a prayer service for day school students
P R E FA C E
ipray is the culmination of Kim Heiman's vision. Kim recognized the potential of making
Shacharit services into a positive experience for our day school children. She recognized
the gap between the potential and the reality. The potential is a fun, inspiring, engaging,
and community-building experience - an experience that is fundamental to our Jewish
being. But the somber reality is that too often, services are the least enjoyable activity in
the day school routine - which certainly has a negative impact on the broader attitudes of
our children toward prayer and synagogue in general. In response to this dilemma, Kim
challenged me to make prayer fun!
But if the Heiman Foundation had come to me thirteen years ago and asked me to create
a “Shacharit Service for Day School Students,” my answer would have been: “Sorry, you
came to the wrong person.” Yes, thirteen years ago I was in a very different “place.” My
feelings, interests, and knowledge of this area were far from where they are today.
I grew up in Dimona, a development town in the southern Israeli desert, the Negev. My
family was a typical Israeli secular family. In my home, religion largely amounted to a
traditional Kabbalat Shabbat ceremony around the Friday night dinner table. We
blessed the candles, the wine, and the challah, and sang z'mirot Shabbat. We also
acknowledged the main holidays, but always through the kitchen and dinning room,
rather than the synagogue. At best, I attended services once a year, on Yom Kippur,
where the blowing of the shofar stood to me as a sign that it was time to run home to
eat. (Indeed, the practice of fasting on Yom Kippur is a cultural, not a religious practice
among many secular Israelis.)
My knowledge of t'filot was therefore negligible. I do not remember ever opening a
siddur and certainly had no clue how to navigate through one. My knowledge of
Judaism was very basic as well, the kind you would expect from a typical product of the
secular Israeli public school system. “Religious” was something that you did not want to
get close to, much less something you would want to become. In my circles, “religious”
was a derogatory term.
But throughout the past thirteen years, I experienced gradual changes and personal
growth. I am in a different state of mind with my feelings, respect, connection and sense
of comfort with my tradition and religion. It is clear to me that this change happened as
a result of two major causes: First, my dear husband, Dani, whose strong commitment
and background to Conservative Judaism, as his father is a Rabbi and he is a cantor, has
been a source of learning and appreciation of our tradition and religion. Secondly, living
in the U.S. for nine of the past thirteen years allowed me the “gift” of choice. I finally had
the privilege to choose the way I wanted to observe my religion and to discover that it is
not only okay, but that it can be wonderful to be “religious!” This freedom enabled me to
search and find my personal comfort zone regarding the wealth and beauty of our
tradition and religion.
During the past years I have largely focused my musical endeavors toward the enrichment
of t'filah. In my first published CD, Rhythm of the Land (1997), I introduced
contemporary arrangements for traditional Jewish melodies. In my teaching and as an
occasional ba'alat t'filah, I am in constant pursuit of introducing participatory melodies,
and making the service more fun, engaging and meaningful.
1
The t'filah time in the Jewish school framework presents a formidable challenge. My own
experiences, confirmed by focus group research, show that Jewish Day School children
generally dislike the weekday Shacharit service and regard it as a pointless and a boring
chore. The tragedy in this is that to most of these youngsters, this negativity taints their
attitude toward their broader view of the synagogue and our religion. What a shame!
This project came to life as an effort to try and face this challenge. The goal of this project
is simple: To help make the weekday Shacharit service a positive and enjoyable
experience, a time that the children will actually look forward to. If we are able to make
the service fun, surely the entire praying experience will transform into a more meaningful
and inspiring one.
All the musical material that I collected for this project was tested in school with children
grades 2 nd through 8 th. It was amazing to see the gradual changes that took place
within these kids during the four months that I worked with them.
The peak of this process occurred during the last day of school, in the closing assembly
(not t'filah time!) which consisted of all the students and faculty. For this assembly the
children chose to sing the prayers from the Shacharit service with the new melodies I
taught them. The enthusiasm, participation, and spirit that these children demonstrated
were amazing and above all expectations. Their teachers were shocked and could not
believe the scene they were witnessing. The children spontaneously stood up, and began
clapping their hands and hugging each other. The huge smile, both on my face and in
my heart reflected my happiness. That moment simply gave me the answer that ipray had
worked! I, along with all the people in the audience, understood that yes,
t'filah can be different!
This project came to life with the help of many very important people, to whom I owe my
sincere thanks and appreciation:
• First and foremost, to Kim Heiman and the Kim and Gary Heiman Foundation.
This project would not have materialized without Kim's initiative, vision and
inspiration.
• Yavneh Day School in Cincinnati, OH for allowing me to work with its students
and test the musical material with them.
• Emanuel Elaluf of Elaluf Recording Studio, Netanya, Israel for the beautiful
playbacks.
• Chip Allen and his assistant Sarah of the “3rd Shift” Studio, Cincinnati, Ohio -- for
making the recording time so professional and enjoyable.
2
• The Children's Choir that sang on the CD.
These youngsters did a great job and
achieved wonderful results in spite of the time constraints we experienced in
practice and recording – yishar koach! These amazing children are:
â
â
â
â
â
Cameron Ross
Elana Satin
Andrea Newman
Marisa Ellison
Lainy Paul
â
â
â
â
â
â
Marisa Roth
Samantha Zola
Sara Mossman
Ben Lee
Jacob Katz
Eryn Kipner
â
â
â
â
â
Gideon Resnick
Sam Dubin
Casey Wrigh
Daniel Grober
Rafi Goldfarb
• My mom, Yael, for her big help in taking care of my children.
• My in-laws, Hadassah and Ervin, for helping with my English.
• My sons Nitai (6) and Nitsan (4) for the beautiful “gift” they gave us in singing
Adon Olam (song #4 in the CD) and for being my “guinea pigs.”
• The composers who generously gave their permission to have their work
included in this program.
• And finally, my very special and wonderful partner throughout the project,
my “right hand”- my dear and beloved husband, Dani. Thank you from the
bottom of my heart!
Have Fun !
Bat-ella Birnbaum
3
CONTENTS
ipray has three parts:
1)
Song CD with 16 recommended songs to include in your weekday
Shacharit service. 12 of these songs are from the text found in the traditional
siddur, and 4 are from other Jewish texts/melodies that are recommended to be
included for mood-setting, variety and fun.
2)
Instrumental CD (instrumental accompaniment) to all the above songs.
3)
Teacher's Guide to accompany the CD.
The Teacher's Guide includes a song-by-song walk-through to help the teacher
successfully introduce the musical pieces to prayers. This is followed by “Things
to Think About,” a collection of tips that I gathered from my working experience
in the field.
My hope is that this project will be a useful tool for you, the teacher, who is
determined to make t'filah more fun and engaging for your students. Although
it may seem difficult at the beginning, I believe that with the right energy, spirit,
and enthusiasm, you will be successful. In addition, I hope this material will be
easily implemented and enjoyable, for both you and your students.
4
BACKGROUND TO THE WEEKDAY SHACHARIT SERVICE
The word Shacharit comes from the Hebrew word shachar, meaning dawn, early
morning. Shacharit is the daily morning service and is the most elaborate of the three
prescribed weekday services. It is also the only daily prayer during which the talit and
tefillin are normally worn. Its institution is traditionally attributed to the Patriarch Abraham
(on the basis of Genesis 19:27) and the Rabbis later made its recitation obligatory to
replace the daily morning sacrifice (tamid) performed in the Temple.
The basic outline of the communal weekday shacharit service is as follows, further
detailed below:
*
*
*
*
*
*
*
*
*
Preliminary service
Shema
Amida
Tachanun
Hallel (on festivals)
K'riat haTorah - the Torah reading (Mondays and Thursdays)
K'dusha d'sidra
Alenu
Mourner's Kaddish
Preliminary service: These are prayers that are preliminary to the core of the Shacharit
service. This section is a spiritual wake-up routine, a warm-up with two parts:
Birchot haShachar and P'sukey de Zimrah.
Birchot haShachar (blessing of the dawn) is a Jewish “workout,” a set of morning spiritual
“start the day the right kind of way” exercises. This is a set of blessings intended to
accompany the individual throughout the morning routine at home, from the waking up
through washing, dressing, and getting ready to greet the new day. Later, they were
added to the beginning of the morning service.
P'sukey de Zimrah is essentially a “God is Great” song fest. Originally it consisted of the
last six Psalms (145-150), but it has grown to the longer version that we use today.
Shema (“Hear! Oh Israel”): This is Judaism's most famous prayer. It is surrounded by three
blessings (b'rachot) which originate in the Torah. These b'rachot retell some of the special
moments in the Jewish experience: the creation of the world, the revelation of the Torah,
and the redemption of the Jewish people from Egypt and from other times of need. The
b'rachot proclaim the central Jewish idea that there is one God and that we should
perform God's mitzvot.
5
A m i d a (literally meaning “standing”): This set of prayers, always recited while standing, is
central to every Jewish service. The Amida is also known as Hat'fila (THE prayer) or
Shmoneh Esray (eighteen) because it consists of eighteen paragraphs called B'rachot
(blessings). (On Shabbat and festivals there are only seven blessings.) The Amida is
divided into three sections, each with its unique character: (1) Praise - the first three
b'rachot praise God and the wonderful things God does, (2) Petition - the middle thirteen
b'rachot ask God to do things for us, a series of requests for things we need (personal
and national), (3) Thanksgiving - the last two (or three) b'rachot are considered prayers of
thanksgiving. After having made our requests, we thank God in advance for any of the
blessings.
Tachanun: This section consists of prayers of supplication recited on Mondays and
Thursdays, the days on which the Torah is read in the synagogue. Because of their
somber mood, they are not recited on Shabbat, holidays and festive occasions.
K'riat haTorah (Torah reading): On Mondays and Thursdays the Torah is read. The
weekday reading is the first section of the Torah portion that will be read in full on the
following Shabbat.
Kedusha d'Sidra: (Holy [Torah] portion): This is the last major section recited in the
daily morning service. The name is derived from the fact that it includes another
repetition of the biblical verses that are recited during the Kedusha prayer, the section of
the Amida proclaiming God's holiness. Sidra indicates that it is connected to the recitation
of biblical passages.
Alenu L'shabeach (It is for us to praise): This prayer is the final and climax in the
morning service, a highpoint expressing the uniqueness of the Jewish people and its
aspiration for a better world.
Mourner's Kaddish: As the service nears the end, the Kaddish is recited. This is a key
prayer that offers praise to God. This prayer helps us to remember those who have gone
before us and are no longer with us.
The service is concluded with a closing hymn.
6
The following illustrates the flow of the weekday Shacharit service:
7
THE SONGS
This chapter describes the 16 prayers and songs I selected to include in this project. Each
song includes a brief background, the words in Hebrew, English and transliteration,
suggested activity, and the music sheets. The song numbers correspond with the song
numbers on the CD. The playbacks are included in the separate Playback CD.
1. T'filati (My Prayer)

