Sound of a Yemenite Shofar

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Sound of a Yemenite Shofar

Yemenite Shofar

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Jumbo - 3x Large Yemenite Shofar Shofar - 40"- 46"

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How to care for your Shofar

How to care for your Shofar

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How to Care for your Shofar: Store in a dry environment and out of sun light. Use a solution of alcohol after blowing, clean with equal amount of hydrogen peroxide and water, dry thoroughly and then use a micro crystalline wax (follow the instruction). Shofar is made on bone and their will be an odor associated with the horn. We recommended that you do no use bleach on your shofar.

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17" Medium Moroccan Shofar

17" Medium Moroccan Shofar

25" Very Large Kosher Ram Shofar

25" Very Large Kosher Ram Shofar

Plastic Shofars

Plastic Shofars

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You Tube Video Plastic Shofars

Children will love to prepare for the Jewish New Year of Rosh Hashanah with these fun toy shofars that really work! Assorted colors imprinted with the Hebrew words, Shana Tova Tikateivu, May you be inscribed for a good year. Sound is similar to party horn. Size: 9 1/4"

22" Kosher Ram Shofar

22" Kosher Ram Shofar

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14" Kosher Shofar - Made in Israel

14" Kosher Shofar - Made in Israel

Jerusalem Stone Shofar Stand - handcrafted and made in Israel

Jerusalem Stone Shofar Stand - handcrafted and made in Israel




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Sound of Shofars

Shofars

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Observance of the day

Rosh Hashanah is observed as a day of rest (Leviticus 23:24) like other Jewish holidays. When not on Shabbat, Rosh Hashanah is characterized by the blowing of the shofar, a trumpet made from a ram's horn and not from the horn of any other kind of animal, intended to symbolically awaken the listeners from their "slumbers" and alert them to the coming judgment.

Malchuyot, zichronot, shofrot

In Jewish liturgy Rosh Hashanah is described as "the day of judgment" (Yom ha-Din) and "the day of remembrance" (Yom ha-Zikkaron). Some midrashic descriptions depict God as sitting upon a throne, while books containing the deeds of all humanity are opened for review, and each person passing in front of Him for evaluation of his or her deeds.

The Talmud provides the guidelines for the day's prayers and the rationale for the three central ideas behind the day:

"The Holy One said, 'on Rosh Hashanah recite before Me [verses of] Sovereignty, Rememberance, and Shofar blasts (malchuyot, zichronot, shofrot): Sovereignty so that you should make Me your King; Remembrance so that your remembrance should rise up before Me. And through what? Through the Shofar.' (Rosh Hashanah 16a, 34b)"[4] This is reflected in the prayers composed by the classical rabbinic sages for Rosh Hashanah found in all machzorim where the theme of the prayers is the strongest theme is the "coronation" of God as King of the universe in preparation for the acceptance of judgments that will follow on that day, symbolized as "written" into a Divine book of judgments, that then hang in the balance for ten days waiting for all to repent, then they will be "sealed" on Yom Kippur. The assumption is that everyone was sealed for life and therefore the next festival is Sukkot (Tabernacles) that is referred to as "the time of our joy" (z'man simchateinu.)

Kosher Shofars

SHOFAR

Biblical Data

The ancient ritual horn of Israel, representing, next to the 'Ugab or reeds, the oldest surviving form of wind-instrument. As a rule "shofar" is incorrectly translated "trumpet" or "cornet"; its etymology shows it to signify either "tuba" (comp. Jastrow, "Diet.") or, more accurately, "clarion" (comp. Gesenius, "Dict." ed. Oxford). It is mentioned frequently in the Bible, from Exodus to Zechariah, and throughout the Talmud and later Hebrew literature. It was the voice of a "shofar", "exceeding loud," issuing from the thick cloud on Sinai that made all in the camp tremble (Ex. xix. 16, xx. 18); and for this reason, while other musical instruments were in each age constructed according to the most advanced contemporary practise (comp. 'Ar. 10b), the trumpet family itself being represented by the long, straight silver "ḥaẓoẓerah," the shofar has never varied in structure from its prehistoric simplicity and crudity.

Use and Pattern.

In the Pentateuch the use of the shofar is prescribed for the announcement of the New Moon and solemn feasts (Num. x. 10; Ps. lxxxi. 4), as also for proclaiming the year of release (Lev. xxv. 9). The first day of the seventh month (Tishri) is especially termed "a memorial of blowing" (Lev. xxiii. 24), or "a day of blowing" (Num. xxix. 1), the shofar; and the modern use of the instrument survives especially in this connection. In earlier days it was employed also in other religious ceremonials, as processions (II Sam. v. 15; I Chron. xv. 28), or in the orchestra as an accompaniment to the song of praise (Ps. xcviii. 6; comp. ib. xlvii. 5). More frequently it was used as the signal-horn of war, like the silver trumpets mentioned in Num. x. 9 (see Josh. vi. 4; Judges iii. 27; vii. 16, 20; I Sam. xiii. 3).A. F. L. C.

In the Temple.

