Here is a list of my musical settings for the Shabbat morning service. It includes solo pieces, duets, congregational music, chants, rounds, and full choral settings. Much of it can work unaccompanied as well as accompanied, while some work better with accompaniment.
- Adon Olam No.1 – 2 part choral setting. The refrain of ‘Adon olam’ can be sung by the congregation, while the verses are more lyrical, and more easily sung by a soloist or choral singers. I have written an alternative English version of the lyrics that keeps closely to the Hebrew original.
- Adon Olam No.2 – This is a rousing version that can be sung by congregations, with or without accompaniment. I have written an alternative English version of the lyrics that keeps closely to the Hebrew original.
- Adonai Malach – The Lord Reigns – Psalm 93 – Fast, call and response.
- Ashrei Yoshvei Veitecha – Happy is the One Who Lives in Your House – Psalms 84:5 & 144:15 – A simple unison chant of one verse, with optional second voice harmony. Works well with added guitar. Good for ‘setting the sacred space’.
- Barchi Nafshi – Bless, O My Soul – Psalm 103:1-12 – A setting of the first half of Psalm 103. This was originally composed for Yom Kippur, as part of my High Holy Days collection. Can be solo, with or without accompaniment, and works with unison choir.
- Ein Keiloheinu No.1 – None Like Our Lord No.1 – Rousing, but a little tricky – it is in 10/8. Can be done unison, or as a 2 part round. There is an optional 3rd voice part (with a clap on the last beat of each bar.)
- Ein Keiloheinu No.2 – None Like Our Lord No.2 – Spacious, reflective song
- Elohai N’shamah – My God, The Soul – A meditative chant / 3 part round (with or without guitar). Easy for a congregation to learn a tune with a leader to keep them on track. More confident singers can then hold parts 2 and 3. There are simple movements that can be added for those who want to sing this as a personal or group meditation/ movement experience. There is another meditation for Counting the Omer Day 1, and an essay on its deep significance & meanings.
- Essa Einai – I Lift My Eyes – Psalm 121 – A cappella solo. Originally a setting for the Hebrew, I then created an alternative, close English translation that fits the same music, and fits the same word painting.
- Halleluyah No.1 – Psalm 150 – Quiet, gentle, hypnotic setting, can be solo (with or without guit/pno accompaniment).
- Halleluyah No.2 – Psalm 150 – Rousing, 4 part round (32 bar round) – word painting for the different instruments.
- Hameichin Mitzadei Gaver – Who Makes Our Steps Firm – Morning blessing. A truly lovely, simple tune like a lullaby.
- Havayah S’fatai Tiftach – All-That-Is-Was-And-Shall-Be, Open My Lips (Amidah) – Reflective, a prayerful meditation in itself. Where the chant repeats ‘Adonai’ the word ‘Shechinah’ can be substituted for creative services. Each half of the chant can be sung as a 2 part round in itself.
- Kaddish – A rousing tune reflecting both the affirmation of life in the text, and the joy of Shabbat – can be solo, unison, with optional harmonies, with or without guitar/piano.
- Kedusha – A congregational setting of a well-known piece
- Ki L’Olam Chasdo – Psalm 136:1, 2, 5, 6, 16, 25, 3, 26 – An abbreviated version (leaving out some verses, but maintaining the ‘narrative logic’ of the psalm.) – can also be call and response – SATB arrangement, with or without accompaniment also available.
- Mah Gadlu – How Great Are Your Works! – Psalm 92:6 – 3 part round (with optional English alternative), with or without guitar/piano. This piece was performed for the Society for Old Testament Study at Oxford University in 2019, along with two other compositions of mine.
- Mah Tovu No.2 – Quietly joyful, congregations can pick this up. The Mah tovu verse is used as a refrain – and this can be sung as a two part round.
- Mi Chamocha No.1 – Who Is Like You No.1 – A fast, fanfare-style setting, evoking the arrival of royalty (the Shabbat queen/bride), and declaration of God’s sovereignty (Adonai yimloch…), for 2 or 3 voices a cappella.
- Mi Chamocha No.2 – Who Is Like You No.2 – A lively setting, with a catchy ‘brain-worm’ chorus, set to freygish mode – congregations easily pick up the refrain.
- Modeh Ani (or Modah Ani) – A slow, reflective chant in the major, with optional vocal harmonies. Works beautifully with accompaniment on guitar or piano.
- Or Zarua No.1 – Light is Sown – Psalm 97:11 – Contemplative setting (for Kabbalat Shabbat?)
- Or Zarua No.2 – Light is Sown – Psalm 97:11 – Lively setting.
- Sim Shalom No.1 – Maker of Peace No.1 – Reflective verses for a soloist, with a catchy refrain for everyone to join in.
- Sim Shalom No.2 – Maker of Peace No.2 – A round for up to four voices. On other occasions, it can be sung straight after my other round, Lo Yisa Goi No.1, which has an optional English alternative.
- Yism’chu B’malchut’cha – They Shall Rejoice in Your Kingdom – A gentle musical setting, to suit the introspection of the Amidah. Works best with accompaniment. The original text is used, with subtle additions to offer liturgical innovation at the same time.
- Yism’chu Hashamayim – Let Rejoice the Heavens – Psalm 96:11 – A joyous, rousing number I’ve been told is a real earworm! “Let the heavens rejoice and the earth exult; let the sea and all within it thunder.”
- Yotzeir Or – Creator of Light – Lively, uplifting chant of the selected verse from the first blessing before the Sh’ma. This tune can also be sung as a nigun, and is published by Transcontinental in Nigun Anthology III (2019).
Optional extras
- Nigun Oneg – A Nigun for Delight! – A nigun for Shabbat joy.
- V’Asu Li Mikdash – Make for Me a Sanctuary – 2 part round – Part of the ‘Holiness Project’. Good for repeated chanting to create prayerful, sacred space. “Make for Me a sanctuary and I will dwell with them.”
- The Priestly Blessing – Y’varech’cha Adonai – May You Be Blessed – Can be sung solo, unison choir, or SATB, preferably with accompaniment (guitar or piano.) The middle section is a close translation of the Hebrew – to reflect the structure of the original Hebrew (first line 15 letters, second line 20 letters, third line 25 letters), the melody of this section has 15, 20, and 25 notes in successive phrases.