
only recorded the first half. You should continue to recite
it in the same style or finish as in Kaddish I. Although it is
acceptable for use here, it is preferable to sing the
traditional Kaddish I nusach version.
15 Vayechulu World-famous melody composed by Louis Lewandowski
(1821-1894), the choral director of the New Synagogue in
Berlin.
17 Mogein Ovos See #15 above.
18 Elokeinu Veilokei For the ending blessing of “M’kadeish Hashabbos” you
will hear two valid versions. The first version is the one
that is most widely accepted.
19 Synagogue Kiddush Based on the Kiddush by Lewandowski (See # 15).

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Ashkenaz Shacharis Notes

Number Prayer Description

04 Keil Melech This is a melody that may be substituted for the same words in
#03.
11 Keil Odon This is the ancient nusach chant that is traditional for synagogues
that do not sing Keil Odon. (Before 1900, congregational singing
was not common.) Apply to all paragraphs as follows: Use this
nusach for the first five paragraphs. Note that the last paragraph
has a special nusach.
12 Modzitzer melody #1. Part A should be used for verses 1, 3 and 5.
Part B for verses 2, 4 and 6.
13 Rabbi Ben Zion Shenker’s “Menucho V’simcho”. Parts A, B and C
are used for verses 1-3. Repeat A, B and C for verses 4-6.
17 Kodosh Ohr This is an alternative melody for Kodosh, Boruch K’vod and Ohr
Chodosh II Chodosh. Use either version. This was composed by Chazzan Eli
Berlinger.
18, 19 Vahavieinu There are two versions of V’keiravtonu recorded here. The first
and version (#18) is the most common. It ends with the well-known
V’kreiravtanu melody of Sh’ma Yisroel. The second version (#19) is for those
synagogues where they do not sing the Sh’ma melody together. In
both cases, begin with Vahavieinu.
25, 26 Tzur Yisroel I Some recite the last two words of this blessing – “Go-al Yisroel”
and II out loud. Some sing it softly. Follow the custom of your
congregation.
28 Gevuros In the summer months, from Passover until Shmini Atseres,
Mashiv Horuach is not recited. Choose the correct version as
required. Both are provided here.
30 Kedusho-Oz Many congregations require the chazzan to say “Kodosh, Kodosh,
B’kol etc.” out loud before saying “Oz B’kol”, and “Boruch k’vod
Hashem, etc.” after saying “Oz B’kol”. Ask your Rabbi, or the
Gabbai in charge, what the local custom is.
31 Kedusho- This is a nusach version similar to that which has been utilized by
Mim’komcho many generations of East European Ashkenazic Ba’alei Tefillah.
Nusach I
32 Kedusho - This melody was written by Cantor Meyerowitch of the Great
Mim’komcho Synagogue of London in the 1920’s and 1930’s. As a result of its
II appearance on the “Dveykus” series of recordings in the 1990s, it
has become widely known and beloved. This melody does not
include “Al Y’dei David, etc.” At its conclusion add “Al Y’dei” as
found in #31 above.

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Number Prayer Description
33 Kedusha - This is a well-known Modzitzer “wordless niggun”- the niggun of
Mim’komcho the Modzitzer “Sabbah”, Rabbi Yisroel Taub (1848-1920) of
III Lublin, Poland. This melody does not include “Al Y’dei David,
etc.” At its conclusion add “Al Y’dei” as found in #31 above.
35 Yismach Some siddurim omit the word “lo’ in “Nosato Lo”. Follow the
Moshe version in your siddur. We have also used the word “Senoi” here,
as is found in many siddur versions. Your siddur may say “See-
nai”. Both are correct.
36 V’Shomru This selection has two different endings. One is simple, one is
more elaborate. You may choose to use either version.
37 V’lo Nesato – Some siddur versions say “V’Hash’vii”. Follow the custom of your
“Uvash’vii” synagogue.
44 Birkas In Erets Yisrael, most synagogues Duchen at this point, as they do
Kohanim every day. The Kohanim wash their hands and remove their shoes
in preparation for the Duchenen. The Chazzan leads the Kohanim
by reciting each line of Birkas Kohanim which is then repeated by
the Kohanim in the same manner as is done on the major holidays
outside of Israel.
45 Sim Sholom/ The second version of this final brocho of Shacharis is only to be
The Pre- recited on Rosh Chodesh (and Holidays), immediately before the
Hallel recitation of the Hallel. (We have not recorded the Hallel here.)
Hamevorech