Psalms 55:1
Haazina Elohim t'filati ve-al [na] titalam metechinati.
Listen please O God to my prayer and do not hide yourself from
my plea
Suggested Activity
Although this song is not part of the Shacharit service, its content and melody fit very
well with the service. This song has the ability to create the right atmosphere for the
service and to do so without talking or giving instruction at all.
Singing the A part of this song (the la, la, la part) can be a great way to start the
service. It can also be a cue to the children to pick up their siddurim and to join the
service. Sing the A part softly a few times and only then start the B part (with the
words). If you accompany the song, consider occasionally cutting the accompaniment
on the A part as this accapella (only singing) is very powerful and musically easy for
the children. Once in a while, you can vary the opening and let one child, group, or
class sing the B part while the others answer with the A part.
Because of the very personal and powerful appeal of this song, it is a great candidate
to include sign language (used by the deaf) while singing it. The inclusion of sign
language suggests another dimension regarding prayer and our communication with
God. In this prayer we ask God to “listen to my prayer.” Through sign language, we
demonstrate that we can communicate with God in many ways beyond spoken
words. The message is clear: God hears our prayers in all languages as well as in
silence. Also, because of the brevity of this song, the sign language is technically
manageable.
This song can lead into Mode Ani, the first Shacharit prayer, with the children in the
right mood.
8
Dm
Dm
C
A7
A7
F
Dm
C
Dm
C
F
Am
Bf
A7
Am
Dm
F
Gm
A7
Dm
C
F
D7
Gm
C
A7
D
D7
Gm
C
Gm
A7
9
Dm
Sign Language For T'filati
1
please
Rub right palm in clockwise
circle against upper chest.
4
my
B shape both hands, palms
placed on temples. Move
forward par to one another.
pray
5
Place palms together, tips
slanted up. Rotate toward body.
Place palm on chest.
don't
2
attention
7
ignore
8
Open B both hands, palms
Four shape RH palm left, tip of
down, tips slanted toward one right index on nose ten arc out
another. Place RH over LH
and slightly to the left.
and draw apart forcefully.
10
God
3
B shape RH palm left, tips
slanted out. Arc tip, back,
and down, ening with tips up.
and
6
Five shape RH palm in, tips
apart. Move from left to
right, closing into flat O.
pray
9
Place palms together, tips
slanted up. Rotate toward
body.
2. Mode Ani (I Am Thankful)
 
