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. . . .

This meorah, by R. Avraham bar Shmuel of Speyer (the elder brother of R. Yehuda heḤasid and a great scholar in his own right) is recited on Shabbat Naso. This is usually after Shavuot, but sometimes (in 2025, for instance) it is before. This meorah is a poetic interpretation of the Priestly Blessing, and a plea for vengeance against the antisemitic nations. As a meorah, it is recited prior to the final line of the guf and the ḥatima of the Yotser Or blessing. . . .

This geulah piyyut, by R. Yehuda heḤasid, is, similar to the prior zulat, a response to the massacres of the First Crusade. It specifically focuses, in the way only a maverick like heḤasid could, on holding God to account for breach of covenant, and calls out both Christians and — on a much rarer theme — Muslims for their slaughter of Jews during the Crusades. As a geulah, it is recited right before concluding berakha of the Emet blessing and the Amidah. . . .

This zulat piyyut, by R. Shmuel bar Yehuda (fl. 12th c.), is a keening cry in response to the traumatic First Crusade Rhineland massacres, known as the Gzerot TaTN”O in Hebrew, specifically focusing on the 3 Sivan massacre and martyrdoms in Mainz. The massacres of the Gzerot TaTN”O were so traumatic to Ashkenazi Jewry that to this day, the Av haRaḥamim prayer for martyrs, usually elided on Shabbat Mevorkhim, is not elided on Shabbat Mevorkhim Iyar or Sivan. As a zulat, it is recited at the end of the “Emet v-Emuna” paragraph. Generally the second half of the paragraph is altered slightly when a zulat is inserted. In this case, the alteration, according to the old Nusaḥ Polin, is included. . . .

This ahavah piyyut, likely by the paytan Yitsḥaq ben Reuven Albargeloni (the acrostic signature is ambiguous), is a longing love song between Israel, the “amazing one,” and God, the “Mighty One.” As an ahavah, it is recited prior to the final line of the guf and the ḥatima of the Ahavah Rabba blessing. . . .

This is a variation of the qinah for Tishah b’Av, “Shomron Qol Titein” in its Ashkenazi nusaḥ. Isaac Gantwerk Mayer first shared this translation via his Facebook page on Tishah b’Av, 2022. . . .

This anonymous ofan, also recited on the second day of Shavuot in some communities, uses alliteration to describe the many hosts of angels descending upon Sinai in awe and reverence as the Torah was given. The translation preserves the alliteration over the alphabet, seeing as the ofan in this form doesn’t include the entire alphabet either. As an ofan, it is recited within the Ḳedusha d-Yotser, between the verses of Isaiah and Ezekiel (included here). The ofan is recited on the second day of Shavuot in some communities. . . .

This yotser, by the great eleventh-century payṭan R. Binyamin bar Zeraḥ, goes through the entire alphabet with which the Torah was written, giving midrashic and mystical interpretations of each letter. As a yotser, it is recited immediately after the petiḥah of the Yotser Or blessing. . . .

‘Ad Ana Bikhya B’Tsiyon, is one of the oldest qinot of the cycle, dating to the period before rhyme schemes were the norm for Hebrew poetry. It describes the heavenly luminaries themselves as sympathizing with and lamenting for Israel. It goes through the entire zodiac, beginning with Ares and ending with Pisces. It is traditional to stand and recite the last few lines aloud before transitioning into the Ḳedusha d’Sidra. . . .