video on Shofar Practice Guide

To watch video on Shofar Practice Guide go to:

http://tinyurl.com/29qhh3g


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

Shofar Practice Guide

Shofar Practice Guide

Arthur L. Finkle

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 b(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 Shofar 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.






How long – start at 5-minutes per day; gradually increase this practice time so you will build and tone your embouchure.






SHOFAR RANGE

Week 2

Begin the play the sets






Phrase I - T-SH-R-T (3X) Tekiah-SHevarim-teRuah-Tekiah



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.

You should begin with phrase 1.






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


The shevorim – three moaning sounds. In music we call these sounds slurs. It begins with a low note and slides up to the dominant note. You accomplish this by tightening the lips from the dominant note to the third above note.


The Tru’ah – nine staccato notes. To avoid confusion, count the nine Aas three triplets. This, xxx; xxx; xxx. The notes are articulated with the tongue touching the mouthpiece top tip for nine times.


Tonguing needs practice and repetition. Thus, it becomes part of the protocol.

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

Shofar as a Temple Instrument

Shofar as a Temple Musical Instrument
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 (as Levites) were allowed to perform the religious function of sounding 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 in its sidewall or a chip in its mouthpieceIN ITS SIDEWALL 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 coronating a king (2Sam, 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)


Sacrificial Cult

After 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 people in the Middle East worshipped.)

The Sacrificial Ceremony

The Priests consecrated five different sacrificial types preponderantly involving animals or dough. 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 was defiled (Numbers 6:10-11) required a burnt offering, as well as a sin offering..

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 the reason why the rituals were offered, the Prophets, conceding the collective mores of the people, 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 form 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 (Full holidays are generally a Rosh Hashana, Yom Kippur and the three pilgrmage fesitvals – Sukot, Pesach and Shavuot) 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.
http://www.jstor.org/stable/1453499. Accessed December 31, 2009

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.

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).” (Schottenstein Gemara, chap. 3, “Rosh Hashanah,” pp 24b2, notes 21, 24, 27,28,) “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.)
It is also noted that we have confusion as to wher there was a Shofar with two trumpets or two trumpets and a Shofar. This is underastandsable because Rosh HaShana 27a notes trumpets (plural) and Shofar (singular). On the other hand, in The Interpreter’s Dictionary of the Bible (Musical instruments) p 172) the trumpets (chuzotzrot) were the the ususal Temple instruments and the Shofar was used only for special occasions.
Moreover, the word for trumpet is used interchangeably with Shofar (See Maimonides, Yad. Hilchot Shofar 21.1; and the baraita in Rosh Hashanah 33b.

For more information about Shofar and other Holy Temple instruments.

We have three websites

1) Shofar Sounders WebPage

http://shofar221.com

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

http://www.hearingshofar.com
3) Shofar WebPage
http://shofar-sounders.com
If you have any questions or comments, do not hesitate to ask