The Seder ha-Tamid, a Provençal (Nusaḥ Comtat Venaissin) siddur published in Avignon in 1766, has liturgical additions for an amazing five different local festivals — one for Avignon, and two each for Carpentras and Cavaillon. Here’s a series of texts for the twenty-fifth of Iyar in Cavaillon, commemorating the abatement of a deadly plague on 25 Iyyar 5391 (27 May 1631), including an Al haNisim of uncertain origin and a series of Biblical readings. Uniquely among the local festivals in this siddur, 25 Iyyar calls for a Torah reading not of the Song of the Sea, but the plague against Israel in Numbers 17. . . .

The Seder ha-Tamid, a Provençal (Nusaḥ Comtat Venaissin) siddur published in Avignon in 1766, has liturgical additions for an amazing five different local festivals — one for Avignon, and two each for Carpentras and Cavaillon. Here’s a series of piyyutim for the twenty-ninth of Sivan in Cavaillon. On 29 Sivan 5473 (23 June 1713) a Christian child was found dead and drained of blood. A mob was formed, which stormed the Jewish quarter in Cavaillon looking for any sign of blood in their houses. But none was found, and — miraculously — the total lack of evidence was enough to stop the Jews from being murdered. (Would be nice if that had worked every time there was a blood libel, seeing as there was never any evidence for something that never happened.) To commemorate this close-call escape, the Jews of Cavaillon celebrated a minor festival day, with some additional psalms, an Al haNisim poem by (the otherwise unknown) R. Gad son of R. Judah de Bédarride, and a recitation of the Song of the Sea. . . .

There are many different versions of this beloved Ladino pizmon for Havdalah. This one is found in Tefilat Imanuel, published in Vienna in 1924. . . .

A Passover seder haggadah containing the traditional form of the text as well as other lesser known forms from across Jewish history and the Jewish world. . . .

A full prayerbook for the maariv service on Tishah b’Av, compiled by Isaac Gantwerk Mayer from resources shared through the Open Siddur Project. . . .

This is a Hebrew adaptation of the poems traditionally recited by the Beta Israel community for the festival of Sigd, altered and adapted to fit the traditional qedushta form of poetic Amidah additions. The texts of the first few prayers were rewritten substantially and combined with relevant verses so as to fit in the strict form of the magen, mehaye, meshalesh, and El Na. After this, the qiqlar is slightly edited to fit a couplet rhyme scheme, while the silluq (the freest of the genres of qedusha piyyut) is almost entirely preserved — the only change being several verses whose placement is postponed so as to better lead into the qedusha as a silluq should. Regarding translations, the silluq largely uses my original translation with slight alterations (replacing the clunky use of ‘God’ as a pronoun with a gender-neutral THEIR, translating the Agaw passages into Latin rather than English to preserve general comprehensibility while clarifying that this is a different language), while the rest of the poems are different enough for their translation to largely be from scratch. These would be recited with the Ark open for all the piyyutim, as one would on the Yamim Noraim, ideally using melodies from the Sigd liturgy. . . .

A Mimouna packet including havdalah, a Moroccan-rite birkat ha-ilanot, traditional study texts, and yehiretzonot. . . .

A version of the Pesaḥ Haggadah with full cantillation. . . .

Jews have read sacred texts to commemorate miracles of redemption for a long time. Purim has Megilat Esther. Many communities read Megilat Antiochus or Megilat Yehudit for Ḥanukkah. But to many modern Jews, the most miraculous redemption in recent history was the founding of the state of Israel, as we commemorate on Yom ha-Atsma’ut. Like Purim, the story of the founding of Israel was entirely secular on a surface level, with no big showy miracles like a sea splitting or a mountain aflame. Like Ḥanukkah, a Jewish state in the Land of Israel won its independence against mighty forces allied in opposition. But we don’t have a megillah to read for Yom ha-Atsma’ut. Or do we? Just as Megillat Esther is said to be a letter written by Mordekhai to raise awareness of the events of Shushan, so too does the Israeli Scroll of Independence, Megilat ha-Atsma’ut, raise awareness of the events of the founding of the State of Israel. In this vein, I decided to create a cantillation system for Megilat ha-Atsma’ut. Ta’amei miqra were chosen attempting to follow Masoretic grammatical rules – since modern Hebrew has a different grammatical structure, the form is somewhat loose. Because of the thematic similarities to Purim, I chose Esther cantillation for the majority of the text. Just as some tragic lines in Esther are read in Eikhah cantillation, some lines regarding the Shoah or bearing grim portents for the wars to follow are to be sung in Eikhah cantillation. And the final phrases of chapters II and III are to be sung in the melody for the end of a book of the Ḥumash, or the Song of the Sea melody. They can be done in a call-and-response form, with the community reading and the reader repeating. . . .

A megillah attesting to the terrible events of World War II from the vantage of North African Jewry in Casablanca. . . .

This is the Kol Nidrei as offered by the Hannover Synagogue on Yom Kippur in 1937 according to the text provided in a poster, “Agende für Kol-nidre und Seelenfeier in der Synaogen-Gemeinde Hannover” (10 September 1937). Thank you to David Selis for providing digital images of the poster. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Ḥatsi Ḳaddish before Barkhu that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Barkhu of Shaḥarit that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Qedushah of Shaḥarit that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Qadish Shalem of Shaḥarit that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Ḥatsi Qaddish of Minḥah that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Barkhu of Arvit that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Qedushah of Minḥah that used to be found in many traditional Ashkenazi siddurim. . . .

One of the most revolutionary alterations made by the early Reform movement in Germany was their replacement of Kol Nidre with a German hymn, sung to the same melody: O Tag des Herrn. But when the early Reformers came to the United States, they adopted a new language, English. In 1866, the American Reform Jewish community was largely bilingual in German and English, and Isaac Mayer (No Relation) Wise’s 1866 service for the Day of Atonement took account for that, including a singable English translation of the singable German replacement for Kol Nidre. I have also included a musical score which uses I. M. Wise’s English text in Louis Lewandowsky’s original setting of O Tag des Herrn. . . .

The second inaugural address of President Abraham Lincoln in English with a cantillized Hebrew translation suitable for chanting. . . .