—In Post-Biblical Times:

The Mosaic law providing for the first day of the seventh month (1st of Tishri = Rosh ha-Shanah) a "zikron teru'ah" (memorial of blowing; Lev. xxiii. 24) and a "yom teru'ah" (day of blowing; Num. xxix. 1) is traditionally interpreted by the Rabbis as referring to the ceremony of sounding the shofar. The shofar in the Temple was generally associated with the trumpet; and both instruments were used together on various occasions. On New-Year's Day the principal ceremony was conducted with the shofar, which instrument was placed in the center with a trumpet on either side; it was the horn of a wild goat and straight in shape, being ornamented with gold at the mouthpiece. On fast-days the principal ceremony was conducted with the trumpets in the center and with a shofar on either side. On those occasions the shofarot were rams' horns curved in shape and ornamented with silver at the mouthpieces. On Yom Kippur of the jubilee year the ceremony was performed with the shofar as on New-Year's Day. R. Judah, however, declares that the shofar of Rosh ha-Shanah was of ram's horn (and curved); that of the jubilee, of the horn of the wild goat (R. H. iii. 3); while R. Levi thought it proper that the shofar of ram's horn of a curved shape should be used for Rosh ha-Shanah and Yom Kippur (jubilee year), and that the straight-shaped shofar of the horn of the wild goat should be used on other occasions. The curved shofar is symbolic of the contrite heart repenting on the most solemn days of Rosh ha-Shanah and Yom Kippur (comp. ib. 26b; Yer. ib.). R. Abbahu thought that a shofar of ram's horn was used on Rosh ha-Shanah in order to call to mind the 'Aḳedah incident connected with the ram (Gen. xxii. 13; R. H. 16a). The shofar,however, may be the horn of any other clean animal, except that of a cow or calf, which would be a reminder of the golden calf incident (ib. 26a). A rent or hole in the shofar affecting the sound renders it unfit for ceremonial use. A shofar may not be painted in colors, but it may be carved with artistic designs (Shulḥan 'Aruk, Oraḥ Ḥayyim, 586, 17, note). Women and minors are exempt from the command to hear the shofar-blowing, but they nevertheless usually attend the ceremony.

The Sounds.

The "teḳi'ah" and "teru'ah" mentioned in the Bible were respectively bass and treble. The teḳi'ah was "a plain deep sound ending abruptly; the teru'ah, a trill between two teḳi'ahs. These three sounds, constituting a bar of music, were rendered three times: first in honor of theocracy, or "malkiyot" (kingdom); then to recall the 'Aḳedah and to cause the congregation to be remembered before God, or "zikronot" (remembrances); a third time to comply with the precept regarding the shofar. Ten appropriate verses from the Bible were recited at each repetition, which ended with a benediction (R. H. 16a). Doubt, however, arose as to the sound of the teru'ah. Onḳelos translates "teru'ah" as "yabbaba"; but the Talmud is uncertain whether it means an outcry ("yelalah") or a moaning ("geniḥah") sound. The former was supposed to be composed of three connected short sounds; the latter, of nine very short notes divided into three disconnected or broken sounds ("shebarim"). The duration of the teru'ah is equal to that of the shebarim; and the teḳi'ah is half the length of either (R. H. iv. 9). This doubt as to the nature of the real teru'ah, whether it was simply an outcry or a moan, or both, necessitated two repetitions to make sure of securing the correct sound, the following formula, consisting of ten sounds, resulting: teḳi'ah, shebarim-teru'ah, teḳi'ah; teḳi'ah, shebarim, teḳi'ah; teḳi'ah, teru'ah, teḳi'ah. This formula was repeated twice, making thirty sounds for the series. The last teḳi'ah was prolonged and was called "teḳi'ah gedolah" = the "long teḳi'ah." This series of thirty sounds was repeated twice, making ninety sounds in all. The trebling of the series was based on the mention of teru'ah three times in connection with the seventh month (Lev. xxiii. 24, xxv. 9; Num. xxix. 1), and also on the above-mentioned division into malkiyot, zikronot, and shofarot. In addition a single formula of ten sounds is rendered at the close of the service, making a total of 100 sounds. Thus the original three sounds, constituting a musical bar, were increased to 100 at the New-Year's Day ceremony.

The general term for the sounds is "teḳi'ot." The first series of teḳi'ot is rendered after the hafṭarah, and is known as "teḳi'ot di-meyushshab" (sitting series) in contradistinction to the "teḳi'ot de-me'ummad" (standing series) rendered at the "'Amidah" (standing prayer). There are many variations in the division of the series and placing them in the "'Amidah." R. Amram Gaon in his "Siddur" (p. 45b) gives the first line, T. S.-Tr. T. (= teḳi'ah, shebarim-teru'ah, teḳi'ah), three times for malkiyot; the second line, T. S. T., three times for zikronot; and the third line, T. Tr. T., three times for shofarot. Rabbenu Tam introduced the custom of giving the first line, T. S.-Tr. T., three times for either malkiyot, zikronot, or shofarot (Tos. to R. H. 33b, s.v. ). In the Sephardic and west-German rituals the notes are rendered according to the scheme of Amram Gaon, while in east-European countries the minhag of Rabbenu Tam is followed. Other congregations render the first, second, and third lines in consecutive order for the three divisions of the "'Amidah."

The expert who blows the teḳi'ot is named "ba'al toḳea'" (the sounder of the shofar), and the prompter who calls off the sounds is termed "maḳri'." The following is the order of teḳi'ot for Rosh ha-Shanah:

(see image) Shofar and Case.(In the Great Synagogue, Aldgate, London.)

In the Liturgy.

(see image) Shofars.1. Used by Beni-Israel of Bombay. 2, 3, 7.

