The Words of Gad the Augur is a lost work mentioned in I Chronicles 29:29. It is also an apocryphal Hebrew work of fourteen chapters, attributed to the Jews of Cochin in India. Most famous for its unique verse for the letter נ (nūn) in its variant of Psalms 145, this text also features multiple unique midrashim, reworked Biblical texts, and Hebrew forms and names not found elsewhere. . . .

The “angels on all sides” formula included with the Bedtime Shema service in many contemporary siddurim. . . .

The origin story of Lilith as told in the Alphabet of ben Sira. . . .

Azalat Yokheved is part of a whole genre of midrashic works suggesting Yokheved lived to see her son die — a concept even found in the Ethiopian literature. With repeated refrains, it emphasizes the desperate search of a mother trying to find her son, retracing all her steps and desperately asking everyone she can. But just as Moshe’s journey to the Promised Land ends without a conclusion, so too Yokheved never finds her Moshe. It’s been translated preserving monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . .

Azalat Bekhita, is probably incomplete, extending only to ḥeth in known manuscripts. It features multiple people, places, and things important in Moshe’s life taking turns to eulogize him. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . .

Amar Kiris l-Moshe, is a midrashic narrative of Moshe going to Adam to ask why he cursed humanity with death. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s “Jewish Palestinian Aramaic Poetry from Late Antiquity,” it is presented here vocalized with an original translation. . . .

The piyyut, El Adon, in Hebrew with an interpretive “praying translation” by Rabbi Zalman Schachter-Shalom, z”l. . . .

The piyyut, El Adon, in Hebrew with an English translation. . . .

This piyyut, Man K’vatakh (Who is Like You), the seventh in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of the verse that includes “Mi Khamokha.” The English translation preserves the Hebrew acrostic of the Aramaic. . . .

This piyyut, Amar Oyev (The Enemy Said), the sixth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the targum of Exodus 15, verse 9. . . .

‘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. . . .

This translation of “Adonai boker e’erokh lekha” by Rabbi David Aaron de Sola of a piyyut by an unknown paytan was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . .

This piyyut, Tanun Shvaḥeih (Tell the Praise), the eighth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of Exodus 15:18, the famous verse “Adonai yimlokh l-‘olam va-‘ed.” The English translation preserves the Hebrew acrostic of the Aramaic. . . .

This song is performed in honor of the Ḥatan Bereshit – the person who reads the first aliya of the torah, which begins Bereshit Bara. These words – Bereshit Bara – are repeated throughout the poem. The poem is similar in structure and meter to Kelil Yofi, which is performed in honor of the Hatan Torah, the person who reads the last aliya of the Torah, which begins Vaya’al Moshe. . . .

In many communities, the practice of Yaḥats, or breaking the matsah before maggid, is done with liturgical and ritual additions. The additions included here are one practice out of many variants as found in the practice of Djerba, the island off the coast of Tunisia. . . .

An alphabetical acrostic piyyut celebrating the victory of Esther and Mordekhai over the forces of Haman. . . .

The first day of Pesach, according to the Sages, is the day the world is judged for grain and dew. Because of this, many customs have developed tying it into the pomp of the High Holy Days. One custom preserved in many medieval maḥzorim is to extend the final blessing of the the Musaf “Tal” (Dew) service, including a Hayom piyyut, a piyyut form otherwise almost exclusively associated with the Yamim Noraim. This extended Sim Shalom berakha including piyyutim is presented here, largely based on the form compiled by Ernst Daniel Goldschmidt (zatsal). . . .

The Italian rite, unique among Jewish rites, has preserved up until very recently the custom recorded in the Talmud, Masekhet Tagnanith, for communally declared fast days. In this rite, sometimes referred to as the Twenty-Four Blessings, six more blessings are added to the liturgy — the Zikhronot and Shofrot portions more commonly recited on Rosh haShanah, and four different psalms, all interspaced with a poetic litany on behalf of the ancestors’ merit and shofar blasts. It’s a fascinatng service! . . .

This qina is recited in the Spanish-Portuguese rite (as practiced in the Snoge in Amsterdam, the Bevis Marks Synagogue in London, and Shearith Israel in New York City among many other communities) at the conclusion of the recitation of qinot on the evening of the Ninth of Aḅ. Its refrain, taken from the Four Questions of the Passover liturgy, is reframed* as a reflection of the suffering of such a day, contrasting the celebration of salvation on Passover with the fear and desolation of the fast day. . . .

The piyyut, Dayenu, in its Latin translation by Johann Stephan Rittangel. . . .