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.

A “bikkur” piyyut traditionally added at the end of Hashkivenu for Shavˁuot in the Old French (and Maḥzor Vitry) and Romaniote rites. From the acrostic we know the author was named Yosef ben Yaˁakov. Other than that we know very little about this poem’s origin and age, although its structure fits with the early Ashkenazi piyyut oeuvre.

The custom of reciting BaMeh Madliqin, the second chapter of Mishnah Shabbat, on Friday nights probably originated as an anti-Karaite polemic. While the Karaites were opposed to any use of fire on Shabbat, rabbinic Jews kindle lights before Shabbat, and the recitation of BaMeh Madliqin — the laws of Shabbat lights — emphasized this distinction. One of the best firsthand sources we have for this is the following introductory blessing from the Cairo Genizah (T-S NS 299.150 verso) for the recitation of BaMeh Madliqin, first published by Naftali Wieder in this article. This blessing emphasizes the continuity of the Torah both written and oral from Sinai to the sages and elders.

A blessing before the recitation of psalms, used in the old Eretz Yisrael rite as found in the Cairo Geniza. Since its structure is similar to the blessing before the haftara which is often cantillated, I have taken the liberty of adding psalmodic cantillation to the text.

Ḳerovot for Tu biShvat, a celebration of Divine verdancy, which namedrops a stunning array of flora from throughout the land of Israel.

This piyyut, Izel Moshe (Arise, Moses), the fifth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the second verse of the song proper, as an elaboration on God’s strength. The English translation preserves the Hebrew acrostic of the original.

This piyyut, Abunan D’biShmaya (Our Parent in Heaven), the second in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the fifth verse of the first aliyah (or second verse of the second aliyah on Shabbat).

This piyyut, Elaha Alam (Ageless God), the fourth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the Song of the Sea proper as an introduction to the targum of the text.

This piyyut, Ilu Pume Nima (If Our Mouths Were Thread), the first in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the first verse of the first aliyah, as an introduction or ‘reshut’ to the seder meturgeman as a whole.

The traditional Ashkenazi qerovot added to the Musaf repetition for Shabbat Sheqalim, alongside a new gender-neutral translation

A seliḥah for the seventeenth of Tammuz, the second piyyuṭ recited in the Eastern Ashkenazi custom for that day, written by Menachem ben Machir, an eleventh-century German paytan. This was first translated in 2005 for a summer event with the European Academy for Jewish Liturgy.

This is a transcription of “Amarer b-Vekhi,” a seliḥah for the 17th of Tammuz by Menaḥem ben Makhir. The German translation by an unknown translator can be found in סידור שפה ברורה Tägliches Gebetbuch der Israeliten für das ganze Jahr (B.L. Monasch, Krotoschin: 1845), pp. 405-407.

“ben Adam Mah Lekha Nirdam,” of unclear origin, is the opening piyyuṭ of the Sephardic seliḥot service every morning. Drawing a parallel between the literal slumber from which the petitioner has just awoken and the metaphorical slumber of sin, it serves as a fitting introduction to the early morning liturgy. As with any piyyuṭ in such a prominent place, of course, has been translated into the colloquial for all the people to appreciate its language. The following is not only the complete Hebrew text of Ben Adam Ma Lekha Nirdam along with a new English translation, but also a rhyming Ladino translation composed by R. Reuven Eliyahu Yisrael, the spiritual leader of the Sephardic community of Craiova, Romania, and published in the aforementioned town in the year 1910 (in טראדוקסייון ליברי די לאס פואיזיאס איבראיקאאס). To demonstrate the techniques used by R. Yisrael in his translation, a literal translation of the Ladino, as well as a transcription into the Latin-script Aki Yerushalaim orthography, is also provided.

Recited in many Sefaradi and other non-Ashkenazi rites for the seventeenth of Tammuz, this piyyuṭ, like many 17 Tammuz seliḥot, has a stanza for each of the five tragedies discussed in the mishnah. It is here included alongside an acrostic translation.

Composed by an unknown paytan, this is the reshut offered before the Barkhu at the outset of Shaḥarit on Shabbat Shim’u.

Composed by Yaaqov, a paytan of Castile, this is the reshut offered before the prayer Nishmat Kol Ḥai (commencing Shaḥarit) on Shabbat Shim’u.

Composed by a Elyaqim haPaytan, this is the reshut offered before the Qaddish (before the Barkhu at the outset of Shaḥarit) on Shabbat Shim’u.

This is the reshut offered before Barukh sheAmar commencing the Zemirot before Shaḥarit on Shabbat Shim’u, composed by Shmuel haPayyetan.

“Qol Ohalah” is the reshut offered before the Torah service following Shaḥarit. It is the ninth reshut among the reshuyot in the Old Sefaradi Tiqun for Shabbat Ḥazon — the final shabbat before 9 Av.

“Aryeh Shâăg” is the second reshut offered before Barukh sheAmar at the outset of the Zemirot (preceding Shaḥarit) on Shabbat Ḥazon — the final shabbat before 9 Av. It is the second reshut among the reshuyot in the Old Sefaradi Tiqun for Shabbat Ḥazon.