In the Great Synagogue, Aldgate, London. 4. From Bagdad, eighteenth century. 5, 6, 9. In the United States National Museum, Washington. 8. With carved Hebrew Inscription (after Wetzstein). 10. Alleged to belong to the pre-expulsion period (1290) of English Jews. 11. In the possession of Mrs. E. F. Aaron, New York. 12. In the possession of the late A. L. Cohen, Lodon. 13. In the possession of F. L. Cohen, Sydney, N. S. W.The ba'al toḳea' prepares himself for his task of blowing the shofar for the congregation and says: "I am prepared to fulfil God's command to blow the shofar, as is prescribed in the Torah, 'a day of blowing unto you.'" Then he recites the benediction: "Praised be the Lord our God, the King of the Universe, who sanctified us with His precepts and commanded us to hear the sound of the shofar," and adds the She-Heḥeyanu. The congregation answers "Amen." Then follow the thirty teḳi'ot, after which the ḥazzan recites the verse: "Blessed is the people that know the joyful sound; they walk, O Lord, in the light of thy countenance" (Ps. lxxxix. 16, R. V.). The congregation repeats this and says "Ashre." In the Musaf "'Amidah" by the ḥazzan the series of thirty teḳi'ot is rendered as described above. After Musaf or, in some congregations, after 'Alenu, the thirty teḳi'ot are repeated. After Adon 'Olam the formula of ten teḳi'ot closes the service.

This order is repeated on the second day of Rosh ha-Shanah. If the first day falls on Sabbath (the second day never falls on that day), the shofar-blowing is dispensed with, and the words "day of blowing" throughout the liturgy are changed to "memorial of blowing." The reason given for the omission of the shofar ceremony on Sabbath is the apprehension lest the ba'al toḳe'a might carry his shofar in public premises to an expert for instruction, the carrying of articles from private into public premises being forbidden on the Sabbath though permitted on a holy day. However, where there was an ordained bet din, such as the Sanhedrin in Jerusalem in the Temple period, when strict discipline prevailed, the shofar-blowing continued on the Sabbath-day. Even after the second day of Rosh ha-Shanah was introduced, R. Johanan b. Zakkai, under whom there was a regular bet din at Jabneh, permitted the blowing of the shofar on Sabbath (R. H. iv. 1, 2). Later, however, the practise was discontinued; but it appears that Alfasi, in the twelfth century, still permitted it under his bet din (Abudarham, ed. Venice, 1566, p. 100a).

The addition, originally a substitution, of the three flourishes sounded in the additional service was due to R. Simeon ben Gamaliel H., who in the middle of the second century prescribed the sounding of a flourish at the close of each section of that service. It seems that the sounds were taken by the Roman authorities in Palestine for military signals (they may have resembled the calls of the imperial forces); for troops were sent to the synagogues in the early morning to prevent any martial exercises; and many Jews were put to the sword before an explanation could be given. In succeeding years the flourishes were delayed until the congregations had been for some time assembled and were obviously occupied in religious exercises only (R. H. 32b). The sounding was eventually restored to its proper place in the morning service (the "sitting series"), but the additional flourishes (the "standing series") were also retained.

In the Cabala.

Many reasons are assigned for the ceremony of shofar-blowing. Saadia Gaon (892-942) gives ten. The Cabala emphasizes the significance of the shofar and the teḳi'ot. Thus a certain midrash, citing "Blessed is the people that know the joyful sound" (= "teru'ah"; Ps. lxxxix. 15), asks: "Do other peoples not know the joyful sound? Have they not many kinds of coronets, buccina, and salpidin [= σαλπιδες]?" and then answers: "But the Israelites know how to serenade their Creator with the teru'ah" (Pesiḳ., ed. Buber, p. 152a). The Zohar dwells on the word "know" as signifying in this midrash passage a secret knowledge and mysticism. The shofar represents the windpipe or the spiritual part of the body alongside the gullet, through which the food or the earthly part passes. The sound of the shofar awakens the Higher Mercy = "Raḥamim" (Zohar, Emor, p. 99b, and Pineḥas, p. 232a). The object of the second and third series of teḳi'ot is to bewilder and stagger Satan (R. H. 16b), who, at first imagining that the Jews are merely complying with the Law, is surprised by the second blowing, thinking perhaps that the Messiah is coming, and finally is dumfounded, expecting the Resurrection, with which his power will finally cease.

It is the custom to blow one teḳi'ah every day during the month of Elul except on the day preceding Rosh ha-Shanah (Oraḥ Ḥayyim, 581). This is a later innovation. The author of "Shibbole ha-Leḳeṭ" (13th cent.) quotes (§ 282; ed. Buber, p. 132b) a midrash and Pirḳe R. El. to the effect that on New Moon of the month of Elul, Moses ascended Mount Sinai to obtain the tablets of the Law for the second time, and that the shofar proclaimed this fact in order that the Israelites might not be again misled. Thenceforth the shofar was sounded annually on the eve of New Moon Day in Elul to commemorate the event, showing that originally the shofar was blown only on the first night of Elul (Vitry Maḥzor, p. 361).

At End of Yom Kippur and Other Uses.

The Ne'ilah service on Yom Kippur is ended with a single teḳi'ah. The Sephardim blow four calls: teḳi'ah, shebarim, teru'ah, teḳi'ah. This is not obligatory, but is a reminiscence of the shofar-blowing in the year of jubilee in the pre-exilic period (ib. p. 395).

