November 21, 2024 ~ Shabbat HAYE SARA. HIJAZ.
| Section | Pizmon | Page | Song | Commentary | Recordings | Application |
|---|---|---|---|---|---|---|
| Baqashot | 37 | 45 | מלא פי שירה |  Raphael Tabbush Maqam Ajam Ajam. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Yosef Hamaoui |
נקדישך |
| Baqashot | 41 | 48 | אני אספר | Mordechai Abadi Maqam Rast This pizmon (BAQASHOT, page 48), translated as "I Will Explain," is a song that was written in order to glorify the observance of the Shabbat. The pizmon, whose melody is classified as both Maqam IRAQ or RAST, is part of the Baqashot collection; songs chanted pre-dawn prior to Morning services on Shabbat. The author is one of the most important Hakhamim of Aleppo, H Mordekhai Abadi (1826-1884), as illustrated by the song's acrostic "Ani Hu Mordekhai Ben L'Yaaqob Abadi Hazeq Amess” (אני הוא מרדכי בן ליעקב עבאדי חזק אמץ). This is one of seven songs in the Baqashot section authored by H Mordekhai Abadi. In one of the longest songs in our canon (28 stanzas), the author poetically enumerates all 39 Melakhot (forms of labor) that are prohibited on Shabbat. Despite all the prohibitions, the Sabbath day is considered "a delight," and those who participate in the Sabbath observance are entitled to great merit. Of all the songs encountered in the Aleppo tradition, this song seems to be the most focused on Halakha (Rabbinic Jewish law). The melody of this song is most commonly applied to Semehim for prayer services in Maqam RAST. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Yosef Hamaoui |
שמחים |
| Baqashot | 42 | 51 | מהללך ורוב גדלך | Mordechai Abadi Maqam Rast Written by H Mordekhai Abadi (1826-1883). Lists the seven heavens. Rast. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Yosef Hamaoui |
נשמת |
| Petihot | 89 | 101 | יודך כל | Raphael Tabbush Petiha Hamaoui Manuscript |
Yosef Hamaoui |
|
| Rast | 114 | 111 | אחבירה לך |
Y. Hamaoui |
ואני תפלתי | |
| Rast | 120 | 114 | אתה אל טוב |  |
Y Hamaoui |
|
| Rast | 123 | 115 | יה אל מגן | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Y Hamaoui |
נשמת |
| Rast | 124 | 116 | אתה יודע | Raphael Tabbush |
Y Hamaoui |
נקדישך |
| Rast | 125 | 116 | רפא צירי | Raphael Tabbush Refa Siri is a special composition written by H Raphael Tabbush A"H. The melody is attributed to a Judeo-Spanish song entitled "Triste Vida" (A Sad Life). The song has an acrostic of "Refael" and has been viewed as a prayer for good health. The first stanza of the song recognizes God as the ultimate doctor and healer. The song also contains a prayer for God to open the gates of mercy and to send freedom to our nation. The pizmon was used by H Moshe Ashear A"H (d.1940) for the PIZMON SEFER TORAH in 1940 for Shabbat Vayera because Abraham is thought to have been recovering from the Berit Mila at the opening of the perasha. Hamaoui Manuscript Tabbush Manuscript |
Y Hamaoui |
אל ההודאות |
| Rast | 130 | 119 | הנה זה עומד |
Yosef Hamaoui |
ממצרים | |
| Rast | 146 | 127 | מגן ישעי | Moses Ashear This pizmon, "Magen Yish'ee" (RAST, page 127), is composed by H Moses Ashear (acrostic: Moshe Hazaq), in honor of the wedding of Mr Ezra Obadia Labaton In Brooklyn, NY, circa 1920-25. The melody of this song is from the Dutch folk song entitled "Trip a Trop a Tronjes." As the melody sounds, this is a very happy song that celebrates the occasion of a wedding in the Labaton family. The last stanza contains a reference to H Mordekhai Labaton (1780-1869); the great Aleppian Rabbi and patriarch of this family. The last stanza also contains a prayer to return to the sanctuary of the Temple and to rebuild the city of Zion (Jerusalem). This melody is commonly applied to Shav'at Aniyim on weeks of Maqam RAST. On December 7, 2013, two days after the passing of Rabbi Ezra Labaton, Rabbi of Congregation Magen David of West Deal and the grandson of the individual mentioned above, this song was used as the PIZMON SEFER TORAH in over ten community synagogues as a tribute to the Rabbi. Ashear Manuscript Photograph of Rabbi Dr Ezra Labaton |