Mode Ani is customarily recited upon awakening in the morning. Since in the Hebrew
version, this passage does not mention any of the Divine names, it may be said while
still in bed and before performing the prescribed morning rituals. Because of its
brevity and simplicity (only one sentence), it has become a favorite morning prayer for
very young children before they were capable of reciting the ordinary Shacharit
service. Recently, it became accepted as the opening prayer in the Shacharit service in
Jewish schools.
Mode Ani is of late origin and seems to have been written during the 17th century.
Over the years this beautiful prayer found a home in the body of the Shacharit service
as the opening prayer.
Mode ani lefanecha,
melech chai vekayam,
shehechezar'ta bi nish'mati bechem'la,
raba emunatecha.
I give thanks to You,
O living and eternal King,
Who has restored my soul to me in mercy?
Great is your faithfulness.
Suggested Activity
The melody chosen for this prayer flows well from the previously suggested introductory song, T'filati. There is no need for a verbal introduction or instructions by the
leader in the early parts, where establishing the mood is of particular importance.
Mode Ani is sung as a round. I suggest singing the entire song once together, then
breaking into two groups for the round, and concluding together once again. After
the children are familiar with the melody, the round will require little if any orchestration and with older children will even sing spontaneously. This round is demonstrated
on the CD.
For the advanced: There is a beautiful harmony for Mode Ani which you can hear on
the CD toward the end of the song.
11
G
Cm
C7
Cm
Cm
Cm
G7
C7
Fm
Cm
Cm
Cm
G7
G
Cm
G7
Cm
Fm
G7
Cm
Cm
G7
C7
Cm
G
G7
12
Fm
Cm
3. Ma Tovu (How good)
 
A mosaic of five biblical verses, beginning with the words “Ma Tovu Ohalecha”
(“How goodly are your tents”), forms the opening passage in the daily prayer
book, the first of the morning “warm-up” prayers.
Since according to Talmudic interpretation, the phrase “your tents” refers to the
Synagogues, it has become customary to recite these words upon entering the
House of God. The entire passage conveys the feelings of reverence and joy
experienced within the synagogue.
The five verses are borrowed from: Numbers 24:5; Psalms 5:8; 26:8; 95:6; 69:14.
The verse from Numbers tells the story of Balaam, the prophet of the nations, who
had been hired by Balak, the king of the Moabites, to curse Israel. Instead, he arrived
at Jacob's tents and blessed them: “How goodly are your tents O Jacob, your dwellings
O Israel?”
Ma tovu ohalecha Ya'akov, mish'kenotecha Yisrael.
Va'ani berov chas'decha ahvo veitecha, esh'tachave el heichl kod'shecha B'yir'atecha.
Adonay ahav'ti m'on beitecha um'kom mish'kan k'vodecha; Va'ani esh'tachave
Ve'ech'ra'a, ev'recha lif'ney Adonay osi.
Va'ani t'filati lecha Adonay et ratzo, Elohim b'rov chs'decha, aneni be'emet Yish'echa.
13
How goodly are your tents, O Jacob, your dwelling O Israel!
As for me, I, through Your great kindness, will come to Your House, I will bow
to Your holy Sanctuary in awe of You.
O Lord, I love Your Temple abode, the dwelling-place of Your glory. As for me I will bow
and bend my knees before my God and bless the One who made me.
As for me, may my prayer come to You, O Lord, at a favorable moment; O God, in Your
abundant faithfulness, answer me with Your deliverance.
Suggested Activity
This prayer is built from a repeated chorus (A part, measures 1-10): “Ma tovu ohalecha
Ya'akov, mish'kenotecha Yisrael ” and from three verses (B part, measures 10-18).
To make it interesting, I would assign each of the first two verses (in part B) to a group or
a class while everyone else sings the chorus. Sing the third verse (“va'ani t'filati…”)
together, but slow down the tempo and sing it very softly, gently expressing the meaning
of the words which ask God to accept and answer our prayers.
Then the chorus is sung full of energy with the regular tempo. Because of the powerful
and sweeping melody of the chorus, I would sing it one extra time, but this time if you
are using accompaniment, try accapela (only singing), and then for the last time, adding
the musical instruments to end the song full force. This will add a very strong and
uplifting moment to the service.
14
B
B D
B
E3
D
E
B
3
3
D3
D
B
A
3
3
A
3
3
A
3
B
E
3
15
E
 
