Piyyutim and Tefillah: Melody and Meaning

The Piyyutim of the Yamim Noraim are meant to explain and enlarge upon the message of the prayers. In this brief article, we will focus on Rosh Hashannah Shacharit which has extensive Piyyutim.

 

Rosh Hashannah Shacharit

Rosh Hashannah combines the themes of Hashem as Ruler of the world, celebrating the creation of the universe and Hashem as judge to whom we pray for forgiveness. All these themes are reflected in the Piyyutim. The melodies divide in similar ways:

1. The general Piyyut melody as found in Birkat Yotseir, celebrating Hashem as Creator.

Example:

2. Melodies in the Hashem Malach mode, the Jewish major, celebrating Hashem as Ruler. The Piyyut, El Na, Atah Hu Bashamayim Uva’aretz, is a good example of chant in this mode.

Example:

3. Melodies in the Selicha mode, asking Hashem for forgiveness. An example is the Piyyut, L’Keil Orech Din.

Example:

 

Some rhyme at the end of each line, some, also internally. Some have the identical number of syllables in each line.

For some Piyyutim, we have preserved the oral tradition of how they were chanted; for others, we use the general modes as described above. The form of chanting some Piyyutim follows the forms of chanting used by the Levites in the Beit Hamikdash:

1. Unison singing, everyone singing together;

2. The verse sung by the leader with a response by the Levitical choir (Responsorial, e.g. Melech Elyon);

3. Alternating verses with the leader (Responsively, e.g. the way Ashrei is often chanted);

4. Alternate verses sung by different groups within the Levitical Choir (Antiphonal).

 

It is the custom to attach the name of the Piyyut to the last phrase of the preceding paragraph. In the days before the widespread availability of Machzorim, this was the only way the Kahal would know which Piyyut was being chanted. Since the first half-verse had already been chanted, it became the custom to chant the second half-verse first, followed by the first half of the next verse. Anomalously, with this pattern of chanting the Piyyut, a half verse is left at the end of the Piyyut, and that is often chanted triumphantly in the Hashem Malach major mode. (Please see L’Keil Orech Din.)

 

Some Piyyutim, in their form, lend themselves to rhythmic melodies, and, beginning in the 19^th Century and, especially in the 20^th Century, rhythmic melodies have become the preferred form of congregational singing for chanting these Piyyutim.

We will provide examples of both forms, where they exist.

On R”H, the Piyyutim begin in the Yotseir section of Shacharit. These Piyyutim are often referred to colloquially as Yotzrot; others in the Kedusha d’Yeshiva are referred to as Ofan (as in V’ Haofanim V’ Chayot Hakodesh).

1. On Day One of R”H, we say Melech Azur G’vurah (written by Eliezer Hakallir in the 7^th Century CE), and Melech Dar Bin’horah (author unknown). The melody (below) is in the Hashem Malach mode and calls on Hashem to use His might and proclaims Him the warrior who protects Israel.

Example

Notice how the form of the melody reflects the words: the clarion call to Hashem, beginning with word Melech, followed the first two phrases in exaltation, lastly a concluding phrase extolling Hashem as the protector of Israel.

2. On day 2 of R”H, we have a similar Piyyut by Rav Shimon Hagadol of Mainz, composed in the 10^th Century CE. The first words of each paragraph follow the Musaf Tefillot of Malchuyot, Zichronot and Shofrot, but in this case, the Piyyut calls on Hashem as the creator; His obligation to us as Klal Yisroel to protect us, remember our deeds that make us worthy of protection, and, reversing the point of view of the Musaf, using the call of the Shofar to call on Hashem to act.  The melody is the same as on Day 1, again beginning each verse begins with a clarion call to Hashem: Melech!,  Z’chor!, or Shofar!

Example

3. The Piyyutim beginning with K’vodo Ihel K’hayom (ascribed to Eliezer Hakallir, written in the 7^th Century C.E.) have a similar melody to those discussed above, without the clarion call at the beginning.

Shacharit Amidah

4. The repetition of the Shacharit Amidah contains Piyyutim with the same melody as Birkat Yotser beginning with Misod Chachamim.