Yosef Hamaoui |
שועת עניים |
| Rast | 149 | 128 | תען לשוני ותגיד | Moses Ashear (Maqam Sigah). Ashear Manuscript |
Yosef Hamaoui |
ממצרים |
| Rast | 152 | 131 | אמר לו גואלי | Moses Ashear Ashear. In honour of the groom, Yosef Abraham Me'Eli HaKohen. Ashear Manuscript |
Yosef Hamaoui |
|
| Rast | 167.03 | 142c | אל עוזי בך | NLevy |
Yosef Hamaoui- Qedousha Yosef Hamaoui- Nishmat |
נקדישך נשמת |
| Mahour | 174 | 147 | יחיד האל ומהלל | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Yosef Hamaoui |
קדיש |
| Ajam | 201 | 165 | ישא ברכה | Raphael Tabbush This pizmon (AJAM, page 165) is composed by H Raphael Antebi Tabbush in honor of the installation of Rabbi Yaaqob Shaul Elyashar (Safed, 1817- Jerusalem, 1906) as the new Rishon LeSion (Sephardic Chief Rabbi) in 1893. The debut of this special song took place at the Rabbi Yohanan Ben Zakai synagogue in the Old City of Jerusalem by two choirs of boys (one from the Talmud Torah Doresh Zion and the other from the yeshiva Tiferet Yerushalayim) under the direction of H Raphael Tabbush. At the end of the performance, the Chief Rabbi thanked H Tabbush greatly and as a token of his gratitude, gave him 3 napoleon gold coins; hence the song became referred to as the "Golden Song". The title of this song "Yisa Berakha" refers to the abbreviation of Rabbi Elyashar's name (יש״א), and the acrostic of the four stanzas of this song is Yaaqob (יעקב); a reference to his first name. The melody of this song can be applied to Nishmat on weeks of Maqam AJAM, and is specifically associated with Shabbat Shofetim due to the Deuteronomy 17:20 reference of "Ya'arikh Yamim Al Mamlakhto" (translated as "long days for his reign") in the second stanza of the song. Tabbush Manuscript |
Yosef Hamaoui |
נשמת |
| Ajam | 203 | 167 | שיר אגיד | Alludes to the ten sefirot that God used to create the world. Tabbush Manuscript |
Yosef Hamaoui Yosef Hamaoui - Qaddish |
שמחים |
| Ajam | 205 | 168 | מלך רחמן | Raphael Tabbush Melekh Rahman (AJAM, page 168), or "Merciful King," is considered the ultimate wedding song. It was composed in Aleppo, circa 1897, by H Raphael Tabbush (d. 1918), for his close student, H Moshe Ashear (d. 1940), in honor of his wedding to Salha, the daughter of Mr Yaaqob Shamah. The acrostic is "Moshe" and names of family members (Moshe, Yaaqob, Shaol, Simha, Shelomo) are alluded to. The melody is from the Arabic song "Doom Ya Zaman." There are three stanzas in this song. The first two stanzas are from the point of view of the community; asking God to save the nation, and also to join in the happiness of the Hatan and Kallah on their wedding day. The third stanza, however, is from the view of the Hatan; asking to be blessed with the Blessing of Abraham. For Shabbat Vayesse, this melody can be applied in the prayers for Nishmat. The pizmon can be associated with this perasha, because we read about Jacob's wedding. Moshe Ashear and Family Manuscript |
Yosef Hamaoui |
נשמת |
| Ajam | 206 | 169 | לעם חביב | Maqam Sasgar Arabic: Sayed El Safti singing "Bid'i il Habib" in Maqam Geharka. Hamaoui Manuscript |
Yosef Hamaoui |
קדיש |
| Ajam | 214 | 172 | אני לקראת | Raphael Tabbush Engagement or Wedding. Manuscript |
Yosef Hamaoui |
ממצרים |
| Ajam | 224 | 177 | ינון שמו | Raphael Tabbush This pizmon (AJAM, page 177), whose opening words are translated as “It Will Flourish,” is a song that celebrates the beauty of the Torah and the aspirations of the Jewish people. It is most likely composed by the great Jewish poet H Raphael Antebi Tabbush (d. 1918) from Aleppo, Syria. There are 4 stanzas in this song corresponding to the Hebrew name of ‘YisHaq’ (יצחק); which happens to be the author’s middle name and the name of his father. Taken from an Arabic march called “Intiyamo,” this melody can be heard with great enthusiasm when applied to the prayer-piece Shav’at Aniyim in virtually all Syrian Sephardic synagogues throughout the world. The song opens with a reference from Psalms 72:17 about someone named “Yinon,” which in Hebrew is translated as ‘it will flourish.’ According to rabbinic tradition, ‘Yinon’ refers to a future Messianic figure (see end of Piyut “Et Sha’are Rasson”). The author asks, where is Yinon of the Messianic age, and when will God bring the time when the people can rejoice in the Temple? He requests God to return the divine presence to the Temple and to treat the people with the kindness that they yearn for. The third stanza praises God for giving us the Torah; a gift exclusively for the Jewish people for them to both enjoy and live by. The song concludes with a prayer to gather the scattered people from foreign lands, to restore the Beit HaMiqdash as a place of song, and to shower the Jewish people with God’s greatness. Tabbush Manuscript |
Yosef Hamaoui |
שועת עניים |
| Ajam | 238 | 189 | מפעלות אלהים חזו | Moses Ashear Sam Franco. PS 62 song. Ashear Manuscript |
Yosef Hamaoui Y Hamaoui - Keter Y Hamaoui- El Hahodaot |
אל ההודאות |
| Ajam | 242 | 191 | כל עת אליך | Moses Ashear Naftali Tawil. Arabic is: "Tilet Yamahla Nourha". Ashear Manuscript |
Yosef Hamaoui |
שמחים |
| Nahwand | 268 | 211 | תכון לעד יפה יפה |
Yosef Hamaoui |
נשמת | |
| Nahwand | 275 | 215 | אודך אודך | Raphael Tabbush Tabbush Manuscript |
Yosef Hamaoui |
שמחים |
| Nahwand | 279 | 216 | יחיד רם חי לעולם | Isaac Abadi Dahab Turkish melody. |
Yosef Hamaoui |
אל ההודאות |
| Nahwand | 299.02 | 237b | החיש לצירך | Haim S Aboud |
Yosef Hamaoui |
|
| Bayat | 305 | 240 | יפת עין לבבתיני | Ezra Attiah Siman "Yeshaya". Yeshaya is the name of his father. Pizmon for Abi HaBat. |
Y. Hamaoui |
נשמת |
| Bayat | 333 | 255 | ידידי השכחת | Matan Torah. |
Yosef Hamaoui |
קדיש |
| Bayat | 346 | 266 | אל מאד נעלה | Moses Ashear The pizmon “El Meod Na’ala” (BAYAT, page 266) is one of the most famous compositions written by cantor H Moshe Ashear (1877-1940). This was written in honor of the groom Mr Elie J Gindi (born in 1900, Syria) for his wedding (circa 1924 in Brooklyn, NY). The acrostic of the pizmon is “Eliah Moshe” with the first word of each of the three stanzas spelling “Eliah” and the second word of each stanza spelling “Moshe.” The names of the bride’s father, Moses (Attieh), and the bride, Rachel, are alluded to in the first and third stanza’s respectively. The melody of this pizmon is from polka music from Istanbul, Turkey. In the prayers, this melody is commonly applied to Semehim on weeks of Maqam BAYAT. This song is also traditionally used as the PIZMON SEFER TORAH for Shabbat Shemot because of it mentioning Moshe and Aharon, two important people introduced in this Torah portion. Ashear Manuscript |
Yosef Hamaoui |
שמחים |
| Bayat | 350 | 268 | 'הללו את ה | Moses Ashear Matan Torah. Ashear Manuscript |
Yosef Hamaoui |
|
| Bayat | 358 | 276 | אל דורשה נפשי | Raphael Tabbush Tabbush Manuscript |
Yosef Hamaoui |
ממצרים |
| Bayat | 362 | 278 | אל נעלה רפא | Moses Ashear Eli Ashear Bar Misvah. Kislev 1929. Leaflet |
Yosef Hamaoui |
קדיש |
| Bayat | 372 | 292 | דברי שירתי- מגן בעדי | Moses Ashear In honor of birth of Moshe Ashear's grandson. December 10, 1937. Shrem Manuscript Leaflet |
Yosef Hamaoui |
ראו בנים |
| Azharot | 391.094 | A2 | אמון יום זה | An introduction to the Azharot by Ribbi David Ben El'azar Baqoudah |
Yosef Hamaoui |
שועת עניים |
| Mehayar-Bayat | 396 | 322 | מזיוך תנהיר עלי | Moses Ashear Bar Misvah of Sion Nasar, son of Shemuel and Sanyar Nasar. Allusions to these names are in text. "San Yar", the mother's name, is divided into two words. Ashear Manuscript |
Y Hamaoui- Pizmon |
|