4. Adon Olam (Lord of the Universe)
This is a well-known hymn of praise to God, which speaks of our faith in His
protection and care. This hymn, dating back to the 15th century, also became popular as a closing hymn for the Sabbath services, as well as the bedtime ritual.
Adon olam asher malach,
Beterem kol-yetzir niv'rah.
L'et na'asa v'chef'tzo kol,
Azay melech sh'mo nik'rah.
Veacharey kich'lot hakol,
Levado yim'loch norah.
Vehu haya vehu hove,
Vehu yih'ye betif'arah.
Vehu echad ve'ein sheni,
Leham'shil lo lehach'birah,
Beli reshit beli tach'lit,
Velo haoz vehamis'rah.
Vehu eli vechay goali,
Vetzur chevli be'et tzarah.
Vehu nisi u'manos li,
Menat kosi b'tom ekrah.
Beyado af'kid ruchi,
Beet ishan ve'a'irah
Ve'im ruchi g'viyati
Adonay li velo irah.
16
Lord of the universe, who ruled before any creature was created. In the beginning, when
God created the world, God ruled as a King.
At the end of time, when all things shall cease, God alone shall rule. God was, God is,
and God shall remain forever.
God is one, and no other can compare with God. God is without beginning and without
end; strength and power are God's.
God is my Lord and my redeemer, my strength in time of trouble. God is my pride and
my help, my comfort when I call.
When I sleep and when I awake, I place my soul in God loving care. And with my soul,
my body, too, for the Lord is with me; I shall not fear.
Suggested Activity
Since this a very happy and uplifting melody, I suggest to sing it as an echo song.
Sing the repeated chorus all together and the verses in echo, led by a designated leader
or group. When you reach the last verse (beyado…), slow down the tempo. Keep the
slow tempo through the beginning of the final chorus (A-don o-lam) and then go back to
the regular tempo. All this will give this song a “boom” of energy!
For the advanced, try varying the singing occasionally in verses three and four. Instead of
using the echo technique, try responsive phrasing. This is demonstrated in the CD as
follows:
Group 1: vehu echad
Group 1: leham'shil lo
ñ
ñ
Group 2: ve'ein sheni
Group 2: lehach'birah…
17
C
C
C
C
C
G
C7
F
G
F
C
G7
G7
G
G
G7
18
C
C

5. Y i g d a l (May God be Magnified)
This well-known hymn was written in the 14th century by an Italian Jew - Daniel of
Rome. It is based on the famous Thirteen Principles of Faith (The Thirteen Creeds) of
the great philosopher, physician, and writer Moses Maimonides, known as the
Rambam. Yigdal has also become popular as a closing hymn.
1) Yig'dal Elohom chai veyish'tabach,
nim'tza ve'ein et el m'tzi'uto.
2) Echad,ve'ein yachid keyichudo,
ne'elam, vegam ein sof le'ach'duto.
3) Ein lo d'mut haguf ve'eino guf,
lo na'aroch eilav k'dushato.
4) Kadmon l'chol davar asher niv'rah'\,
rishon v'ein reshit l'reshito.
5) Hino odon olam, v'chol notzar
yoreh g'dulato u'mal'chuto.
6) Shefa n'vuato n'tano el
anshey s'gulato v'tifar'to.
7) Lo kam b'yisrael k'moshe od,
navih u'mabit et-t'munato.
8) Torat emet natan l'amo el,
al-yad n'vi'oh ne'eman beyto.
9) Lo yachalif hael v'lo yamir
dato l'olamim,l'zulato.
19
10) Tzofeh v'yode'a s'tareinu,
mabit l'sof davar b'kad'mato.
11) Gomel l'ish chesed k'mif'alo,
noten l'rasha rah k'rish'ato.
12) Yish'lach l'ketz yamin m'shicheinu'
lif'dot m'chakei ketz y'shu'ato.
13) Metim y'chateh el b'rov chasdo,
baruch adey-ad shem t'hilato.
1)
We praise and exalt the living God who was, who is, and who will be forever.
2)
The Lord is One alone and there is none else, and the Lord will be One forever.
3)
God has no body or form, nothing can compare with the Lord's holiness.
4)
The Lord was God before anything was created, from the beginning of time the Lord
was the first.
5)
God is the Lord of the universe; the Lord reveals greatness and power to every living
creature.
6)
The Lord inspired the chosen ones to be the Lord's prophets.
7)
Never has there been a prophet who was as close to God as Moses.
8)
God gave us the holy Torah through the Lord's faithful prophet Moses.
9)
God will not change this Law for any other law.
10) God knows and understands our secrets thoughts; The Lord forces the outcome of
events from the beginning.
11) The Lord rewards the righteous according to the Lord's righteousness and punishes
the wicked according to the Lord's wickedness.
12) God will send a Messiah to bring freedom and peace.
13) In God's great mercy, the Lord will grant life to the dead; praised be the Lord's
glorious name forevermore.
20
Suggested Activity
Because this prayer has many verses, I suggest appointing children to
sing them as "solos". The soloist will sing the verse (A part), and the others
will join in with "yala la..." (B part), which is sung every three or four verses.
With older children, try to sing the harmony in the A part as demonstrated
on the CD.
To make the service more colorful, I would add percussion instruments to
accompany this prayer, but only in part B. You can use the following rhythmic
pattern:
21
A
A
A
E
B
A
B
E
B7
A
E
A
E
E
E
E
A
E
22
E
6. A s h r e i (Happy are Those)

This is the “A to Z Thank You God” Psalm. According to tradition, Psalm 145 and three
other Psalm's verses were written by King David. Each verse begins with a consecutive
letter of the Hebrew Alphabet except the letter Nun. (*Rabbi Yohanan explains that
the Nun is the first letter in the word  nofel which means “to fall.” By deliberately
avoiding that “unhappy” letter, the Psalm indicates that Israel will not fall, it will not be
defeated). Each day, we say the “Ashrei” twice during the morning service, and once
in the afternoon service. According to a Talmudic statement (Brachot 3b): “Whoever
recites the Ashrei three times daily is assured of a part in the world to come (olam
ha'ba).”
Ashrei yosh'vei vey'techa, od ye'hale'lucha selah.
Ashrei ha'am she'kachah lo, ashrei ha'am she'adonay elohav.
Happy are those who dwell in Your house; They forever praise You.
Happy are the people who live in this way; Happy are the people whose God is the
Lord.
Suggested Activity
This is a song that all the participants can sing together. For the “yala la” part (the B
part), I would add hand motions on the beat. Use snap (fingers), clap (hands), slap
(thighs) and stamp (feet to floor). The children love it! In addition, you can let the
children make their own hand motions and once in a while let a group of children or
a class teach the rest of the participants the new hand motions they have created. I
assure you that this will not only be a welcome “routine buster” but will also help the
children feel very connected to the prayer.
In this song you also have the option of singing the harmony, just start 1.5 steps (m3)
above the main melody.
23
Dm
Gm
Dm
Dm A7
Gm
Gm
C
Gm
F
C
Dm
A7
Dm
Dm
F
Dm
Gm
Dm
A7
Dm
Gm
Dm
D7
Gm
C
F
Dm
Gm
C
Dm
25
F
7. Yotser Or (Creator of Light)
 