The shofor was used also to arouse the people to repentance on fast-days (Ta'an. i. 6), which custom is still observed in Jerusalem in times of drought. The shofar has been from the most remote time the instrument by which an excommunication has been proclaimed. It is claimed that Barak used 400 shofars to excommunicate Meroz (Judges v. 23; M. Ḳ. 16a). The shofar was used at the announcement of a prohibition or a permission by the Rabbis (Niddah 40a). Among the paraphernalia of the bet din of R. Huna were: a rod to keep order; a strap for "malḳot"; a sandal for "ḥaliẓah"; and a shofar for excommunication (Sanh. 7b; see Rashi ad loc.). The shofar was sounded at funerals (M. Ḳ. 27b); and it was blown also when the ordained bet din announced the appearance of the new moon (Niddah 38a; see Rashi ad loc.).

On Friday afternoon six shofarot were blown at short intervals. At the first teḳi'ah the laborers in the field ceased work; at the second the stores closed and city labor ceased; and the third teḳi'ah was a signal to light the Sabbath candles. Then after a short pause the shofar sounded teḳi'ah, teru'ah, teḳi'ah, and Sabbath set in (Shab. 35b).

Bibliography: Maimonides, Yad, Shofar, i.-iii.;
Shulḥan 'Aruk, 0raḥ Ḥayyim, 585-590;
Cyrus Adler, in Jour, of American Oriental Society, Oct., 1889, p.clxxi.;
Dembitz, Jewish Services in Synagogue and Home, pp. 319-322.A. H. J. D. E.

Forms of Modern Shofar.

In regard to the form of the modern shofar, the particular kind of curve which it presents is regarded as immaterial. It may be gradual, as in Fig. 12 in the accompanying illustration, although this shape is rarely met with. Among the Sephardim the shape preferred is the natural spiral of the ovine horn (generally favored by Orientals), as in Fig. 4, an example of the eighteenth century from Bagdad. The instrument from Aden (Fig. 1) is made from the horn of an African koodoo (Strepsiceros kudu), retaining its natural curve. TheAshkenazim prefer the simpler lituus shape (well known to the Romans, and used for their cavalry trumpet, being made of bronze), with the natural flatness of the horn accentuated by paring. Two shofarot found in England and believed to be ancient—one unearthed under the foundations of an old house in Leadenhall street, London (see "Cat. Anglo-Jew. Hist. Exh." No. 2); the other recovered from the Thames, off Vauxhall, together with a straight trumpet of ox-horn, at a spot which has yielded Celtic and Roman relics also (see "Jew. Chron." Feb. 6, 1903)—differ in no way from an average modern shofar of the lituus shape, save in having been less pared down, and so possessing greater thickness and weight.

The inferior limit of length is about six inches (comp. Shulḥan 'Aruk, Oraḥ Ḥayyim, 586, 10); but the instrument varies from eight to thirty inches in length (the horn of the koodoo is four feet long), the majority of examples averaging fourteen or fifteen inches, like the two middle horns of the illustration.

There were those who sounded the shofar for its music (R. H. 33b); but the Rabbis found it necessary to make provision for one who could not finish the series of calls (Oraḥ Ḥayyim, 585, 3), and for incomplete sounds, since the manipulation of the horn is of a very rough and empiric character. The embouchure, or mouthpiece, in particular, follows no standard in shape or size; and there exist horns which even the most skilful executaut can sound only in certain positions, and then only with particular tensions of the lips. After the tip of the horn has been removed a roughly cylindrical bore of very narrow section is gouged down to the natural hollow. The exterior is then made smooth by scraping; and the horn, after being softened by soaking in hot water, is gradually brought to the desired shape. The interior having been trimmed and smoothed, the broad end is cut level, and usually carved along the edges in a rough coronet. The exterior is sometimes ornamented with carving, either geometric or including an inscription (comp. Fig. 3 in the illustration). The mouthpiece is formed by forcibly expanding the heated cut edge of the tip, or narrow end, considerable skill being necessary to overcome the tendency of the softened horn to split and so to spoil the shofar. A conoid of more or less oval base outline is arrived at; and, the edges having been rubbed smooth, the instrument is complete.

Variability of the Sounds

The traditional preference for the lituus or shape is due to the type of bore of the shofar classing it as a member of the trumpet, rather than the bugle, family. Its shrill and incisive tones similarly define its character.

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Why do we sound the shofar?

Because the Holy One, blessed be God, said: Blow me a ram's horn that I may remember to your credit the binding of Isaac, the son of Abraham, and I shall account it to you as a binding of yourselves before Me. The Torah tells us: Abraham look up and behold, he saw a ram caught in the thicket by its horns [Genesis 22:13]. This teaches us that the Holy One, blessed be God, showed our ancestor Abraham the ram tearing himself free from one thicket and becoming entangled in another.

