Tuesday, July 30, 2013

Sounding of the Shofar or Trumpet?

Sounding of the Shofar or Trumpet?

Arthur L. Finkle

If we believe archeological findings, the frieze on the Arch of Titus in Rome, depicts the captured hatzotzerot (trumpets) from the Jewish Second Temple being borne in triumph among the other sacred objects. Further, we see the symbol of the Shofar as a symbol of Judaism in the archeological record (Capernaum synagogue – Ist century CE; Ephesus 2-3rd centuries; Rome – 2-5th centuries; etc.) in the early centuries of the Common Era.
Ambiguity of Words
There are, nevertheless, several ambiguities in whether the written words a trumpet and a Shofar. A case in point are the Hebrew words “Keren” (Horn) and Jubal (Jubilee)

The word ‘Shofar’ comes from an old Semitic root (cf. Akkadian ‘sapparum’ meaning wild sheep or goat). An Etymological dictionary derives its word orgin to to Arabic sawafiru "ram's horns," Akkad. shapparu "wild goat." See Etymological dictionary
We also have the word ‘karen’ does not seem to have been used by itself. Later through the explanation of the Mishnah c 200CE), a horn could become a Shofar if it were constructed according to Mishnaic and later Talmudic direction.
The hatzotzerot, in contrast, seem to have been interchanged with the Shofar. In Tractate Rosh HsShanah, it termed when ‘duty days’ were taken in turns, the Shofar and trumpets played the same calls.
Confusion by Performing the Same or Similar Tasks
The Babylonian Talmud Eruvin 54 provides a description of the priests lowering trumpets during pauses in the Levitical singing n the Second Temple, signaling to worshippers to prostrate themselves.
Further there is a curious reference in I Chron. 5:13 instructing the trumpeters and singers being ‘as one, to make one sound.’ It bespeaks the possibility that the trumpets played a sustained note over which the singers chanted as opposed to the trumpets and singers having separate parts. Moreover, one of the common words for ‘fanfare’ is “te r’uah” meaning ‘a shout’. Accordingly, this fanfare could be described to have been the imitation of a shout. Sometimes this ambiguity between a vocal or instrumental meaning is difficult. A case in point is the famous passage in the Vulgate edition (Official early church version of the Holy Scriptures) of Joshua 5 , ‘where the priests were to blow the Shofars, while the peoples shouted: and it came to pass, when the people heard the sound (kol) of the Shofar the peoples shouted with a great shout (teru’ah) so that the wall fell down flat.’ The Vulgate cannot be blamed for glossing because , by this time, there was a lack of distinction between the Shofar and trumpet.