This is the “Sunrise” B'racha. It is the daytime partner to Ma'ariv aravim,
The Sunset B'racha. It is a long and complex prayer that connects a number of different concepts into one basic idea: God is the CREATOR.
Baruch Atah Adonay, Eloheynu Melech haolam, yotzer or u'vore choshech,
ose shalom, u'vore et hakol”.
Blessed are You, Adonay, Our God, Ruler of the Universe, the One-Who
-Radiates Light and Creates Darkness, the One-Who-Makes Peace and Who
Creates Everything.
Suggested Activity
This song should be sung together. Its “feel,” melody, and rhythm will probably make
the children want to stand up and clap to the beat. Please let them, it is fun!
And of course, for the older children… add HARMONY!
26
Yotser Or
Lyrics: from the Siddur
Music: Jeff Klepper
c 1993 Jeff Klepper
27
28
 
8. Mi Kamocha (Who is Like You?)
This prayer is part of “The Song of the Sea” (Exodus 15:11). It is part of the first
B'rachah after the “Sh'ma,” which is “G'ulah” (redemption). Its theme is that
God has saved the Jewish people at important moments. “The Song of the Sea” was
sung by the children of Israel right after they crossed the Red Sea and were saved
from Pharoah's army. It is a prayer of Thanksgiving to God.
Mi chamocha ba'elim Adonai?
Mi kamocha ne'edar bakodesh, Nora t'hilot, oseh fele?
Shirah chadasha shib'chu g'ulim l'shim'cha al s'fat hayam,
yachad kulam, hodu v'him'lichu v'amru:
Adonai yim'loch l'olam va'ed.
Which of the other [false] gods is like You, Adonai?
Who is like You, Glorious in holiness,
Awesome in praises, doing wonders?
With a new song the Redeemed praised Your name on the sea shore,
Together, all of them gave thanks and praise saying:
Adonai will rule forever and ever.
Suggested Activity
This is the prayer (with Debbie's melody) to add musical instruments, especially
percussion, and to let the children dance.
I suggest playing the instruments during the “yala la…” (A part). It is also fun to chain
dance around the sanctuary with all the participants during this part.
I would have the children stand still during the phrases and then resume the dancing
and instruments with yala la.... The energy in this melody certainly will help stimulate
both music and dance. Have fun!
29
A
B
Shi -
ra
chada - sha - shib - chu
g'u - lim
l' -
shim - cha
-
al
s'fat
ha -
D
yam
ya - chad
30
kulam - ho - du
v' - him
-
li
-
chu -
Bm
v' - am
-
vu
31
D
9. Tsur Yisrael (Rock of Israel)
 
This is the last part of Birkat G'ulah (Redemption), the B'rachah after the
“Sh'ema.” This prayer introduces the “Amida” prayer (the silent devotion of the
service). In this prayer we call God Tzur, which means “Rock” or “Strength.” We ask
God to help the people of Israel and to redeem them as God promised.
Tzur Yisrael, kumah b'ez'rat Yisrael, uf'deh chin'umecha Yehudah v'Yisrael.
Rock of Israel, rise to Israel's defense. Fulfill Your promise to deliver Judah and
Israel.
Suggested Activity
By this time, all the participants are already standing. Assign the first phrase (A part,
measures 1-8) to one group and have them repeat this part. The B part (uf'deh
chin'umecha…) is sung by all participants together. Build the energy towards the peak
of the song in measure 17, “Yehudah v'Yisrael Aye uf'deh…” as demonstrated on the
CD.
In this song there is a beautiful harmony for the part B, also demonstrated on the CD
toward the end of the song.
32
33
34
10. Sim Shalom (Grant Peace)
 
This is the last part of the Amidah, the silent private prayer we say to God. Here we
ask God to make the world the way it really could be. This B'rachah, “Birkat Shalom,”
represents our goals. It is the level that we striving to reach. Here we talk about the
things we truly desire: Peace, Welfare, Blessing, Grace, Lovingkindness, Mercy
and Life.
Sim shalom tovah uv'rachah chen vachesed v'rachamim.
Aleinu v'al kol Yisrael amecha. (sim shalom)
V'tov b'einecha l'varech et am'cha Yisrael, b'chol et uv'chol sha'a bish'lomecha.
Put peace, goodness and blessing, welfare, kindness and mercy
on us and on all of Israel, Your people.
And may it be good in Your Eyes to bless your people Israel in all times and in
all hours, with Your Peace.
Note: This melodic version represents only part of the entire Sim Shalom prayer
included in most siddurim.
Suggested Activity
This gentle and relaxed melody can have a calming effect, and serves as a nice
ending to the “Amidah.” Despite its emotional “feel,” it has a great deal of power
and energy. The prayer peaks in measures 22-23 with bish'lomecha, so take an
extended moment to slow down and to let the children experience and savor that
musical and spiritual climax.
This melody can make everyone feel very emotional and may not necessarily be used
for everyday service. However, it is especially fitting for special days or events where
this mood is appropriate, and it is therefore worthwhile to have this melody in the
children's repertoire.
35
E7
F
Dm
Dm
Am
Am
C
Am
Em
Am
Am/G
C
Dm
Dm7
F
Dm7
Am/G
Dm7
F
Am/G
Am
E
C
Em
Am
E7
36
Dm
Em
Am7
Am
Em
Dm7
Am
Am
E7
Dm7
C
Em
Em
E7
Dm
E7
F
Em7
Em7
11. Eits Chayim (Tree of Life)
 