A shofar is a ram's horn

A shofar is a ram's horn that is used as a musical instrument for religious purposes. It is used on Judaism's high holy days of Rosh Hashanah and Yom Kippur. The shofar is mentioned frequently in the Hebrew Bible, from Exodus to Zechariah, and throughout the Talmud and later rabbinic literature. It was the voice of a shofar, "exceeding loud," issuing from the thick cloud on Mount Sinai that made all the Israelites tremble in awe (Exodus xix, xx). The shofar is prescribed for the announcement of the New Moon and solemn feasts (Num. x. 10; Ps. lxxxi. 4), as also for proclaiming the year of release (Lev. xxv. 9). The first day of the seventh month (Tishri) is termed "a memorial of blowing" (Lev. xxiii. 24), or "a day of blowing" (Num. xxix. 1), the shofar; the modern use of the instrument survives especially in this connection. In earlier days it was employed also in other religious ceremonials, as processions (II Sam. v. 15; I Chron. xv. 28), or in the orchestra as an accompaniment to the song of praise (Ps. xcviii. 6; comp. ib. xlvii. 5). More frequently it was used as the signal-horn of war, like the silver trumpets mentioned in Num. x. 9 (see Josh. vi. 4; Judges iii. 27; vii. 16, 20; I Sam. xiii. 3). The Torah describes the first day of the seventh month (1st of Tishri = Rosh ha-Shanah) as a zikron teruah (memorial of blowing; Lev. xxiii) and as a yom teru'ah (day of blowing; Num. xxix). This was interpreted by the Jewish sages as referring to the sounding the shofar. The shofar in the Temple in Jerusalem was generally associated with the trumpet; and both instruments were used together on various occasions. On New-Year's Day the principal ceremony was conducted with the shofar, which instrument was placed in the center with a trumpet on either side; it was the horn of a wild goat and straight in shape, being ornamented with gold at the mouthpiece. On fast-days the principal ceremony was conducted with the trumpets in the center and with a shofar on either side. On those occasions the shofarot were rams' horns curved in shape and ornamented with silver at the mouthpieces. On Yom Kippur of the jubilee year the ceremony was performed with the shofar as on New-Year's Day. Post-Biblical times In post-Biblical times, the shofar was enhanced in its religious use because of the ban on playing musical instruments as a sign of mourning for the destruction of the temple. (It is noted that a full orchestra played in the temple, including, perhaps, a primitive organ.) The shofar continues to announce the New Year and the new moon, to introduce the Sabbath, and to carry out the commandments on Rosh Hashanah and Yom Kippur. The secular uses have been discarded (although the shofar was sounded to commemorate the reunification of Jerusalem in 1967) (Judith Kaplan Eisendrath, Heritage of Music, New York: UAHC, 1972, pp. 44-45). The shofar is primarily associated with Rosh ha-Shanah. Indeed, Rosh Hashanah is called "Yom T’ruah" (the day of the shofar blast). In the Mishnah (book of early rabbinic laws derived from the torah), a discussion centers on the centrality of the shofar in the time before the destruction of the second temple (70 C.E.). Indeed, the shofar was the center of the ceremony, with two silver trumpets playing a lesser role. On other solemn holidays, fasts, and new moon celebrations, two silver trumpets were featured, with one shofar playing a lesser role. The shofar is also associated with the jubilee year in which, every fifty years, Jewish law provided for the release of all slaves, land, and debts. The sound of the shofar on Rosh ha-Shanah announced the jubilee year, and the sound of the shofar on Yom Kippur proclaimed the actual release of financial encumbrances. The halakha (Jewish law) rules that the shofar may not be sounded on the Sabbath due to the potential that the ba’al t’kiyah (shofar sounder) may inadvertently carry it which is in a class of forbidden Sabbath work (RH 29b) the historical explanation is that in ancient Israel, the shofar was sounded on the Shabbat in the temple ‘located in Jerusalem. After the temple’s destruction, the sounding of the shofar on the Sabbath was restricted to the place where the great Sanhedrin (Jewish legislature and court from 400 BCE to 100 C.E.) was located. However, when the Sanhedrin ceased to exist, the sounding of the shofar on the Sabbath was discontinued (Kieval, The High Holy Days, p. 114). The shofar says, “Wake up from your (moral) sleep. You are asleep. Get up from your slumber. You are in a deep sleep. Search for your behavior. Become the best person you can. Remember God, the One Who created you. Mishneh Torah, Laws of Repentance 3:4. Construction The shofar may be the horn of any kosher animal, except that of a cow or calf, which would be a reminder of the golden calf incident. Physical horns Many large grazing animals, the ones that have cloven hoofs and chew their cud, are armed with either horns or antlers. These weapons are used for defense against predators or dominance duels between males for possession of a few favored females. Both horns and antlers are borne on the head and have similar uses. However, they are structurally different. A Shofar may be created from the horn of any kosher animal (ritually slaughtered; cloven hoof; and chews a cud. Mishnah RH 1:1). In biological classification, these animals belong to the Bovidae family. Bovidae horns are made of keratin (the same material which is a human toenail or fingernail). An antler, on the other hand, is not a horn but a calcium protrusion. Such antlers are not used for Shofars because they cannot be hollowed. A rent or hole in the shofar affecting the sound renders it unfit for ceremonial use. A shofar may not be painted in colors, but it may be carved with artistic designs (Shulkhan Arukh, Orach Chayim, 586, 17). According to traditional Jewish law women and minors are exempt from the command to hear the shofar-blowing (as is the case with any positive, time-bound commandment), but they are allowed to, and encouraged to, attend the ceremony. The horn is flattened and given a turned up bell by applying heat to soften it. A hole is made from the tip of the horn to the natural hollow inside. It is played much like a European brass instrument, with the player applying his lips to this hole, and causing the air column inside to vibrate. Shofars used in Ashkenazic Jewish worship tend to have no carved mouthpiece, the player instead applying his lips directly to the irregular hole drilled in the tip of the horn. Sephardic Jewish shofars, on the other hand, usually do have a carved mouthpiece resembling that of a European trumpet or French horn, but smaller. Because this hollow is of irregular bore, the harmonics obtained when playing the instrument can vary: rather than a pure perfect fifth, intervals as narrow as a fourth, or as wide as a sixth may be produced. The sounds The tekiah and teruah sounds mentioned in the Bible were respectively bass and treble. The tekiah was a plain deep sound ending abruptly; the teruah, a trill between two tekiahs. These three sounds, constituting a bar of music, were rendered three times: first in honor of God's Kingship; next to recall the near sacrifice of Isaac, in order to cause the congregation to be remembered before God; and a third time to comply with the precept regarding the shofar. Ten appropriate verses from the Bible were recited at each repetition, which ended with a benediction. Over time doubts arose as to the correct sound of the teruah. The Talmud is uncertain whether it means a moaning/groaning or a staccato beat sound. The former was supposed to be composed of three connected short sounds; the latter, of nine very short notes divided into three disconnected or broken sequences of 3 notes each. The duration of the teruah is equal to that of the shevarim; and the tekiah is half the length of either. This doubt as to the nature of the real teruah, whether it was simply a moan, a staccato or both, necessitated two near-repetitions to make sure of securing the correct sound. The following formula, consisting of ten sounds, resulting: tekiah, shevarim-teruah, tekiah; tekiah, shevarim, tekiah; tekiah, teruah, tekiah. This formula was repeated twice more, making thirty sounds for the series. The last tekiah was prolonged and was called "tekiah gedolah" = the "long tekiah." This series of thirty sounds was repeated twice more, making ninety sounds in all. The trebling of the series was based on the mention of teruah three times in connection with the seventh month (Lev. xxiii, xxv; Num. xxix), and also on the above-mentioned division into malchiyot, zichronot, and shofarot. In addition a single formula of ten sounds is rendered at the close of the service, making a total of 100 sounds. This correspond to the 100 cries of the mother of the Sisera, the Cannanite general who did not make it home after being assassinated by the biblical Yael (Judges 5:28). Unique sound waves Click on a computer representation of a “tkiya.” Note the second tkiya note is similar but not identical to the first. The second starts out the same, then the long note of the first note is more sustained (and perhaps more melodic). The second note below has a vibrating long note at nearly the same amplitude. The third part of the note trails off and is similar but not identical in the two examples. The performer The expert who blows (or "blasts" or "sounds") the shofar is termed the Ba'al Tokea (lit. "Master of the Blast"). Qualifications include someone who is learned in Torah and God-fearing. Every Jew is eligible for this sacred office, providing he is acceptable to the congregation. If a potential choice will cause dissension, he should withdraw his candidacy, even if the improper person is chosen. See Shulkhan Arukh 3:72; The Ba'al Tokea shall abstain form anything that may cause ritual contamination for three days prior to Rosh ha-Shanah. See Shulkhan Arukh 3:73. Use in modern times Jewish Wines