History of the Uses of the Trumpet and Shofar Reverse Roles
The marshaling signals are described in Numbers 10, though in war the Shofar seems to have been the signaling instrument par excellence. All these functions, and their calls, seem later to have been appropriated by the Shofars. The encyclopedic Psalm 150, for example, makes no mention of the trumpet. Only lately (in the last century or so B.C.) do trumpets appear to come back into their former favor; but now, due to Greco- Roman influence, their use is primarily military. Indeed the roles of the two instruments seem to have become reversed; the Talmud says ‘what was called a trumpet has become a Shofar, and what was called a Shofar has become a trumpet’ (Bab. Talmud Shabbat 36a; also Sukkoth 34a; and Rosh HaShanah 36a; Targum version of Hosea 5:8). A passage in the Mishnah (Gittin 3:6) indicates much the same thing, in saying that a ‘trumpet’ can be made of animal horn. So the Shofar eventually took on the ceremonial function originally performed by the trumpet.
This confusion of usage makes the task of reconstructing the trumpet and Shofar calls simpler rather than the reverse, for the instruments and their traditional signals may be treated summarily. Since the Shofar calls themselves are the subject of some differences in our own times and were disputed in Talmudic times.
The Shofar had specifications according to the Mishnah. For example, it could not have holes; it could be valid if there was a split in the horn. The horn should be from a preferably kosher animal but never a cow (reminding one of the worship of the Golden Calf during Moses’ journey to receive the Ten Commandments for the first time.) It should be sounded from the small end of the horn. Horns could not be placed inside other horns; and there were restrictions as to decorations on the Shofar itself. (See Rosh HaShanah Mishnah and Talmud)
Further it is not clear whether the Shofar was used originally for ritual (as Leviticus 25 suggests) or for war purposes (Joshua 6). We do know, however, that Tractate Shabbat 35b provides that the Shofar sounded six times to prepare for the Sabbath.
Eventually, after the destruction of the second Temple, the Shofar was identified with Rosh HaShanah (the beginning of the religious year, sometimes known as Yom Teruah (Day of the blast) or Chag HaShoforot (the Shofar festival).
In addition, no minor authority, Cyrus Adler, indicated that cornet (a type of trumpet) and Shofar were used interchangeably.
Further Confusion
In “Sound The Shofar – “Ba-Kesse” Psalm 81:4,” Solomon B . Freehof follows the strange history of translation. The preponderance of traditional (Jewish) commentators agree on one translation of it and all the non-traditional commentators (non-Jewish) unanimously agree on another.
One partial exception to this strange lineup is Rashi (11th century commentator), who translates “Ba-Kesse” here and in Proverbs 7:20 as “the special day,” of “the appointed day.” But he, too, in his commentary to Rosh HaShonah 8a-b, agrees with all the traditional commentators, beginning with the Talmud and the Midrash, Leviticus Rabba 29:6, taking the word to be a synonym of the word “Chodesh” in the first part of the sentence, meaning: The New Moon.
However, the non-traditional commentators of the 19th century, Wellhausen in Proverbs, Duhm in Psalms, and Briggs and Toy in the International Critical Commentary, and our modern English translation, all agree to translate the word “Kesse” not as “New Moon” but as Full Moon.
Accordingly, the evidence seems to be on the side of the tradition commentators who legitimized the appearance of the New Moon in the Seventh month as the Rosh HaShanah (Beginning of the Religious New Year)
References
Cyrus Adler, The Shofar – It’s Use and Origin
Published in 1893, Government Printing Office (Washington) , pp 287-311.
Etymological dictionary http://www.etymonline.com/index.php?allowed_in_frame=0&search=shofar&searchmode=none
Solomon B. Freehof, “Sound the Shofar: ‘Ba-Kesse’ Psalm 81:4, The Jewish Quarterly Review, New Series, Vol. 64, No. 3 (Jan., 1974), pp. 225-228, University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/1454132 Accessed: 04/01/2010 20:37
Sidney B. Hoenig, “Origins of the Rosh Hashanah Liturgy.”The Jewish Quarterly Review, New Series, Vol. 57, The Seventy-Fifth Anniversary Volume of the Jewish Quarterly Review (1967), pp. 312-331, University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/1453499 Accessed: 04/01/2010
David Wulstan, “The Sounding of the Shofar,” The Galpin Society Journal, Vol. 26 (May, 1973), pp. 29-46, London: Galpin Society Stable URL: http://www.jstor.org/stable/841111
The Galpin Society was formed in October 1946 in London for the publication of original research into the history, construction, development and use of musical instruments. Its name commemorates the pioneer work of Canon Francis W. Galpin (1858-1945) who had spent a lifetime in the practical study of old instruments, in collecting them and recording their history. http://www.ajudaica.com/judaica101/religious-articles/shofar/sounding-of-the-shofar-or-trumpet/


Saturday, July 27, 2013

Shofar as a Temple Instrument Part 3

Shofar as a Temple Instrument
Part 3
 Arthur L. Finkle

Second Temple


Further support for this occurrence come from Alfred Edersheim, a 19th century biblical scholar:

The shofar was blown at the temple to begin the Sabbath each week. There was within the temple an inscription on the lintel of the wall at the top of the Temple that said, "To the house of the blowing of the trumpet (shofar)".    Each Sabbath 2 men with silver trumpets and a man with a shofar made three trumpet blasts twice during the day.  On Rosh haShanah, this was different.  The shofar is the primary trumpet. According to Leviticus 23:24 and Numbers 29, Rosh HaShanah is the day of the blowing of the trumpets.  The original name is Yom (Day) Teruah (The staccato sound of the horn, which also means  “Shout”).  According to the Mishnah (Rosh HaShanah 16a, Mishnah RH 3:3), the trumpet used for this purpose is the ram's horn, not trumpets made of metal as in Numbers 10. On Rosh HaShanah, a shofar delivers the first blast, a silver trumpet the second, and then the shofar the third.
Alfred Edersheim, by boldly setting out his aim: It has been my..." published in 1874, republished by Gregal Publishing, Grand Rapids, MI 1997.

Another source bespeaks this conclusion:

According to rabbinic tradition, “In the Temple on Rosh Hashanah two men blowing silver trumpets stood on either side of the one who blows the Shofar. Citing the Gemara, referring to verses [Psalms 47:5; 81:3; 98:6; 150:3] requiring trumpets along with the Shofar,”we also read that, “A community beset by calamity is under a Rabbinic obligation to...[be] assembled for supplication and prayer, and this is always accomplished with trumpets,  as written in Numbers 10:2”

And they shall be yours for summoning the assembly....we sound the trumpets in order to stir the hearts of the people and bring them to repentance by causing them to realize that the disaster resulted because of their sins. In the Temple, shofars were blown along with the trumpets. The shofar [blows] short...and the trumpets [blow] long...for the primary commandment is with trumpets.”

In these rabbinic statements, the word “Shofar” is footnoted: “The use of two Shofars, one on each side, is a Rabbinic innovation, to publicize that the special mitzvah of the day is with trumpets (Rosh HaShanah also called Yom Teruah).” “Trumpets” is footnoted with: “The purpose of sounding an instrument on a fast day is to assemble the people for supplication and prayer....blowing the trumpets is more important, for it is mandated by the Pentateuch, whereas the Shofar accompaniment is derived from the aforementioned verse in Psalms” (Schottenstein Gemara, chap. 3, “Rosh Hashanah 24b2, notes 21, 24, 27,28, Mesorah Publications, Brooklyn, NY.) Also see The Writings of Flavius Josephus, “Antiquities of the Jews,” Bk. 3, Chap. 12, www.bible.crosswalk.com.)

Shofar as a Temple Instrument Part 2

Shofar as a Temple Instrument
Part 2
 Arthur L. Finkle

Sacrificial Cult




After the King David supervised the building of the first Temple (1000 BCE), he dedicated holy building as a sanctuary to house the written law (10 commandments) and to practice the sacrificial cult (which was how poepole in the Middle East worshipped.) 

The Sacrificial Ceremony



The Priests consecrated two different types of sacrifices: meat and dough. For both of these ceremonial rites,   When the Priests stood on top of the ramp holding the parts of sacrifice, placing them into the fire as he carried them up. He then throws the sacrifice into the great fire; he walks over and places it neatly on the burning logs.

Accompanying this ritual were a choral group and a small orchestra. Special lyrics and songs played according the time of the week and the type of sacrifice (the Bible counts 5 different types of sacrifices in Leviticus 1:1).

Leviticus 1-7 gives the most detailed description of Israel's sacrificial system. Rituals performed after childbirth (Leviticus 12:6-8), for an unclean discharge (Leviticus 15:14-15) or hemorrhage (Leviticus 15:29-30), or after a person who was keeping a Nazirite vow.