Example

5. In the Piyyut, Yareiti (by Y’kutiel bar Moshe of the Kalonymos family in the 11^th Century CE in Speyer) the melodic phrases of Misod Chachamim are reversed, so that each pair of lines begins with a cry to Hashem.

Similarly, the Piyyutim, Atiti, Taalat Zu, and Even Chug, follow the same form in the chanting of the Piyyut.

6. The Piyyut, Keil Na, also known as Atah Hu Bashamayim Uvaaretz, is chanted verse by verse in the Hashem Malach mode by the Hazzan, chanting the first half-verse and the Kahal chanting the second half-verse (responsorially). As we mentioned above, we end the Piyyut with a half-verse.

Example

7. Beginning with the Piyyut, Tair V’taria, we begin chanting in the Selicha mode. This mode is very interesting in that it combines the major mode in the lower half of the scale, and the Ukrainian Dorian mode in the upper half of the scale. Some openings begin with the Jewish Phrygian mode.

Example

This melody for weekdays continues through Tse-etsaeha Kein P’kod Hayom, asking Hashem to remember us for good just as He remembered Sarah. The melody continues on weekdays in this pattern up to the Piyyut, Hashem Melech.

On Shabbat, the Piyyutim, Sh’mo M’faarim, and Eider Vahod, revert to the melody used in Melech Azur G’vurah. On Shabbat, we are not permitted to make requests of Hashem, so the melody is in the Hashem Malach major mode of Hashem’s triumph as King of the world. This pattern continues up until the Piyyut, Hashem Melech.

Eider Vahod by Rav Shimon Hagadol (10^th Century) combines both the Responsorial pattern and the unison pattern of chanting in the major mode similarly to Melech Azur G’vurah.

8. On the second day of R”H, we recite the Piyyut, Melech Elyon, of unknown authorship. The melody is chanted Responsorially with leader chanting three lines, and Kahal responding: La’adei Ad Yimloch, Melech Elyon. The melody is in the Hashem Malach major mode as befits this glorious paean to Hashem. In our day, one hears it chanted thus:

Example

Or sung in a metric melody thus:

Example

9. Hashem Melech, Hashem Malach, Hashem Yimloch L’olam Vaed. This Piyyut of unknown authorship, is recited in Responsorial form where the Sheliach Tsibbur recites the first half-verse and the Kahal completes it. At the end of each three verses the congregation and the leader recite the verse together. The melody is traditionally chanted in the Hashem Malach major mode.

Example

Hazzan Pinchas Spiro has adapted the melody for Esa Dei by Lewandowski (19^th Century C.E.) (commonly sung to Anim Z’mirot) which is in the Jewish minor mode. His arrangement preserves the Responsorial form but gives the melody a rhythmic beat adapting it to modern preferences for this type of congregational singing.

Example

10. The Piyyut, L’Eil Orech Din, of unknown authorship, is chanted in the Selicha mode. As is customary the title is chanted with the phrase before, and we begin with the second half-verse, L’vochein L’vavot. At the end of the Piyyut, we conclude with a triumphant uplifting melody signifying Hashem’s acceptance of our prayers.

Example

11. Avinu Malkeinu

The last Piyyut in Shacharit is Avinu Malkeinu. Tradition has it that the practice of saying Avinu Malkeinu on fast days and on days of repentance and times of need was begun by Rabbi Akiba z”l. On R”H and Y”K, the Shaliach Tsibbur recites the verse, and it is repeated by the Kahal in the Selicha mode.

Example

12. The last verse (Choneinu Va’aneinu) is sung in the Jewish Phrygian mode using the melody created after the Hebron Massacre in 1929. It is a rhythmic melody as befits the custom of congregational singing in our day. The composer is unknown.

Example

In this short article, we have attempted to give an overview of the melodies of the Piyyutim for R”H Shachrit and the history of their performance, ranging through the different styles of chanting and the themes of the day illustrated by the different modes used. The interpretation of the meanings of the melodies are the author’s own. Melodic examples were taken from “Shacharit for Rosh Hashannah and Yom Kippur, A Musical Machzor,” by Hazzan Pinchas Spiro; Cantors Assembly, pub. 1990. Text explanations were taken from “The Complete Artscroll Machzor, Rosh Hashannah,” Artscroll Mesorah Series, pub. 1985.