Contributed by: Isaac Gantwerk Mayer (transcription & naqdanut), Isaac Gantwerk Mayer (translation), Unknown, Shlomo haMelekh ben David, David ben Yishai (traditional attribution)
Tefilat haShir refers to an ancient (perhaps dating back to the Temple era!) custom of reciting the fifteen psalms of ascents (Psalms 120 to 134) before Psuqei d’Zimra. First identified as a unique segment of the Eretz-Yisrael rite by Prof. Ezra Fleischer z”l, this custom was so beloved by the Jews who followed the western rite that long after the rest of its prayer traditions were abandoned it was preserved by the Western-rite Jews of Cairo (see Vered Raziel-Kretzmer, “How Late was the Palestinian Rite Practiced in Egypt?” Tarbiz 85 [2018], heb.) Tefilat haShir was preserved in variant forms in several other communities. For instance, it is found in the Maḥzor Aram Ṣoba, published in 1560 for use of the Musta’aravi Jews of Aleppo. It is also found in the Krymchak variant of the Romaniote rite, also known as Minhag Kaffa. In both cases it would be recited exclusively on sabbaths and festivals. (Note that this was not the case in the old Eretz Yisrael rite, where it was a daily practice!) The Kaffa and Aram Ṣoba forms of the Tefilat haShir cycle are very similar, with a few differences in the introduction and the ending. Their core is the fifteen songs of ascents, interlaced with linking verses from elsewhere in Tanakh featuring a Leitwort (theme-word) related to the psalm. Both are included here, with color coding for substantial differences and footnotes to mark minor distinctions. In Minhag Kaffa, as printed in 1735, the Birkat haShir cycle is inserted after the morning Torah study cycle. In the Maḥzor Aram Ṣoba, it is the beginning of the service, the first thing recited in the synagogue after monring blessings, and consequently inserted before the Torah study cycle.
Contributed by: the Mesorah (TaNaKh), David ben Yishai (traditional attribution), Isaac Gantwerk Mayer (translation)
Psalms 133, translated into English by Isaac Gantwerk Mayer.