1.  Burnt offering (olah). The burnt offering was offered both in the morning and in the evening, as well as on special days such as the Sabbath, the new moon, and the yearly feasts (Numbers 28-29; 2 Kings 16:15; 2 Chronicles 2:4; 2 Chronicles 31:3; Ezra 3:3-6). was defiled (Numbers 6:10-11) required a burnt offering, as well as a sin offering.

The animal for this sacrifice could be a young bull, lamb, goat, turtledove, or young pigeon; but it had to be a perfect and complete specimen. The type of animal chosen for this sacrifice seems to be dependent on the offerer's financial ability.

2.  Grain offering (minchah; “meat offering” in KJV). An offering from the harvest of the land is the only type that required no bloodshed. It was composed of fine flour mixed with oil and frankincense. Sometimes, this offering was cooked into cakes prior to taking it to the priest. These cakes, however, had to be made without leaven. Every grain offering had to have salt in it (Leviticus 2:13),  It may have symbolized the recognition of God's blessing in the harvest by a society based to a large degree on agriculture. The bringing of a representative portion of the grain harvest was another outward expression of devotion.

3.  Peace offering . This consisted of the sacrifice of a bull, cow, lamb, or goat that had no defect. As with the burnt offering, the individual laid a hand on the animal and killed it. The priests, in turn, sprinkled the blood around the altar. Only certain parts of the internal organs were burned. The priest received the breast and the right thigh (Leviticus 7:28-36), but the offerer was given much of the meat to have a meal of celebration (Leviticus 7:11-21).


4.  Sin offering was designed to deal with sin that was committed unintentionally. The sacrifice varied according to who committed the sin. If the priest or the congregation of Israel sinned, then a bull was required. A leader of the people had to bring a male goat, while anyone else sacrificed a female goat or a lamb. The poor were allowed to bring two turtledoves or two young pigeons.

5.  Guilt offering. This is hard to distinguish from the sin offering (Leviticus 4-5). In Leviticus 5:6-7, the guilt offering is called the sin offering. Both offerings also were made for similar types of sin. The guilt offering was concerned supremely with restitution. Someone who took something illegally was expected to repay it in full plus 20 percent of the value and then bring a ram for the guilt offering. Other instances in which the guilt offering was prescribed included the cleansing of a leper (Leviticus 14:1), having sexual relations with the female slave of another person (Leviticus 19:20-22), and for the renewing of a Nazirite vow that had been broken (Numbers 6:11-12).


The burnt, grain, peace, sin, and guilt offering composed the basic sacrificial system of Israel. These sacrifices were commonly used in conjunction with each other and were carried out on both an individual and a corporate basis. The sacrificial system taught the necessity of dealing with sin and, at the same time, demonstrated that God had provided a way for dealing with sin.
Although the Prophets excoriated the sacrificial rites because the people seemed to be more impressed with ritual than why the rituals were offered, the prophets did not want to abolish the sacrificial system.

Interestingly the sacrifice system is found in the New Testament. The New Testament consistently describes Jesus’ death in sacrificial terms. Hebrews portrays Jesus as the sinless high priest who offered himself up as a sacrifice for sinners (Leviticus 7:27). The book ends with an encouragement to offer sacrifices of praise to God through Jesus.

After the Romans destroyed the Holy Temple, the sacrificial cult terminated. During this time, moreover, the early Church also disbanded the sacrificial rites because Christianity began to differ materially from Judaism.

Thereafter, two Priests stood atop of a marble stand near the altar signaling trumpet blasts: tekiah, tekiah and teruah. A long note followed a series of short notes; then another long note.

On Rosh Hashanah and other full holidays (Day of Atonement, Ingathering of the harvest [Succot], Passover and the Feat of Weeks – Pentecost) a single Priest perfected two sacrifices in honor of the full holiday, Note that festivals such as Hanukah and Purim), are not considered full holidays requiring an extra sacrifice. On Rosh Hashanah, something special occurred during the special sacrifice. Arguably two Shofar Sounders played the long notes and one Trumpet player played the short note. Accordingly, Rosh HaShanah is called Yom Teruah (the day of the blast).