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Hotzoas HaTorah
This Section (Hotzoas HaTorah) is not part of the Belz curriculum.
Number Prayer Description
47 Ein Komocho The famous melody composed by Cantor Salomon Sulzer of
Vienna (1804-1890), known as “the father of the modern
cantorate”.
48 Av The famous melody by A. Dunajewski (1843-1911) a composer
Horachamim and conductor for the synagogues of Odessa, Russia.
49 Vayehi Binsoa Melody by Cantor Sulzer (see #47 above).
50 Bei Ano Beloved melody by Zeidel Rovner (Jacob Samuel Maragowsky -
Rochitz 1856-1943), Chassidic chazzan, composer and choral director in
many East European cities. Best known as the Chazzan of Rovno,
Russia. In 1914 he came to New York. His manuscripts are now in
the library of the Belz School at Yeshiva University.
51 Shema Yisroel Famed melody by Cantor Sulzer (see # 47).
52 Echod Sung to the same melody as # 51.
Elokeinu I
53 Echod By Cantor Sulzer (see # 47).
Elokeinu II
55 L'cho Hashem Famous melody by Louis Lewandowski (see Maariv #15).

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Ashkenaz Musaf Notes

Number Prayer Description

05 Y’hallelu/Hodo This famous “Hodo” melody was composed by Cantor
Salomon Sulzer (1804-1890) of Vienna, known as “the father
of the modern cantorate”.
08 Eitz Chaim I The melody for “Eitz” is by Sulzer (See #05), based on the
same “wandering melody” that was used for the “Hatikvah”.
09 Eitz Chaim II* Composed by Tanchum Portnoy of Lawrence, New York.
This popular melody can be sung from Ki Lekach Tov, if
desired.
10 Kaddish before This ancient melody is the only valid Kaddish melody that
Musaf can be sung before Musaf. No others are acceptable
according to the laws of Nusach Hatefillah. (See explanation
in the introduction to this program).
12 Gevuros In the summer months, from Passover until Shmini Atseres,
Mashiv Horuach is not recited. Choose the correct version as
required. Both are provided here.
14 Kedusha- This is a melody commonly sung in Young Israel synagogues
Naaritz’cho II in the first seven decades of the 20th century.
15 Kedusho- A popular ‘Ma Tovu’ choral melody that can be easily
Naaritz’cho III* followed in Youth Minyanim.
16 Kedusho- K’vodo Many congregations require the chazzan to say “Kodosh,
Molei Olam Kodosh, etc.” out loud before saying “K’vodo”, and “Boruch
k’vod Hashem, etc.” after saying “K’vodo”. Ask your Rabbi,
or the Gabbai in charge, what the local custom is.
18 Kedusho- Mimkomo This the melody of the famous “Lev Tohor” by S.
II* Soloveitchik popularized on the recordings of Pirchei and
Dveykus.
20 Kedusho- Sh’ma This is the well-known melody of the Telshe Yeshiva of
Yisroel II* Cleveland.
24 Yism’chu/”Uvash’vii” Some siddur versions say “V’Hash’vii”. Follow the custom
of your synagogue.
26 Kadsheinu Niggun The melody of the well-known melody “Tziyon”. It begins in
II* the Phreigish Mode (See introduction) and is therefore valid
for use here.