| Hoseni | 409 | 334 | דעת ומזמה | דוד חזק This pizmon, entitled “Knowledge and Discretion” (HOSENI, page 334), is a very sacred song in Aleppo tradition reserved for Matan Torah, the giving of the Ten Commandments. This song pre-dates most other pizmonim in our tradition; being older than 1850. The opening verse says “Knowledge, discretion, and words of wisdom; more than them, on the day Moses spoke; her (Wisdom’s) profit is greater than fine gold; this is the Law that Moses place.” There are a total of eight stanza’s in the original manuscripts; all ending with the word “Moshe,” and each phrase, containing rich biblical allusions, rhyme with one another. The acrostic of this pizmon, “David Hazaq,” indicates that the first name of the author is David, but his specific identity is unknownto us. The melody of the pizmon is from the Arabic song “Tazri Bel Ajafen,” and is only applied for Naqdishakh three times a year: Shabbat Yitro, Shabbat Kallah (the Shabbat prior to the Shabuot festival), and Shabbat Vaethanan. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Commentary on Pizmon British Library Or. 10375 |
Yosef Hamaoui |
נקדישך |
| Rahawi Nawah | 436 | 359 | אמונים ערכו שבח | אהרן כהן Emunim (RAHAW, page 359), or "The Faithful," is an important Sephardic hymn for Pesah; specifically for the Leil HaSeder. It can be found in Mahzor Aram Soba (1527), making it one of our oldest pizmonim still in active transmission. It has the acrostic of "Aharon Kohen." Each of the 7 stanzas end with the words "Va'amartem Zebah Pesah..." (ואמרתם זבח פסח); referring to the commandment mentioned in Exodus 12:27 to offer the Qorban Pesah to God. Other Missvot relating to Pesah are also referred to, such as, eating Massa and Maror, drinking the four cups of wine, and retelling of the story of the exodus from Egypt (ending with receiving the Torah). The last verse ends "Your doings are wondrous; Your miracles are powerful; all those who seek refuge in You will say 'It is good to take refuge in the Lord' (Psalm 118:8)." The hymn is traditionally sung at the Seder in the Magid portion, and the melody of this hymn is applied to the prayers for Semehim of Shabbat Hagadol, and Naqdishakh of Ereb Pesah. Mahzor Aram Soba 1527 Abraham Sitehon Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 |
Yosef Hamaoui |
שמחים |
| Rahawi Nawah | 439 | 361 | מי ימלל | Mordechai Abadi This pizmon, (Maqam NAWAH, page 361), is composed by H Mordekhai Abadi (Aleppo, 1826, - Jerusalem, 1884), author of "Dibre Mordekhai," and other Halakha responsa. There are a total of 5 stanzas in this pizmon; corresponding to מ-ר-ד-כ-י. "Who can recount the strengths and wonders of the most perfect and wise?" the poem begins, and then proceeds to list the miracles that God orchestrated as the Children of Israel leave Egypt. Starting with the third stanza, the 10 plagues that occurred in Egypt are poetically described. In the last verse, after the festival of Pesah is mentioned, there is a reference to the belief that Pesah, a time of a previous redemption, will be the season in the future when "we will be redeemed." As per the Hazzanut notes of H Moshe Ashear, this song is reserved for Shabbat Bo and Shabbat Hagadol. The Ades synagogue in Jerusalem, however, has a tradition of using this song one week earlier on Shabbat Vaera. Abraham Sitehon Manuscript |
Yosef Hamaoui |
ממצרים |
| Rahawi Nawah | 441 | 365 | דר רומה | Shabbat Vayera. A Z Idelsohn notes, 1923 |
Yosef Hamaoui |
אל ההודאות |
| Saba | 501 | 415 | חיש משגבי | Raphael Tabbush "Hish Misgabi" (SABA, page 415) is a pizmon composed by H Raphael Antebi Tabbush in honor of Purim. It has been said by Rabbi Aaron Hamaoui of Boston that H Raphael Antebi Tabbush (d. 1918) was blind in his later years, and he needed his students to assist him to walk in the shuq, market, in Syria. One day, as he was walking, he heard the catchy Arabic melody “Hisbi Rabi“ being chanted in the market place. H Tabbush then rushed home, and immediately, he dictated words to his student, H Eliahou Hamaoui, the grandfather of Rabbi Aaron Hamaoui, to fit this melody. This ended up being “Hish Misgabi”; a song in honor of Purim. This pizmon has the acrostic “Raphael Hazaq”, and has 5 stanzas (in addition to the first verse, which serves as the chorus). The melody of this pizmon can be applied to Keter or Va’ani Tefilati, but should only be applied in close proximity to Purim. Hamaoui Manuscript Tabbush Manuscript |
Yosef Hamaoui |
כתר |