Shofar in National Liberation

Shofar

A Shofar in the Yemenite Jewish style. A shofar (Heb.: שופר) is a ram's horn that is used as a musical instrument for religious purposes.

It is used on Judaism's high holy days of Rosh Hashanah and Yom Kippur. The shofar originated in Israel for Jewish callings.

The Shofar may be the horn of any kosher animal, except that of a cow or calf in deference to the biblical golden calf incident. Though there is nothing inherently wrong with using a cow's horns, it is not for the benefit to the Jewish people to remind God of such indiscretions when He is sitting in judgment.

The sounds

The tekiah and teruah sounds mentioned in the Bible were respectively bass and treble. The tekiah was a plain deep sound ending abruptly; the teruah, a trill between two tekiahs. These three sounds, constituting a bar of music, were rendered three times: first in honor of God's Kingship; next to recall the near sacrifice of Isaac, in order to cause the congregation to be remembered before God; and a third time to comply with the precept regarding the shofar.

Ten appropriate verses from the Bible are recited at each repetition, which ends with a benediction. Over time doubts arose as to the correct sound of the teruah. The Talmud is uncertain whether it means a moaning/groaning or a staccato beat sound. Shevarim was supposed to be composed of three connected short sounds; the teruah of nine very short notes divided into three disconnected or broken sequences of three notes each. The duration of the teruah is equal to that of the shevarim; and the tekiah is half the length of either. This doubt as to the nature of the real teruah, whether it was simply a moan, a staccato or both, necessitated two near-repetitions to make sure of securing the correct sound.

The sequence of the shofar blowing is thus tekiah, shevarim-teruah, tekiah; tekiah, shevarim, tekiah; tekiah, teruah, and then a final blast of "tekiah gadola" which means "big tekiah," held as long as possible. This formula is repeated twice more, making thirty sounds for the series, with tekiah being one note, shevarium three, and teruah nine. This series of thirty sounds is repeated twice more, making ninety sounds in all. The trebling of the series is based on the mention of teruah three times in connection with the seventh month (Lev. xxiii, xxv; Num. xxix), and also on the above-mentioned division of the service into malchiyot, zichronot, and shofarot. In addition to these three repetitions, a single formula of ten sounds is rendered at the close of the service, making a total of 100 sounds. According to the Sephardic tradition, a full 101 blasts are sounded, corresponding to the 100 cries of the mother of Sisera, the Cannanite general who did not make it home after being assassinated by the biblical Yael (Judges 5:28). One cry is left to symbolize the legitimate love of a mother mourning her son.