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Number Prayer Description
30 Birkas Kohanim In Erets Yisrael, most synagogues Duchen at this point, as
they do everyday. The Kohanim wash their hands and
remove their shoes in preparation for the Duchenen. The
Chazzan leads the Kohanim by reciting each line of Birkas
Kohanim which is then repeated by the Kohanim in the same
manner as is done on the major holidays outside of Israel.
32 Sim Sholom Niggun This is set to the melody of “Tov L’hodos”, by Yitzy Katz. It
II* is also in the Phreigish Mode (See introduction) and is
therefore valid for use here.
34 Kaddish Sholeim II This is the “popular” 19th century “Choral Kaddish” which
can be recited as a substitute for the “original” Kaddish
(#33). This version stops at “B’rich Hu”. Continue in the
same musical style to complete the Kaddish.
39 Shabbos Rosh This version of the brocho after the Kedusho of Musaf is only
Chodesh Ato to be recited on Rosh Chodesh (and Holidays), immediately
Yotzarto/Hoeil before the recitation of the main body of the Musaf. On
HaKodosh Shabbos Rosh Chodesh, this precedes the section beginning
with Ato Yotsarto.
39 Shabbos Rosh Towards the end of this paragraph, the word “hash’lucho” is
Chodesh/Ato found. Although this is the version that is used in the Belz
Yotsarto School, many versions of siddurim print a different word
here. That is the word “shenishtal’cho”. Please be careful to
recite the version that appears in your siddur.
40 Shabbos Rosh The program continues with “Uv’yom HaShabbos”, which is
Chodesh/Uv’yom Ha- the same as that recited in #23. That is because when
Shabbos describing the sacrifices for Shabbat we return to the Shabbat
Mode temporarily. “Uv’roshe” follows this paragraph. After
the word: ”k’hilchosom”, the program continues with
“Yism’chu V’Malchus’cho” which is recited as in #24 for the
same reason as cited above.
41 Shabbos Rosh On leap years in the Jewish calendar, from Rosh Chodesh
Chodesh/R’tzei Cheshvon until Rosh Chodesh Nissan, the words “U-
V’Chadeish l’chaporas Posha” should be added after “V’lislichas Ovon.”
Adapt the melody of V’lislichas Ovon” to the added words of
“U-l’chaporas Posha”.

* These melodies are not part of the Belz curriculum. For additional suggestions, please write to
Cantor S. Goffin at the Belz School, 500 W. 185th St., New York, NY 10033, or send email to
[email protected].

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Bowing in Prayer

At certain points in the service the Ba’al Tefillah is required to bow. At Bor'chu in the Friday
Night Maariv and in the Morning Shacharis, and for Modim in the Amidah of Shacharis and
Musaf. We always stand up straight at God's name.

We also do the same in the "Aleinu" prayer (not included here) at "Va'anachnu Kor'im". Some
also bow at every "Yisgadal" and "Yisborach" in every Kaddish.

In Birkas Kohanim the custom outside of Israel is to bow to the right side at "Y'vorech'cho"; to
the left at "Yo'er" and forward at "Yiso".

At "Gadlu" in Shacharis the custom is to turn towards the Ark and bow, standing straight at
God's name.

We also take three steps back -and step forward again- before "Boruch" at the beginning of the
Amidah, and again at the very end of the Final Kaddish at the end of the Amidah at "Oseh
Sholom".

Special bowing: In the first blessing of the Amidah, at the beginning and at the conclusion of
"Mogein Avrohom" we bow in a special way - at "Boruch" we bend the knees; at "Atoh” we bow
forwards, and at God's name we stand up straight. We do the same for the closing blessing of
"Modim" - "Hatov Shim'cho...”

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Havarah Sfardit – Sephardic Pronunciation
Sfardit Kabbalat Shabbat Notes

Number Prayer Description

8-12 L’cha Dodi Nusach I: This is the centuries-old nusach chant that is
traditional for synagogues that do not sing L’cha Dodi. It is the
original nusach that Ba’alei Tefillah always sang for L’cha Dodi
in previous generations. (Before 1900, congregational singing
was relatively unknown). Apply to all paragraphs as required.
Nusach II: A popular version from Israel in the 1960s. Apply to
paragraphs until Lo Tevoshi.
Nusach III: The Bobover “Badekn” melody. Melody A is for
verses 1,2 and 4. Melody B is for 3 and 5.
Nusach IV: A popular “Yedid Nefesh”* for the first 5 verses of
L’cha Dodi.
Nusach V: The Breslover melody*. Part A is for verses 1, 2 and
4. Part B is for verses 3 and 5.
13-16 Lo Tevoshi Nusach I: A continuation of # II above. We have recorded all
paragraphs.
Nusach II: The “Gerer” melody. We have recorded all
paragraphs.
Nusach III: Moshe Laufer’s “Keitsad M’rakdim”* melody.
Only the first two verses are recorded. Continue in the same
manner for the following verses.
Nusach IV:: Rabbi Shlomo Carlebach’s “V’ye’etayu”* melody.
It has become popular as a “L’Shana Haba-ah”. Only the first
two verses are recorded here. Continue in the same manner for
the following verses.

NOTE: When you sing the very last paragraph of “Boi B’Sholom”, turn around to the face the
doorway. At the first “Boi Kalloh” you bow towards the door of the synagogue to “welcome” the
Sabbath Queen. At the second “Boi Kalloh”, you bow towards the Ark of the Torah at the front
of the synagogue.