| Sigah | 554 | 459 | אברך את | אלעזר Maqam Iraq Purim. This is the first pizmon that Gabriel A. Shrem has learned. Attiah Manuscript Sassoon Manuscript #647 Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Shire Zimrah, Algiers, 1889 A Z Idelsohn notes, 1923 |
Yosef Hamaoui |
שמחים |
| Sigah | 555 | 460 | אלי צור ישועתי | "My God, the Rock of my Salvation; Why have you abandoned me?" is a translation of the first line of the pizmon "Eli Sur Yeshuati" (SIGAH, page 460); considered the flagship song of Purim. The author of this pizmon is said to be H David Yaaqob Pardo, although the acrostic written in the older manuscripts is "Asher Ben Yaaqob Hazaq." The song featured in most current pizmonim books is incomplete- only containing 5 stanzas; corresponding to the first five letters of the alphabet (אבגד״ה). In Aleppo manuscripts from before 1850 (such as Sassoon #647), however, this song has more stanzas. This song, consisting of references from Megillat Esther, contains rhyming sequences within each verse. The thing in common in each stanza is that the last verse always starts with the word "Chai" or life; proclaiming that despite all the hardships that we go through, this is life and God keeps us alive. This melody is applied to Naqdishakh on Shabbat Zakhor and on Purim. Sassoon Manuscript #647 |
Yosef Hamaoui |
נקדישך |
| Sigah | 556 | 462 | אל עושה נקמה | This pizmon (SIGAH, page 462), whose first words are translated "God who makes revenge," is an entertaining song that retells the miracle of Purim using rhymes. There are a total of 22 stanzas in this piece; corresponding to each letter of the Hebrew alphabet (א״ב). Within a stanza, each clause rhymes with one another, except for the last clause of the stanza, which rhymes with all the previous stanzas. The pizmon, which is classified as Maqam OJ in the older manuscripts, originates from Aleppo and is older than 1850. The author of this piece is uncertain, although there is a possibility that it may be H Raphael Antebi Tabbush. The melody of this pizmon is from the Arabic "Ya Dini Yeaman," and is typically applied to Shavat Aniyim on Shabbat Zakhor, and to El Hahodaot on Purim itself. The song concludes with a prayer for redemption; to give good things to the Jewish nation in order to raise their spirits. Hamaoui Manuscript Tabbush Manuscript |
Yosef Hamaoui |
שועת עניים |
| Sigah | 557 | 464 | אור גילה | Raphael Tabbush Purim. A song of praise and thanksgiving for God's deliverance of the Jews from Haman. The pizmon, by Refael Antebi (19th century), has allusions to the Megillah as well its midrashim. The Jews got saved from the evil decree after prayers. Shir Ushbaha, 1921 A Z Idelsohn notes, 1923 |
Yosef Hamaoui |
אל ההודאות |
| Sigah | 558 | 465 | תם ונשלם | Raphael Tabbush Purim. TAM VENISHLAM - This pizmon (SIGAH, page 465), whose title can be translated as “Finished and Complete,” is a song composed by Jewish Syrian poet H Raphael Antebi Tabbush, and is one of five songs that he wrote in honor of the Purim festival. This composition, which has the acrostic of the author’s name (רפאל), has 4 rhyming stanzas in addition to the opening stanza which serves as the song’s chorus. The melody of this pizmon is used for Mimisrayim on Shabbat Zakhor as well as on Purim itself. In its opening chorus, the author is joyful that the days of God’s disappearance are over. In the first stanza, the author says that he is not happy when his enemies are in a high position of power, and asks God not to erase their transgressions (thereby punishing them in the future). In the second stanza, the author asks God to redeem him from the hands of the foreigners, just like the way God redeemed us in the days of Haman who made decrees on all the Jewish people; young and old alike. Our peril took place because King Ahashverosh sold our nation out for a monetary bribe. God, however, altered Haman’s wicked plans; causing him and his children to be hung on the very same tree that he prepared to hang Mordekhai. Shir Ushbaha, 1921 |