Otherwise, the Trumpets had “top billing.” Rosh Hashanah27a, supports this claim: “Said Raba or it may have been R. Joshua B. Levi: What is the scriptural warrant fore this? – Because  it is written, “With trumpets and the sound of the Shofar shout ye before the King in the Temple, we require trumpets and the sound of the Shofar; elsewhere not.” See also Sidney B. Hoenig, Origins of the Rosh Hashanah Liturgy, The Jewish Quarterly Review, New Series, Vol. 57, The Seventy-Fifth Anniversary Volume of the Jewish Quarterly Review (1967), pp. 312-331.   Published by: University of Pennsylvania Press.


Indeed, on Yom Kippur, the Shofar was sounded to announce the Jubilee Year (every 50-years, Jews were granted freedom, forgiveness and debts and reclamation of sold lands. Shofar first indicated in Yovel (Jubilee Year -  Lev. 25:8-13). Indeed, in Rosh Hashanah 33b, the sages ask why the Shofar sounded in Jubilee year.  Further support is found in Rosh Hashanah 29a, where the Talmud talks of trumpets for sacrifices but Shofar in the Jubilee Year does not apply to priests who are exempt from the obligations of the jubilee. Perhaps, we have the first mention of Shofar Sounding by non-Priests. Perhaps the first distancing away from the Sacrificial Cult.

Otherwise, for all other special days, the Shofar is sounded shorter and two special silver Trumpets announced the sacrifice.

When the trumpets sound the signal, all the people who are within the sacrifice prostate themselves, stretching out flat, face down and on the ground.

Indeed, the idea that rabbinic prayer modeled itself of that of the
Temple is supported by:

·       Jeffrey H. Tigay. On Some Aspects of Prayer in the Bible, AJS Review, Vol. 1, (1976), pp. 363-379, Published by: Cambridge University Press on behalf of the Association for Jewish Studies

·       Holman Bible Dictionary: http://www.studylight.org/

·       Arthur L. Finkle, , Easy Guide to Shofar Sounding, Torah Aura, Los Angeles, CA, 2002.

Shofar as a Temple Instrument Part 1

Shofar as a Temple Instrument
Part 1
 Arthur L. Finkle






The Shofar is the only musical Jewish musical instrument that survived two millennia in its original form and is still used to the sounding of the Shofar. Rabbi Saadia Gaon (11th century) stated that the sound of the Shofar raised awe and emotion in the hearts and souls of the people. Maimonides interpreted the sounding as reminding humankind of its duties to God. The mystical Zohar holds that the sound of the Shofar awakens the Higher Mercy.
The Shofar is the most-mentioned instrument in the Bible (72 times). It held a special religious and secular role in the life of the Jewish people. Only Priests and Levites were allowed to perform the religious function of blowing instrument of ancient Israel the Shofar in the Jewish Commonwealth.
The shofar is first mentioned in Exodus 19:16 at the theophany on Sinai. It was used to proclaim the Jubilee Year and the proclamation of "freedom throughout the land" (Lev. 25:9–10); this verse is engraved upon the Liberty Bell in Philadelphia, Pennsylvania. It was to be sounded on Rosh Ha-Shanah, which is designated as "yom teru'ah" ("A day of blowing"; Num. 29:1). It was also used as an accompaniment to other musical instruments (Ps. 98:6), in processionals (Josh. 6:4ff.), as a signal (Josh. 6:12ff., II Sam. 15:10), as a clarion call to war (Judg. 3:27), and in order to induce fear (Amos 3:6).
 