Shofar in National Liberation

During the Ottoman and the British occupation of Jerusalem, Jews were not allowed to sound the shofar at the Western Wall. After the Six Day War, Rabbi Shlomo Goren famously approached the wall and sounded the shofar.

In the Bible and rabbinic literature

The shofar is mentioned frequently in the Hebrew Bible, from Exodus to Zechariah, and throughout the Talmud and later rabbinic literature. It was the voice of a shofar, "exceeding loud," issuing from the thick cloud on Mount Sinai that made all the Israelites tremble in awe (Exodus 19, 20).

The shofar is prescribed for the announcement of the New Moon and solemn feasts (Num. x. 10; Ps. lxxxi. 4), as also for proclaiming the year of release (Lev. 25. 9). The first day of the seventh month (Tishri) is termed "a memorial of blowing" (Lev. 23. 24), or "a day of blowing" (Num. xxix. 1), the shofar; the modern use of the instrument survives especially in this connection. In earlier days it was employed also in other religious ceremonials, as processions (II Sam. 5. 15; I Chron. 15. 28), or in the orchestra as an accompaniment to the song of praise (Ps. 98. 6; comp. ib. xlvii. 5). More frequently it was used as the signal-horn of war, like the silver trumpets mentioned in Num. 10. 9 (see Josh. 6. 4; Judges 3. 27; 7. 16, 20; I Sam. 8. 3).

The Torah describes the first day of the seventh month (1st of Tishri = Rosh ha-Shanah) as a zikron teruah (memorial of blowing; Lev. xxiii) and as a yom teru'ah (day of blowing; Num. 29). This was interpreted by the Jewish sages as referring to the sounding the shofar.

The shofar in the Temple in Jerusalem was generally associated with the trumpet; and both instruments were used together on various occasions. On New-Year's Day the principal ceremony was conducted with the shofar, which instrument was placed in the center with a trumpet on either side; it was the horn of a wild goat and straight in shape, being ornamented with gold at the mouthpiece. On fast-days the principal ceremony was conducted with the trumpets in the center and with a shofar on either side. On those occasions the shofarot were rams' horns curved in shape and ornamented with silver at the mouthpieces. On Yom Kippur of the jubilee year the ceremony was performed with the shofar as on New-Year's Day.

The shofar was blown in the times of Joshua to help him capture Jericho. As they surrounded the walls the shofar was blown and the Jews were able to capture the city. The shofar was commonly taken out to war so the troops would know when a battle would begin. The person who would blow the shofar would call out to the troops from atop a hill. All of the troops were able to hear the call of the shofar from their position because of its distinct noise.



<-- Israeli Diamonds: Shofars

CHASSIDUS BS'D DERECH HaBAAL SHEM TOV Ahavas HaShem, Ahavas Yisroel, Ahavas HaTorah THE WAY OF THE BAAL SHEM TOV Love of G-d, Love of fellow Jews, Love of the Torah by Moshe Shulman