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Sfardit Maariv Notes

Number Prayer Description

3 Umaavir This is the preferred, ancient traditional nusach for the paragraphs of
Yom II/ Maariv. Many congregations have unfortunately omitted it because it
is difficult for an untrained Ba’al Tefillah. We have therefore
Keil Chai
recorded a simplified version for #2 that comes immediately before
this.
5 Ki Heim See #3 above.
Chayeinu II
12 V’Shamru II This is a melody that was popular in Boro Park, Brooklyn, New
Niggun York, in the middle of the 20th century. It is a preferred melody
because it contains many of the elements of the true nusach of this
paragraph as heard in #11.
13 Kaddish I This is the preferred, traditional Kaddish for Shabbat Maariv.
14 Kaddish II This is a “popular” choral composition of the 19th century that was
composed specifically for this Tefillah. We have only recorded the
first half. You should continue to recite it in the same style or finish
as in Kaddish I. Although it is acceptable for use here, it is preferable
to sing the traditional Kaddish I nusach version.
15 Vay’chulu World-famous melody composed by Louis Lewandowski (1821-
1894), the choral director of the New Synagogue in Berlin.
17 Magein Avot See #15 above.
18 Elokeinu For the ending blessing of “M’kadeish Hashabbat” you will hear two
Veilokei valid versions. The first version is the one that is most widely
accepted.
19 Synagogue Based on the Kiddush by Lewandowski (See # 15).
Kiddush

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Sfardit Shacharit Notes

Number Prayer Description

04 Keil Melech This is a melody that may be substituted for the same words in #03.
11 Keil Adon This is the ancient nusach chant that is traditional for synagogues
that do not sing Keil Adon. (Before 1900, congregational singing
was not common). Apply to all paragraphs as follows: Use this
nusach for the first five paragraphs. Note that the last paragraph has
a special nusach.
12 Modzitzer melody #1. Part A should be used for verses 1, 3 and 5.
Part B for verses 2, 4 and 6.
13 Rabbi Ben Zion Shenker’s “Menucha V’simcha”. Parts A, B and C
are used for verses 1- 3. Repeat A, B and C for verses 4-6.
17 Kadosh/Ohr This is an alternative melody for Kadosh, Baruch K’vod and Ohr
Chadash II Chadash. Use either version. This was composed by Chazzan Eli
Berlinger.
18, 19 Vahavieinu There are two versions of V’keiravtanu recorded here. The first
and version (#18) is the most common. It ends with the well-known
V’keiravtanu melody of Sh’ma Yisrael. The second version (#19) is for those
synagogues where they do not sing the Sh’ma melody together. In
both cases, begin with Vahavieinu.
25, 26 Tzur Yisrael I Some recite the last two words of this blessing – “Ga-al Yisroel” out
and II loud. Some sing it softly. Follow the custom of your congregation.
28 Gevurot In the summer months, from Passover until Shmini Atseret, Mashiv
Haruach is not recited. Choose the correct version as required. Both
are provided here.
30 Kedusha -Az Many congregations require the chazzan to say “Kadosh, Kadosh,
B’kol etc.” out loud before saying “Az B’kol”, and “Baruch k’vod Hashem,
etc.” after saying “Az B’kol”. Ask your Rabbi, or the Gabbai in
charge, what the local custom is.
31 Kedusha - This is a nusach version similar to that which has been utilized by
Mim’komcha many generations of East European Ashkenazic Ba’alei Tefillah.
Nusach I
32 Kedusha - This melody was written by Cantor Meyerowitch of the Great
Mim’komcha Synagogue of London in the 1920’s and 1930’s. As a result of its
II appearance on the “Dveykus” series of recordings in the 1990s, it has
become widely known and beloved. This melody does not include
“Al Y’dei David, etc.” At its conclusion add “Al Y’dei” as found in
#31 above.