When used in the Temple, the shofar was usually sounded in conjunction with the trumpet (hazozrah). The Talmud (RH 27a) states that the trumpet was made of silver while the processed horn of one of the five species of animal—sheep, goat, mountain goat, antelope, and gazelle—was used to fulfill the ritual commandment of the sounding of the shofar. It further declares (ibid. 26b) that the shofar should preferably be made of a ram's or wild goat's horn, because they are curved. Rabbi Judah states "the shofar of Rosh Ha-Shanah must be of the horn of a ram, to indicate submission." Traditionally a ram's horn is sounded on those days because of its connection with the sacrifice of Isaac (the Akedah), the story of which is the Torah reading for the second day of the festival. Conversely, a cow's horn may not be used because of the incident of the golden calf (RH 3:2). The shofar may not be painted, though it can be gilded or carved with artistic designs, so long as the mouthpiece remains natural. A shofar with a hole is deemed halakhically unfit, though it may be used if no other is available (Sh. Ar., OH 586).

The Shofar had several religious roles recorded in the Tanakh (the Bible), such as the transfer of the Ark of the Covenant (2 Sam. 6:15; Chronicles 15:28); the announcement of a New Moon (Psalms 81:4); the beginning of the religious New Year (Num. 29:1; the Day of Atonement (Lev. 25:9); the procession preparatory to the Feast of Tabernacles (Mishnah Hullin 1:7)’ the libation ceremony (Mishnah:  RH 4:9); and the Havdalah ceremony marking the end of a festival (Mishnah, Hullin 1:7)


In addition, the Shofar had a number of secular roles, such as coronation of a king (2SAam, 5:10; 1 Kings 1:34; 2 Kings 1:13) and signaling in times of war to assemble troops to attack, to pursue, and to proclaim victory (Num. 10:9; Judges 6:4; Jeremiah 4:5 and Ezekiel 33:3-6)

Archaeological Find - Platform for Shofar Sounding

Shofar Practice Guide

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Shofar Practice Guide

To watch video on Shofar Practice Guide go to:

http://tinyurl.com/29qhh3g


Or in writing
http://tinyurl.com/27ykf94



Arthur L. Finkle


Musical Notes



Preparations One Whole Month Before Rosh Hashanah

Tisha B’av signals to me that there are 7-weeks before Rosh HaShanah. Therefore, I spiritually prepare myself by practicing the shofar at the beginning of the next month - Elul. During Elul, we customarily sound the shofar at the end of morning services.
== ==
Sounding the shofar at services is a practical way of preparing for the “real deal” on Rosh HaShanah. In addition, this period serves as a reminder to orient my attention to appropriate repentance.
== ==
Being a Shofar Sounder and Shofar teacher for 30+ years, I want to share a routine is based on sound musical principals expressed (hopefully) in plain English.

If you have any questions or concerns, contact me at:

**Shofar221@lycos.com**


Or any of the websites below:

Joint Effort with Michael Chusid, an expert Shofar sounder and commentator

http://www.hearingshofar.com
Shofar Sounders WebPage

http://shofar221.com
Shofar WebPage
http://shofar-sounders.com
BLOGS
**http://shofar-sounders.blogspot.com/**

**http://hearingshofar.blogspot.com/**


== ==
Warm-Up
WE MUST WARM-UP! This should not be left to chance nor treated lightly by a serious musician on any instrument. If I do not warm-up properly, my performance certainly suffers. Most brass players have several routines. For Shofar sounding, I suggest warming up on the fundamental note. In simple terms, a noise from a musical instrument plays more than one note, called Harmonics, but the principal musical tone produced by **vibration** (as of a string or column of air) is the fundamental or most prominent tone. **http://dictionary.reference.com/browse/fundamental**


Then, focus on your attack (how you articulate the note). Then play the Tekiah, Shevorim, Shevorim-Teruah, and Tekiah. Your warm up should be at home because the shul does not offer privacy. In shul, you should hold the Shofar between your arms so that the horn will become the same temperature as your body because the instrument should be the same temperature or more than the room. A cold note becomes flat (off-tune or atonal).

The shofar’s sound is similar to creation as that of a brass instrument (Trumpet, French horn, trombone, tuba, etc) in that the lips vibrate creating a “buzzing.”