Bechukosei The intention to do a mitzvah* 'If you will follow in my decrees, and you will keep my mitzvos and do them. ' (V'yikra* 26.3) The verse here seems to have some extra words. It could have just said, 'If you will keep my mitzvos I will give the rain in it's time.' We can explain it the following way: The Talmud* says, 'A good thought HaShem* brings together with an action.' This means that when one takes upon himself in his thoughts to do a mitzvah, [and he has not been able to do the action] HaShem brings it together with an action. HaShem considers it as if the person had immediately completed the action. It is even more the case [that he will be rewarded] if he actually does the action without any other thought then to fulfil HaShem's will. Then he will merit to attain a higher level of service [to HaShem] and will be able to do another mitzvah. Then if he does that mitzvah, he will go higher and higher. For this reason the Tzaddik is referred to as being on the level of 'going.' He is going from one level to another level [higher then the first.] This is the meaning of what it says in Pirkei Avos* 'one mitzvah brings another mitzvah.' With this idea we can understand what Chazal* teach in the Midrash* Tanna d'bei Eliyahu*, 'Everyone who learns halacha everyday is assured of a place in the world to come.' This refers to the Tzaddik*. He 'learns [Heb. shoneh] halacha' means that he changes [Heb. yishneh] his goings [Heb. helichos] from day to day from one level to another. For that reason he is assured of a place in the world to come. This is the meaning of the verse, 'If you will follow [Heb. telechi] in my decrees.' If you will connect yourself to my decrees, then you will be on the level of 'going'. Then 'and you will keep my mitzvos.' [The word keep [Heb. tishmoru] is similar to what [another verse] says, 'And his father] kept [in mind Heb. shomer] what happened'. [The meaning of that verse is that he was waiting to see that the event occurred.] HaShem says that if you will keep His mitzvos, i.e. that you will keep in mind to do his mitzvos, even those that you have yet to do, then you will [be able to] do them. i.e. HaShem will consider it as if you had already done them. Because of your good thought to do the mitzvah HaShem will consider it as if you had already done them. (p. 70 sefer Kedushas Levi teachings of Rebbe* Levi Yitzchok of Berditchev.) * * * Serving HaShem 'If you will follow in my decrees, and you will keep my mitzvos and do them. ' (V'yikra 26.3) Chazal explain that the words 'to follow' mean that you should be occupied in the learning of the Torah. In this verse we see all three levels [with which one can serve HaShem,] speech, thought and action. ['To follow' means learning Torah which is the level of speech.] 'My mitzvos you shall keep' refers to one's will to do them, as Rashi* says, 'on the condition that you will do them [later. This is then the level of thought.] Through one's speech and thought [in doing the mitzvos] one will merit to actually do the action of the mitzvos. Doing the action of the mitzvah is the hardest thing of all. The main purpose of 'in order to do them' is to correct yourself. This follows from what Chazal say that 'and to do them' means that 'you do to yourself' [i.e. that your actions effect yourself.] The reason is that the 613 mitzvos correspond to the limbs and sinews of the persons body. Through the performance of the mitzvos [and the purification that comes to the person through them] he will merit to receive a neshama* that is called a 'new creation.' [This means that he will receive a greater spiritual strength above what he had before.] All of this comes to the person through his exertions in learning of Torah as we have learned in the Zohar*. (p. 209 sefer Sefas Emes teachings of Rebbe Yehuda Aryeh Leib of Gur) * * * Sacrificing for HaShem 'I will make desolate your sanctuaries and I will not smell your pleasant aromas [from your sacrifices]' (V'yikra 26.31) The holy Maggid* of Koznitz said, 'If only I could merit to see fulfilled the verse "I will make desolate your sanctuaries..." in my time.' [It is very hard to understand his meaning in this. These are words of a curse, and he wanted to see them fulfilled?] We have been taught that all of curses in this portion of chastisements are really blessings, but that they are said in a hidden manner, and are not revealed openly to those who read it. [We know that nothing bad that comes from HaShem, as it says,] 'From Him does not proceed any evil things.' However to our physical eyes it appears to be curses. [To explain this statement of the Maggid] we have to understand that all of the 10 martyrs [who were killed by the Romans as is related in Chazal] and all the others like them who were killed and slaughtered because of His Holy Name's sake, their death brought great joy to HaShem. It is not possible to measure the amount of joy they brought to Him. However we pray to HaShem that we should not be brought into these trials. That there should not be this type of joy Above with our physical deaths. It should be sufficient to Him that we are willing to give over our souls to him for His Name's sake when we recite the Shema*, and when we pray with all our strength. This idea is learnt from a teaching on the verse, 'They shall pelt them with stones, their blood is upon them.' The meaning is that a person is required to imagine that he is undergoing each of the four different types of death penalties that the courts would give, when he is saying the Shema (and at similar times during his prayers.) This is the meaning of the verse, 'you shall pelt him with stones' i.e. this refers to the punishment of 'stoning.' 'Their blood [Heb domihem] is on them.' This means that this occurs through their imagination [Heb midomei] alone, with a complete heart [and not physically. When they have this in mind it] is considered as if they had been physically killed for His sake. This is the meaning of this verse. HaShem is telling us that He will not have joy from the Holy Ones who are being physically killed, but He will have joy in us, who give over our souls to Him when we recite the Shema and pray with all our strength. And from this sincere acceptance with our thoughts [of the four types of death penalties] he will consider it as if we had actually been killed. This is what our verse says: 'I will make desolate your sanctuaries' [Heb. mekdushim] I will nullify the slaughter of the Holy ones [Heb kedoshim] and make that a desolation [i.e. something that will no longer exist.] 'And I will not smell your pleasant aromas [from your sacrifices]' He will not longer have any desire to accept this sacrifice of those who are physically killed for His Name's sake. This is the meaning of what the Maggid said, 'If only I could merit to see fulfilled the verse "I will make desolate your sanctuaries..." in my time.' If only we could merit that HaShem would no longer desire the physical sacrifices, but he would find joy in those who sacrifice themselves through learning Torah, prayer, and good deeds with their full soul. (p. 26b sefer Ateres Yeshuah teachings of Rebbe Yehoshua of Dzikov.) Copyright (c) 1999 by Moshe Shulman (moshe@chassidus.net) All rights reserved. Issur Hasugas Givil * * *

The Mitzvah of the Shofar

The Mitzvah: Rosh HaShanah is called Yom Teruah, "the day of shofar blasts" (Numbers 29:1). Every Jewish male is obligated to hear at least nine sounds from a shofar, the horn of a kosher animal, usually that of a ram. Although a time-bound commandment for which women are generally exempted, it has become customary for them to also hear the shofar. There are three types of sounds: tekiah (the long blast), shevarim (three short bursts) and teruah (nine short bursts). The shofar is not blown on the Sabbath due to a rabbinical decree.

She-Heyeyanu

SHE-HEHEYANU: By : Joseph Jacobs Judah David Eisenstein


The benediction "Blessed be the Lord, our God, King of the Universe, who has kept us alive ["she-heheyanu"] and sustained us and welcomed us to this season"; in actual usage the blessing begins with the words "She-heheyanu,"the preceding clause being suppressed. The benediction was originally recited on meeting a beloved one after a separation of more than thirty days or less than a year (after a longer period the benediction is "Mehayyeh ha-metim" = "Who revivest the dead"); on hearing good news in which one is personally concerned; also on acquiring and first making use of a new house, new utensils, new garments, or new books. The benediction was omitted when one acquired trivial objects, except in the case of a poor man, who felt happy in their possession. In modern times the blessing is pronounced only on eating fruits for the first time in their respective seasons—especially on the second night of Rosh ha-Shanah—being recited after the regular benediction. "She-heheyanu" is recited after kiddush on the first nights of the festivals; at the blowing of the shofar on Rosh ha-Shanah, at the lighting of the hanukkah candles, and the reading of the Scroll of Esther in public on Purim.

• Esther
• Megillah
• Kosher Shofars
  

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