This is the prayer that is chanted while the Torah is being returned to the Ark.
The first two verses come from the Book of Proverbs 3:17, 18 and the last verse
comes from the Book of Lamentation 5:21.
Eitz chaim hi lamachazikim bah, v'tom'cheiha m'ushar.
D'racheiha dar'chei noam v'chol n'tivoteiha shalom;
Hashiveinu Adonai elecha v'nashuvah, chadesh yameinu k'kedem.
It is a Tree of Life to those who hold it tight, those who support it are happy.
Its paths are pleasant and all its trails lead to peace.
Turn us Adonai to You and we will return. Renew our days as before.
Suggested Activity
We are now at a magical moment and a natural peak to most services. The Torah
scrolls are about to be returned to the ark, and we have a wonderful opportunity to
engage the children in deep kavanah and emotional enrichment.
This melody is my personal favorite. It is a break from the traditional Eitz Chayim that
most of us have grown up with, which to some extent has become a bit “stale.” This
melody represents a welcome variety from this common Shabbat melody. Eitz
Chayim is a sweeping prayer and this melody can reach everyone's hearts. The
harmony demonstrated on the CD enriches the experience and can be sung by very
few voices, or even one voice (such as a teacher).
37
Dm
A
A
A
A
A7
A7
F
C
Dm
D7
Dm
Gm
Gm
F
D7
Gm
Gm
38
C
A
C
A7
Dm
Dm
Dm
Dm
A7
A7
Dm
A7
C7
Dm
A
C7
Dm
F
12. Ein Keloheinu (There is none like our God)
 
This is a hymn / chant which is sung after Musaf. Ashkenazim sing this prayer at the
end of the Sabbath and festival morning service; the S'faradim also use it on
weekdays. It was written before the 9th century.
Originally, it began with the second verse: “Who is like our God?” but it now begins
with the answer to this question: “There is no one like our God.” The first letters of
the first three verses make up the word Amen . Though the ending is not
rhymed, there is throughout a pleasing assonance in the constant repetition of the
sounds “einu” which recurs twenty times.
Ein keloheinu, ein ka'doneinu, ein k'mal'keinu, ein k'moshieinu.
Mi cheloheinu, mi chadoneinu, mi chemal'keinu, mi chemoshieinu.
Nodeh leloheinu, nodeh ladoneinu, nodeh lemal'keinu, nodeh l'moshieinu.
Baruch eloheinu, baruch adoneinu, baruch mal'keinu, baruch moshieinu.
Atah hu eloheinu, atah hu adoneinu, atah hu malkeinu, atah hu moshieinu.
Atah hu, sh'hik'tiru aviteinu l'fanecha et k'toret hasamim.
39
There is none like our God; There is none like our Lord,
There is none like our King; There is none like our Redeemer.
Who is like our God? Who is like our Lord?
Who is like our King? Who is like our Redeemer?
We will give thanks unto our God; We will give thanks unto our Lord;
We will give thanks unto our King; We will give thanks unto our Redeemer.
Praised be our God; Praised be our Lord;
Praised be our King; Praised be our Redeemer.
You are our God; You are our Lord;
You are our King; You are our Redeemer.
You are the one to whom our fathers burnt the incense of spices.
* Version 1: music by Shirona
Suggested Activity
This beautiful, catchy, uplifting and sweeping melody by Shirona has the power to
stand by itself and to become a Niggun (song without words). You can even use it
in different places within the service. For example, try it as a Niggun for opening or
closing the service, as a transition in the middle (before or after a d'var Torah), when
there is downtime while preparing for the Torah reading or even in between the
Aliyot.
I would sing it as one group with all the participants, starting with yala la, then sing
the entire prayer and conclude again with yala la. For building the energy in the
song, I would start with a slow tempo, gradually accelerated to a moderate-fast
tempo.
There is one nice syncopation in the melody (measure 7) where you can add a hand
motion such as a quick clap snap combination on the syncopation. When you
snap, open your hands to the sides (like in a Greek dance). When all the participants
do it together, it is a very strong moment and also gives a point to look for it in the
prayer. This “moment” is repeated at least three times during Ein Keloheinu.
40
Cm
Fm
Fm
Cm
Cm
Cm
G7
Cm
G7
Cm
41
13. Ein Keloheinu (There is none like our God)
*Version 2: music by Rabbi Shiomo Cariebach
Suggested Activity
With this melody, you can create a dialogue between two groups by simply using
hand motions and tapping a realatively simple rhythmic pattern.
You can also create this dialogue between two groups of percussion instruments,
for example: Tambourine v. Rhythm sticks or any other instruments that can
perform the rhythmic contrast clearly.
So, start with singing the entire prayer all together. Another option is to start with
one group singing the A part, and have everybody join in with the B part. You can\
use the "dialogue" with the singing or as a middle part that will lead smoothly to
the "yala la" part at the end of the prayer.
This is the recommended rhythmic pattern for Carlebach's Ein Keloheinu.
Group A
A
Group B
[A measures 1-8]
x3
x3
B
42
These are the recommended hand motions corresponding to the rhythmic pattern:
RH = right hand
LH = left hand
Hand Motions
A
Group A
slap
slap (both hands)
Group B
slap RH
Group A
slap
Group B
slap RH
slap LH
clap
clap
x2
clap
slap
slap LH
clap
slap RH
clap
slap LH
clap
clap
clap
clap
B
Group A
slap
Group B
slap RH
Group A
slap
Group B
slap RH
clap
slap
slap LH
clap
slap LH
x2
clap
slap
slap RH
43
clap
clap
slap LH
Dm
C
Dm
C
Gm
F
Gm
Dm
Dm
Gm
F
F
Gm
Gm
Gm
F
44
Gm
Gm
14. Le'ma'an Achai (On Behalf of My Brethren)
 
A hymn from Psalms 122:8-9.
This song is not part of the traditional Shacharit daily service. It is included here as a
suggested addition for variety and mood setting.
L'ma'an achai v're'ai adab'rah na shalom bach.
L'ma'an beit-Adonai Eloheinu avak'shah tov lach.
On behalf of my brethren and friends, let me pronounce Peace to you. For the
sake of the House of the Lord our God, I will seek your good.
Suggested Activity
This is an “all together” song. This nice and simple melody coupled with perfect
content, give this song the ability to “fit” almost everywhere in the service. It can be
used as a transition in between prayers or segments in the service, or as an opening
or closing part. It is a good song to build the feeling of “community” within the
service. Feel free to encourage “shoulder hugging” during this song.
45
46
15. Hillel Omer (Hillel Says)
 