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Number Prayer Description
33 Kedusha - This is a well-known Modzitzer “wordless niggun”- the niggun of
Mim’komcha the Modzitzer “Sabbah”, Rabbi Yisroel Taub (1848-1920) of Lublin,
III Poland. This melody does not include “Al Y’dei David, etc.” At its
conclusion add “Al Y’dei” as found in #31 above.
35 Yismach Some siddurim omit the word “lo’ in “Natato Lo”. Follow the
Moshe version in your siddur and the tradition of your congregation. Both
are correct.
36 V’shamru This selection has two different endings. One is simple, one is more
elaborate. You may choose to use either version.
37 V’lo Netato – Some siddur versions say “V’Hash’vii”. Follow the custom of your
“Uvash’vii” synagogue.
44 Birkat In Erets Yisrael, most synagogues Duchen at this point, as they do
Kohanim every day. The Kohanim wash their hands and remove their shoes in
preparation for the Duchenen. The Chazzan leads the Kohanim by
reciting each line of Birkat Kohanim which is then repeated by the
Kohanim in the same manner as is done on the major holidays
outside of Israel.
45 Sim The second version of this final bracha of Shacharit is only to be
Shalom/The recited on Rosh Chodesh (and Holidays), immediately before the
Pre-Hallel recitation of the Hallel.
Hamevarech

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Hotzaat HaTorah
This Section (Hotzaat HaTorah) is not part of the Belz curriculum.
Number Prayer Description
47 Ein Kamocha The famous melody composed by Cantor Salomon Sulzer of
Vienna (1804-1890), known as “the father of the modern
cantorate”.
48 Av Harachamim The famous melody by A. Dunajewski (1843-1911) a composer
and conductor for the synagogues of Odessa, Russia.
49 Vayehi Binsoa Melody by Cantor Sulzer (see #47 above).
50 Bei Ana Rachitz Beloved melody by Zeidel Rovner (Jacob Samuel Maragowsky -
1856-1943), Chassidic chazzan, composer and choral director in
many East European cities. Best known as the Chazzan of Rovno,
Russia. In 1914 he came to New York. His manuscripts are now
in the library of the Belz School at Yeshiva University.
51 Shema Yisrael Famed melody by Cantor Sulzer (see # 47).
52 Echad Elokeinu I Sung to the same melody as # 51.
53 Echad Elokeinu By Cantor Sulzer (see # 47).
II
55 L'cha Hashem Famous melody by Louis Lewandowski (see Maariv #15).

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Sfardit Musaf Notes

Number Prayer Description

05 Y’hallelu/Hodo This famous “Hodo” melody was composed by Cantor Salomon
Sulzer (1804-1890) of Vienna, known as “the father of the modern
cantorate”.
08 Eitz Chaim I The melody for “Eitz” is by Sulzer (See #05), based on the same
“wandering melody” that was used for the “Hatikvah”.
09 Eitz Chaim II* Composed by Tanchum Portnoy of Lawrence, New York. This
popular melody can be sung from Ki Lekach Tov, if desired.
10 Kaddish before This ancient melody is the only valid Kaddish melody that can be
Musaf sung before Musaf. No others are acceptable according to the laws
of Nusach Hatefillah. (See explanation in the introduction to this
program).
12 Gevurot In the summer months, from Passover until Shmini Atseret, Mashiv
Haruach is not recited. Choose the correct version as required. Both
are provided here.
14 Kedusha- This is a melody commonly sung in Young Israel synagogues in the
Naaritz’cha II first seven decades of the 20th century.
15 Kedusha- A popular ‘Ma Tovu’ choral melody that can be easily followed in
Naaritz’cha Youth Minyanim.
III*
16 Kedusha- Many congregations require the chazzan to say “Kadosh, Kadosh,
K’vodo Malei etc.” out loud before saying “K’vodo”, and “Baruch k’vod Hashem,
Olam etc.” after saying “K’vodo”. Ask your Rabbi, or the Gabbai in
charge, what the local custom is.
18 Kedusha- This the melody of the famous “Lev Tohor” by S. Soloveitchik,
Mimkomo II* popularized on the recordings of Pirchei and Dveykus.
20 Kedusha- This is the well-known melody of the Telshe Yeshiva of Cleveland.
Sh’ma Yisrael
II*
24 Yism’chu – Some siddur versions say “V’Hash’vii”. Follow the custom of your
“Uvash’vii” synagogue.
26 Kadsheinu The melody of the well-known melody “Tziyon”. It begins in the
Niggun II* Phreigish Mode (See introduction) and is therefore valid for use
here.