Yosef Hamaoui |
ממצרים |
| Hijaz | 594 | 492 | רנו גילו | Raphael Tabbush This pizmon (HIJAZ, page 492), composed by H Raphael Antebi Tabbush, is a song written for Purim. Unlike other Purim songs, most of which are in Maqam SIGAH, this song is classified as Maqam HIJAZ; a maqam typically reserved for sad occasions. The acrostic of this piece is "Raphael Hazaq," and consists of 5 stanzas; corresponding to the letters of the author's name. Each stanza is followed by the chorus which begins with the words "Zekher Sadiq Yarum Hodo" etc. The song opens on a happy note ("Proclaim joy and rejoice all creations"); calling onto all the creations of the world to recognize the miracle of Purim. The middle of the pizmon is about the hard times and suffering that Haman put the Jews through ("the enemy conspired to be the head"). The last stanza ends on a hopeful note; calling for the Messiah and the rebuilding of the Temple so that we can offer sacrifices again. The melody of this song is applied to either Naqdishakh on Purim or Keter on Shabbat Zakhor. Tabbush Manuscript |
Yosef Hamaoui Yosef Hamaoui - Qedusha |
נקדישך |
| Berakhot | ברכות | 531 | ברכת קידושין ואירוסין | Maqam Ajam Wedding Ceremony. Mahzor Aram Soba 1527 |
Y Hamaoui |
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| 2193 | 74 | קדיש | Maqam Baqashot |
Y Hamaoui- Ajam Y Hamaoui - Bayat |
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| Azharot | 2351 | A4 | אזהרות | Solomon Ibn Gabirol Composed by Sephardic Poet H Solomon Ibn Gabirol. Recited on the Shabuot holiday. Day 1- Positive Commandments. Day 2- Negative Commandments. |
Yosef Hamaoui - Naqdishakh |
שמחים |
| Mishle | 3004 | משלי | Maqam Sigah (but different than Torah). Portions of this book are read during services. Some have a custom of reading this book during Shabuot. The passage "Eshet Hayil," read on Friday night Kiddush, is from this book. |
 Y. Hamaoui |
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| Esther | 3021 | E1 | אסתר פרק א | Tiqun Esther Chapter 1 |
Hamaoui- Chapter 1 |
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| Esther | 3022 | E3 | אסתר פרק ב | Tiqun Esther Chapter 2 |
Hamaoui- Chapter 2 |
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| Esther | 3023 | E6 | אסתר פרק ג | Tiqun Esther Chapter 3 |
Hamaoui- Chapter 3 |
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| Esther | 3024 | E7 | אסתר פרק ד | Tiqun Esther Chapter 4 |
Hamaoui- Chapter 4 |
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| Esther | 3025 | E9 | אסתר פרק ה | Tiqun Esther Chapter 5 |
Hamaoui- Chapter 5 |
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| Esther | 3026 | E11 | אסתר פרק ו | Tiqun Esther Chapter 6 |
Hamaoui- Chapter 6 |
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| Esther | 3027 | E12 | אסתר פרק ז | Tiqun Esther Chapter 7 |
Hamaoui- Chapter 7 |
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| Esther | 3028 | E13 | אסתר פרק ח | Tiqun Esther Chapter 8 |
Hamaoui- Chapter 8 |
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| Esther | 3029 | E16 | אסתר פרק ט | Tiqun Esther Chapter 9 |
Hamaoui- Chapter 9 |
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| Esther | 3030 | E19 | אסתר פרק י | Tiqun Esther Chapter 10 |
Hamaoui- Chapter 10 |
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| Pentateuch | 4081 | P442 | סדר שמות הטעמים | Names of the Ta'amim. |
Hamaoui- Esther |
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| 4086 | N3 | כי לה' המלוכה |
Y Hamaoui- Ajam |
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| 4097 | N10 | שמחים | Light musical style. Cornerstone of the prayers. Typically used to announce upcoming holiday. |
Yosef Hamaoui- Ajam Semehim |
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| 4862 | גלה נא זיו הדרך | Ezekiel Hai Albeg Maqam Hoseni "Galman Qad Sawarq" ( גלמן קד צוורק ) is an Arabic melody that is traditionally applied to EH or Qaddish on Shabbat Yitro, Vaethanan, or Shabbat Kala. |
Yosef Hamaoui - EH |
אל ההודאות |