Pir'kei Avot - “Chapters of the Fathers” 1:12
This song is also not part of the traditional Shacharit daily service, and is included as
a suggested addition for variety and mood setting. Pir'kei Avot teaches the lessons
of proper behavior that we learn from the stories of our forefathers, the Avot.
Hillel Omer: hevei mital'midav shel Aharon. Ohev shalom v'rodef shalom,
*{ohev et hab'riyot um'karvan latorah}.
Hillel taught: Be one of the followers of Aaron (the High Priest). [You can do
this] by loving peace, pursuing peace, *(loving people and bringing them
closer to the Torah).
* This part is not part of the song.
Suggested Activity
This song is an echo song. The echo can fit both in the A part (measures 1-16) and
B part (measures 17-32) of the song. Using it in both parts, in my opinion, can be
“over kill.”
I would sing the song in the following way:
A part first time - all together,
A part second time - echo with two groups;
B part - all together.
Then start the song from the beginning, this time do the echo on both A parts but
switch the groups. The group that led the first time will do the echo part this time.
In a different service you can sing the A parts all together and do the “echo” on the B
parts.
Like the song before, this song can fit as a transition song between the different segments of the service. In addition, the “echo game” is a great way to refocus the children when necessary and is simply a nice way to “break” the routine.
47
E
A
A
A
A7
A7
D
D
E7
A
E7
A
48
A7
E
E7
A7
D
D
E7
E7
E7
A
A
16. Niggun