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Number Prayer Description
30 Birkat In Erets Yisrael, most synagogues Duchen at this point, as they do
Kohanim everyday. The Kohanim wash their hands and remove their shoes in
preparation for the Duchenen. The Chazzan leads the Kohanim by
reciting each line of Birkat Kohanim which is then repeated by the
Kohanim in the same manner as is done on the major holidays
outside of Israel.
32 Sim Shalom This is set to the melody of “Tov L’hodos”, by Yitzy Katz. It is also
Niggun II* in the Phreigish Mode (See introduction) and is therefore valid for
use here.
34 Kaddish This is the “popular” 19th century “Choral Kaddish” which can be
Shaleim II recited as a substitute for the “original” Kaddish II (#33).
39 Shabbat Rosh This version of the bracha after the Kedusha of Musaf is only to be
Chodesh Ata recited on Rosh Chodesh (and Holidays), immediately before the
Yatzarta/Haeil recitation of the main body of the Musaf. On Shabbat Rosh
HaKadosh Chodesh, this precedes the section beginning with Ata Yatsarta.
39 Shabbat Rosh Towards the end of this paragraph, the word “hash’lucha” is found.
Chodesh/Ata Although this is the version that is used in the Belz School, many
Yatsarta versions of siddurim print a different word here. That is the word
“shenishtal’cha”. Please be careful to recite the version that appears
in your siddur.
40 Shabbat Rosh The program continues with “Uv’yom HaShabbat”, which is the
Chodesh/ same as that recited in #23. That is because when describing the
Uv’yom sacrifices for Shabbat we return to the Shabbat Mode temporarily.
Hashabbat After the word: ”k’hilchatam”, the program continues with
“Yism’chu V’Malchut’cha” which is recited as in #24 for the same
reason as cited above.
41 Shabbat Rosh On leap years in the Jewish calendar, from Rosh Chodesh Cheshvan
Chodesh/ until Rosh Chodesh Nissan, the words “U-l’chaparat Pasha” should
R’tzei be added after “V’lislichat Avon.” Adapt the melody of “V’lislichat
V’Chadeish Avon” to the added words of “U-l’chaparat Pasha”.

* These melodies are not part of the Belz curriculum. For additional suggestions, please write to
Cantor S. Goffin, Belz School, 500 W. 185th St., New York, NY 10033, or send email to
[email protected].

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Bowing in Prayer
At certain points in the service the Ba’al Tefillah is required to bow. At Bar'chu in the Friday
Night Maariv and in the Morning Shacharit, and for Modim in the Amidah of Shacharit and
Musaf. We always stand up straight at God's name.

We also do the same in the "Aleinu" prayer (not included here) at "Va'anachnu Kor'im". Some
also bow at every "Yitgadal" and "Yitbarach" in every Kaddish.

In Birkat Kohanim the custom outside of Israel is to bow to the right side at “Y’varech'cha”; to
the left at "Ya'er" and forward at "Yisa".

At "Gadlu" in Shacharit, the custom is to turn towards the Ark and bow, standing straight at
God's name.

We also take three steps back -and step forward again- before "Baruch" at the beginning of the
Amidah, and again at the very end of the Final Kaddish at the end of the Amidah at "Oseh
Shalom".

Special bowing: In the first blessing of the Amidah, at the beginning and at the conclusion of
"Magein Avraham" we bow in a special way - at "Baruch" we bend the knees; at "Atah” we bow
forwards, and at God's name we stand up straight. We do the same for the closing blessing of
"Modim" - "Hatov Shim'cha...”

Background Notes to Nusach Hatefillah

The Shulchan Aruch, the authoritative compendium of Jewish Law, quotes in the name of the
Ramah, Rabbi Moses Isserles (in O.C.617), the Halachic decision of the Maharil, Rabbi Joseph
Mölin of Mayence (c.1360-1427), that: "One may not change the custom of a community, even
as to its melodies". It is therefore a principal of Jewish law that the traditional synagogue music
of a community may not be changed. This Halacha pertains to the traditional nusach chant, as
well as to the style and mode of the chant. As far as the “nusach” is concerned, it refers
specifically to certain fixed, precise "MiSinai" melodies chanted throughout the yearly cycle that
cannot be changed - the majority from the High Holiday service. It also refers to the music
modes assigned to every prayer we recite (see the next paragraph for a more detailed explanation
of the modes). Our community minhag (custom) comes out of the Germanic-Western tradition,
which has come down to us through the centuries. In North America, our tradition follows that
of the East European variation of that nusach, since most Jews who emigrated here and founded
synagogues were Jews of East European ancestry. The nusach recorded here is that of the East
European tradition, which is appropriate for most synagogues in the Western Hemisphere, except
for those of Middle Eastern, Spanish-Portuguese, or in a smaller measure, those synagogues that
strictly follow the Old German rite, such as that of Frankfurt Am-Main.