You should practice buzzing; (brass players do this by playing the mouthpiece alone. In the case of Shofar playing, you can buzz by shaping your thumb and forefinger in the shape of a mouthpiece and blowing into it to stimulate your embouchure. (See The Art of French Horn Playing by Philip Farkas, The Complete Method by Milan Yancich, and Embouchure Building by Joseph Singer; there are many good resources out there.)

When Should I Warm-Up? How Much Should I Practice?

Professional brass players warm-up every time they get the instrument out of the case to play. The first warm-up in the morning is the most important, as it sets up your embouchure for the rest of the day. The second and third warm-ups are usually shorter, but need to be there to maintain and build the embouchure.

Related issues are how much to practice, and when. I feel, if time allows, the serious brass student or professional usually practices three times a day for no more than one hour apiece. A Shofar sounder, not being a professional in the brass instrumentalist sense of the word, should practice each day at the same time of day. Practice standing up; sitting down will change your embouchure.

Initially, practice the fundamental note until you feel your muscles get adjusted. Do not play too much beyond this level. If they tire, your muscles are telling you that they have had enough. By repeated playing, however, your musculature will develop into high quality sound and endurance. Ten minutes is the usual limit.

Once, you have mastered the one fundamental note, you should concentrate on the attack. The quality of an attack is determined by the position of the tongue’s touching the lips. In some cases, the tip of the front of the tongue can be the part of the tongue used to tongue the attack. In other cases, you can use the side of your tongue. Some use the side of their side tongue and move it back. The technique that is most effective for the Sounder – and still allows maintenance of the correct embouchure -- is the correct way.


Week 1

During the first week, work on your embouchure (muscle tone of your lip and surrounding facial muscles) by sounding the most prominent note (fundamental).
How long – start with no more than 5-minutes per day; gradually increase this practice time so you will build and tone your embouchure.


SHOFAR RANGE



Week 2

You should begin with phrase 1.


The tekiah is one blast – some end it with a small ‘up’ not (but is not necessary)

The shevarim is three moaning sounds. In music we call these slurs. They begin with a low note and slide up to the dominant note. You accomplish this by tightening the lips.

The Teruah – nine staccato notes. To avoid confusion, count the nine notes as three triplets, thus: xxx xxx xxx. The notes are articulated by touching the tongue to the tip of the shofar for nine times.

Tonguing needs practice and repetition to become natural.

Begin the play the sets



Phrase 2 - T-SH-T (3X) Tekiah-SHevarim -Tekiah

Phrase 3 - T-R-T (3X) Tekiah- teRuah-Tekiah

You may sustain ‘lip fatigue’ – your lip will tire and will not respond the way you desire.


Week 3

Continue practicing the phrases for as many times as you can In doing so, you will memorize the association of the sounds and their names . Also, you will build stamina and embouchure definition. Note that you are focusing on endurance athletics but you do need a certain amount of stamina and lip strength to beat fatigue.

Learn Prayer To Be Recited On Rosh Hashanah



Praised are You, O Lord, Master of the Universe who has commanded us to hear the shofar 


Baruch atah Adonai Eloheinu Melech
Ha-olam, asher kid-shanu b-mitz-votav
Vi-tzi-vanu Lish-moa Kol Shofar.


First Day Only






Week 4

Work from the prayer book to practice each series of sounds. Some congregations sound thirty note; others, ninety; most, 100 sounds.

On a couple of the days, I suggest you work with the kri’ah (the one who pronounces the sounds so you can coordinate your activities. You also will ‘feel each other out,’ as so often happens in musical schemes.

On the day before Rosh HaShanah – do not practice. Although Jewish law forbids such practice, the musical reason is to enable your embouchure to rest on the day prior to performance, such as soloists do prior to musical recitals.






Special thanks for significant input of premier shofar Sounder Michael Chusid, RA FCSI

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