Niggun is a wordless melody, also referred to as a Hasidic song. People regard the
Niggun as the “highest of all songs.” It is usually expressive of a spiritual mood or of
religious exultation, and is generally mystical in character. For the Hasid (), the
Niggun is a conversation with God. The Hasid sings his song before or in the middle
of prayer in order to put himself in a “Prayerful Mood”.
Suggested Activity
This is a beautiful way to start the service. Singing this melody will prepare everyone
for the service and set them in the right mood. In addition, it can definitely work in
other places in the service. The peak of the Niggun is in the B part (measure 45)
– don't miss it!
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Fm
C7
Fm
Fm
Fm
C7
Fm
Fm
C7
C7
C7
C7
Fm
C7
Fm
Fm
Fm
Fm
C7
Fm
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Fm
C7
Fm
Fm
THINGS TO THINK ABOUT
The ipray Shacharit Service in the framework of the Jewish school can and should be a
positive and successful experience that the children will anticipate with excitement. Here
are some tips that I found useful while working in the field and trying to cope with the
challenge of making t'filah fun.
1. The key to success is v a r i e t y! Don't restrict yourself to only one way of doing things.
Any change that you make in the routine, even if only occasionally, will add a burst of
energy and excitement to the service. Having a regular service everyday is doomed to
fail. I suggest breaking up the week in the following way:
Monday and Thursday: Regular services and Torah reading
Tuesday, Wednesday, and Friday: Consider introducing a theme such as Israeli and
Jewish songs or perhaps include musical instruments during the service. And of course,
dedicate the Friday service to Kabbalat Shabbat.
2. Use singing as a way to introduce variety into the service. If you have a varied
collection of melodies in your “t'filah treasure chest,” you can select the melody to suit
your needs. For example, use specific melodies for a special day, event, holiday, waking
up, or calming down the participants. Another option is to let the children as a group, or
the designated leader spontaneously choose the melodies during the flow of the service.
This empowerment will go a long way!
3. T'filah time should have an opening and closing. The preferable way to do this is
with song. You might open up the service with a Niggun or a “yalla la” part from any
song that fits nicely, and this will be the cue for the children that the service has begun
and that they should pick up their siddurim. I have learned that beginning with a song
eliminates all talking and whispering. In the same way, you might close the prayer session with a “yalla la” melody and a few words to dismiss the group. Try not to engage in
administrative announcements and instructions during or immediately following the
service. Although this is common practice in many synagogue services, it is counter-productive to the spiritual experience you have just created.
4. After opening the service and preparing everyone to begin this special time,
occasionally start with a nice little story, anecdote, or current event that relates to the
service or can affect it in some way. On a different day, take this time to introduce a new
melody for one of the prayers or a new song with content that suits the service. Other
possibilities for variety at this point may include teaching the children hand motions to
one of the prayers or selecting a short musical activity. Then during the service, at the
appropriate time, introduce the “new” activity or song that the group learned earlier.
51
5. I have found that a service that flows smoothly, without interruptions, has the best
chance for success. Since I believe that announcing pages from the siddur becomes
disruptive once the children are familiar with the service, I recommend preparing a large
poster, listing all the prayers and their page numbers, and appointing a different child
each day to be in charge of this poster. In my experience the page announcements
become unnecessary and redundant, cutting off the flow of the service. Although my
method may cut into the chazanim's role, in my opinion this is not one of their important
responsibilities.
6. The principle of variety can be applied also to the way the prayers are recited. You
can have one person, group, or class reciting the whole prayer or have the children recite
prayers responsively, one group answering the other. In prayers that are sung, you can
add variety by using different melodies, rounds, echoes, solos, hand motions, and musical
instruments.
7. To help the children understand the prayers better, I occasionally like to add a personal
prayer or a small “d'var Torah” as a background or introduction to the prayer. Sometimes
I use the English translation of a prayer to teach its meaning and to emphasize key words.
When teaching a new melody for a prayer or a new prayer itself, the teacher should
explain the connection between the words and the melody. It is important to teach the
key words of the prayer and how the melody supports the meaning of the prayer, its tune
emphasizing and peaking at appropriate times.
8. The “Amida” prayer: My experience has taught me that there is no point in having the
children recite this prayer silently because it just does not happen. Most of the children
stand, say just a few words, and sit down. I am convinced that this happens because of
a lack of understanding of the significance of the Amida and because of the children's
unfamiliarity with the siddur. I have found it more effective to read the prayer aloud in a
soft voice with different groups of students leading it each time.
On occasion I like to add the English translation for added understanding. Because this
prayer is personal, one might ask if we are permitted to “force” children to pray. My
answer to this question is that school is a place that is supposed to teach a child many
things, one of them being: how to pray. And so, at t'filah time we all learn how to pray.
I would give the children the option to pray or not to pray only when it comes to composing their own personal prayers.
9. A “school-wide t'filah service” once or twice a month can make t'filah time very special
and something that the children will look forward to. The older children become
“buddies” to the younger ones when each student in the upper grades is assigned to sit
next to a student in the lower grades, helping the younger “buddy” find his or her place
in the siddur and assisting the younger “buddy” in following the service. In addition to
helping the younger children become more familiar with the prayers, this all-school
assembly achieves the added goals of teaching the older children responsibility for the
younger “generation” and for the success of the service.
52
At the all-school t'filah service you can assign roles to different classes to lead parts of the
service. You may want to introduce a new melody or give certain classes the opportunity
to sing a prayer that only they had learned. It is also an appropriate time for different
grades to take turns presenting something special at each assembly. To make this event
even more special and festive, you can invite parents. From my experience, this is an
exciting and wonderful experience for children and parents.
10. The “physical setting” of the service is another important element in making the t'filah
time a success. The whole point is to create a “holy place” with the right atmosphere. If
you pray in the sanctuary, there is not a lot of room to make changes, whereas in the
classroom, you can do so. You can arrange the classroom for t'filah time in a way that
reflects the atmosphere you wish to create. You may want to have the children sit in a
semicircle, without any tables, or in the shape of the letter “chet” (‘). On a beautiful day,
you can take the children outside into nature.
Most of all, try to have fun yourself! If you are able to enjoy the service it will show and
this will be contagious among the children!
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CREDITS
1)
T'filati
Lyrics: Psalm 55:1
Music: Miriam Haika
2)
Mode Ani
Lyrics: from the Siddur
Music: Anonymous
3)
Ma Tovu
Lyrics: Numbers 24:5; Psalms 5:8; 26:8; 95:6; 69:14
Music: Jeff Klepper
Copyright ©1975 Jeff Klepper
4)
Adon Olam
Lyrics: from the Siddur
Music: R. Goldshtein
5)
Yigdal
Lyrics: from the Siddur
Music: Salonikian folk tune
6)
Ash'rei
Lyrics: from the Siddur
Music: Anonymous
7)
Yotser Or
Lyrics: from the Siddur
Music: Jeff Klepper
Copyright ©1993 Jeff Klepper
8)
Mi Chamocha
“Mi Chamocha” from AND YOU SHALL BE A BLESSING
Lyrics: Exodus 15:11 & 18
Music: Debbie Friedman
Artist: ©1988 Deborah Lynn Friedman (ASCAP)
Publisher: Sounds Write Production, Inc. (ASCAP)
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9)
Tsur Yisrael
Lyrics: from the Siddur
Music: Abie Rotenberg
Tzur Yisroel from dveykus IV, composed by Abie Rotenberg
Released by M&M Enterprises, 1-800-VIP-MUSIC, mmenterprises.org
1 0 ) Sim Shalom
Lyrics: from the Siddur
Music: Anonymous
1 1 ) Eits Chayim
Lyrics: Proverbs 3:17, 18; Lamentations 5:21
Music: Tanchum Portnoy
©1973 Tanchum Portnoy
1 2 ) Ein Keloheinu
Lyrics: from the Siddur
Music: Shirona
©2000 Shirona
1 3 ) Ein Keloheinu
Lyrics: from the Siddur
Music: Rabbi Shlomo Carlebach
©1992 Shlomo Carlebach
1 4 ) Lemaan Achai
Lyrics: Psalms 122:8, 9
Music: Anonymous
1 5 ) Hillel Omer
Lyrics: Pirkey Avot 1:12
Music: Anonymous
1 6 ) Niggun
Music: Mordechai Twersky
55
APPENDIX: CHOREOGRAPHY FOR THE MAJOR PRAYERS
I have found that the various body motions during t'filah can easily cause discomfort
among those who are less familiar with the traditional choreographic routine. Here is a
brief guideline to most of those “awkward” movements, all of which have a meaning in
the ritual of prayer.
Barchu:
Shema: Traditionally, one covers one's eyes with the right hand while saying the first line
of the Shema (in order to focus without distraction on the meaning of “Echad”, One).
Others wrap their Talit over their head to achieve the same focus. It is also customary for
those wearing a talit to gather the four tsitsiyot of the talit in one's left hand before the
Shema is recited, during the words: “And bring us in peace from the four corners of the
world…” recited during Ahava Rabah, immediately preceding the Shema.
At the beginning of the third paragraph of the Shema, “Vayomer Adonai…”, transfer the
four tsitsiyot to the right hand. Kiss them every time you say the word “tsitsit” (3 times),
pass them before the eyes when you say “u'reitem” (“and you saw…”). Finally, kiss the
tsistsit one more time as you conclude the Shema with the words “Adonai Eloheichem
Emet.”
56
Amida:
57
Aleinu: This is a standing prayer. In the time fo the Temple, and even today during the
High Holidays, people literally laid flat on the ground, prostrating themselves when the
appropriate words were proclaimed during Aleinu. Today we bend our knees and bow at
the words: “.. ”, “v’anachnu korím..”
© 1993 Joel Lurie Grishaver
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BIBLIOGRAPHY
• Birnbaum, Philip. A Book of Jewish Concepts. New York, 1975.
• De Koven, Ralph (Rabbi). Siddur Meforash - a Prayer Book with Explanatory
Notes. New York, 1965.
• Garfiel, Evelyn. The Service of the Heart. New York, 1958.
• Grishaver, Lurie. Shema is for Real. Los Angeles, 1993.
• Hammer, Reuven. Entering Jewish Prayer. New York, 1994.
• Harlow, Jules (Rabbi). Siddur Sim Shalom. New York, 1985.
• Scherman, Nosson (Rabbi), Zlotowitz, Meir (Rabbi) ed. Artsctroll Youth Pirkei Avos.
New York, 1998.
• TALI Foundation. Open the Gates. Jerusalem, 1992.
• Young Judaea. T'fillat Hashachar - Young Judaea Junior Camp Siddur. Oakland,
1989.
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