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We have presumed that the overwhelming majority of our users will be officiating in a
synagogue that follows this East European tradition, which is the most common synagogue
tradition in the Western world. The nusach heard here is the definitive version of that nusach,
albeit on a Basic level.

The Congregational Melodies in This Program

It is a fact of history that, for a thousand years, congregational singing did not exist in the
European Ashkenazic synagogue, except perhaps when the congregants would hum along with
the cantor at familiar points in the service or sing the required responses of the piyuttim of the
High Holidays. The practice of “sing-a-long melodies” did not exist in non-Chasidic synagogues
until the first decades of the 20th century in the United States, a practice begun by the Young
Israel movement. Now that this form of singing in the synagogue is widely accepted around the
world, we must be careful to obey the guidelines for music as defined by our sages for prayer.
The laws of nusach hatefillah, as described above, will conditionally allow the Ba’al Tefillah
(cantor) to choose melodies that will enhance the prayer service and involve the congregation in
singing together as a unified community.
The two major requirements are that: 1) the melodies cannot interfere with the nusach and cannot
take the place of those nusachot that are fixed and unchangeable. 2) the mode of the melody
must conform to the rules of the musical "modes" of the nusach. These modes: Minor1, Mixo-
lydian2 (a form of Major), Ukranian-Dorian3, and Phreigish4 (Héjaz), comprise the basic musical
fabric of the nusach and determine the musical form of every section of every service throughout
the year. These modes are fixed and may not be changed, in accordance with the Halachic
guidelines described above. One may even stylize (improvise) his own davening as long as he
stays within the assigned mode. However, for those prayers with a fixed and unchangeable
nusach, (as for example: the Kaddish before Musaf), the melody cannot be changed, but must be
chanted in this precise form.
As the days of the week advance in holiness from weekday to Shabbat, become the Three
Festivals, and especially during the High Holidays, more and more of our prayers become
"fixed" and unchangeable. We have been unquestionably diligent to preserve those Shabbat
nusach chants that are "fixed" wherever they appear in the program. In choosing melodies for
congregational participation, we have been careful to follow the above Halachic guidelines and
have chosen effective melodies that fit into the correct mode as established for each section of
the Shabbat service. In most cases, we have provided multiple choices of melodies, some of
which are part of the Belz School curriculum, plus others that are not. The non-curriculum
choices will be identified in the brochure below, as they appear in the program.
1 2 3 4
Hebrew: Mogein Ovos Hebrew: Hashem Moloch Hebrew: Mi Shebeirach Hebrew: Ahavah Rabbah

Grammar and Diction

As a rule, it is the practice of the Belz School to avoid repetition of words, especially when
teaching or recording the Amidah and the blessings of the Sh’ma, as is required by the majority
of Halachic authorities. This is also the rule we have followed for the melodies that we have
recorded here, as well.
We have made every effort to pronounce each word with proper grammar (dikduk), carefully
observing the rules of mil-el and mil-ra (accentuation), and the rules of Shva-na and Shva-nach

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(closed or open syllable). Regarding the Shva-na, at the Belz School we have always followed
the "old system" as indicated in the original Avodas Hashem shul Siddur (Hyman), which is
similar to many other siddur versions, such as Siddur Tehillas Hashem (Chabad), Siddur
Meforash, Siddur Shiloh, Siddur Tefillas Yaakov Hashaleim, Siddur Kol Yaakov Hashaleim and
Siddur Tikkun Meir Hashaleim, among others. We recognize that there are differing views as to
which system is the "correct" one. For many decades we have utilized this system, which is the
one followed by previous generations of Ba’alei-Tefillah.
We have been diligent to be true to the rules of dikduk throughout this program, except for parts
of some congregational singing melodies that would be difficult or impossible to sing in a purely
grammatical fashion. Any errors in grammar are not the fault of the Belz School curriculum, but
are solely my responsibility. I have done the best that I can, but I recognize that I have not
always been able to achieve perfection in the congregational singing sections, where the need to
effectively sing a melody may occasionally prevent the use of proper accentuation.

Cantor Sherwood Goffin

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