Saba - صبا

Introduction

The Arabic word Sabi means baby boy, and this is why Maqam Saba - צבא - is used for the Berit Milah (circumcision). Saba is used for Torah portions that contain either births, covenants (berit), a multitude of laws, or the reference to an army (Hebrew: Saba).

The Jews of Damascus use this maqam to express sad events.

Saba tetrachord: starting on D

Index

Pizmon	Page	Song	Commentary	Recordings	Application
452	375	עליון רם גדול	Ezra Attia Manuscript British Library Or. 10375	E. Menaged I. Cabasso- Qaddish G. Shrem Isaac Cabasso- Nishmat	נשמת
453	376	יהלל לאל נורא	Raphael Tabbush Acrostic 'Yizhak'. Tabbush Manuscript	E. Menaged G. Shrem E. Sayegh Fule Yanani Sion Recording Iraqi- Maqam Saba Nahari- Nishmat Charlie Chehebar- Nishmat DMB - Se Fezura - Naqdishakh	נשמת
454	377	לעם אביר	Raphael Tabbush The original Arabic song (Adak Amir) was sung by Abdel Hai Hilmi. Itamar is singing exactly based on the version sung by the nephew of Hilim, Saleh Abdel Hai Salah. The Pizmon is clearly based on the Arabic song as the syllables match exactly. This pizmon fits better in the Bayat maqam. Thanks to Joey Harari, Jerusalem.	Itamar Dweck
455	378	אתה הוא יחיד	Tabbush Manuscript British Library Or. 10375		נשמת
456	379	טובך לעולם	Arabic of it HOBBAK YA SALAM sung by Saleh 'Abd El Hai. Hakham Moshe Ashear used it for Naqdishakh for Perashat Ki Tesse.	M Tawil Recording	נקדישך
457	379	אל מרוב חסדך		Arabic Recording Y Bozo - Pizmon and Qaddish Yaaqob Bozo - Nishmat Shabetai Laniado- Nishmat	נשמת
458	380	יחיש מבשר	This pizmon (SABA, page 380), which translates as "Our Father Will Hasten the Messenger," is an important song about praying for the redemption. This song is composed by H Raphael Tabbush (d. 1918) to the Arabic melody of "Ya'ish WeYe'Shaq Qalbi". In this song, the author asks God to answer our prayers, to forgive our transgressions, to save us from our enemies who are planning acts of violence on us, and to hasten the arrival of Eliahou the Prophet who will announce the redemption of the Jewish people. Traditionally, this song is associated with the last day of a Shalosh Regalim festival (Pesah, Shabuot, Sukkot); the time when we most yearn for the redemption and the rebuilding of the Bet HaMiqdash. H Moshe Ashear applied this melody for the Qaddish of Shabbat Naso in 1937 and 1938 (the Shabbat after the Shabuot festival). In addition, Cantor Isaac J Cabasso applies this melody to Nishmat on the last day of Pesah and Shemini Asseret.	M. Nadaf I. Cabasso - Nishmat S. Salem M Tawil Arabic- Sheikh Yousef El Manyalawi I. Cabasso - Nishmat Recording Nissim Tawil Shlomo Antebi - Qaddish	נשמת
459	381	נורא תתן כח לי	Tabbush Manuscript	G. Shrem R Elnadav- Qaddish Maury Blanco Shabetai Laniado & Qaddish	קדיש
460	381	היום על עדרי	Raphael Tabbush	I Cabasso Recording Shabetai Laniado
461	382	אדום ליי לו	Raphael Tabbush	Arabic M. Mustachi J. Mosseri Recording Shabetai Laniado
462	382	אל חשקי כלו	Maqam Girkah	Arabic Maury Blanco
463	383	טל אל רפא	Raphael Tabbush Maqam Mahour	E. Sayegh Recording Maury Blanco
464	383	ענג למו		Hayim Eliyahou
465	384	ירעד לבי	ישראל בן משה Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript	Recording
466	385	יומא טבא דרבנן	Yeshaya Bar Misvah.	G. Shrem Fule Yanani Recording R Barzani- Naqdishakh Eliahou Ozen- El Hahodaot D Binker
467	385	רם אמור	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923	Fule Yanani I. Cabasso - Nishmat G. Shrem Recording I Cabasso- EH
468	386	רחום לעד	Raphael Tabbush	Y. Bozo Y Bozo 2	אל ההודאות
469	386	יה עזי אתה		Y Bozo Yosef Bozo 2 S Salem Recording
470	387	למן אתפלל למן	Raphael Tabbush Hamaoui Manuscript	G. Shrem Recording Shabetai Laniado
471	388	בנין מעוני תמהר	Tabbush Manuscript	G. Shrem Recording Shabetai Laniado
472	389	יה אודה לך יה	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	I. Cabasso J. Mosseri Recording Shabetai Laniado Shabetai Laniado- Hashem Melekh	שועת עניים
473	389	יה אלי צור משגבי	Raphael Tabbush Shabbat Zakhor, Ki Tisa, Ki Tesse. Hamaoui Manuscript British Library Or. 10375	G. Shrem G. Shrem Recording G Shrem Shabetai Laniado
474	391	אני לשמך מלין אחביר	Raphael Tabbush Tabbush Manuscript	G Shrem I Cabasso R Elnadav- Naqdishakh	נקדישך
475	391	ארנן לשמך	Raphael Tabbush Tabbush Manuscript
476	392	אגיד אנא	Arabic: "Ya Burdana".	Arabic Shabetai Laniado
477	393	אלי תמוגג	Raphael Tabbush	E. Marcus E. Menaged Shabetai Laniado	ה' מלך
478	395	יה חנון		Hayim Eliyahou Shabetai Laniado
479	395	יה רם חיש		M. Mustachi Recording
480	396	איום גאל היום
481	397	יה אל גדול ונאדר	Tu Bishvat/ Baqashot. The text of this song has nothing to do with Tu Bishvat except for the references to inviting guests to eat different fruits. The reason why this tune is used for Tu Bishvat is based on a Judeo-Arabic song with the same tune as this. Tabbush Manuscript	M. Nadaf G. Shrem I Cabasso	שמחים
482	398	אל בורא כל נשמה
483	398	ענני יה		I. Cabasso I. Cabasso - Nishmat	נשמת
484	399	יה הוריד נא	Hamaoui Manuscript	G. Shrem G. Shrem I Cabasso	ממצרים
485	400	אל בידו	אליהו חזק "El Beyado Yado Yado," (SABA, page 400) translated as "God, with His hand, will redeem Israel his servant" is used to herald the month of Nisan, the month of redemption, and the Pesah festival. The acrostic of this song is "Eliahou Hazaq" (אליהו חזק); referring to Eliahou HaNabi, the one who will announce the redemption. The author of this song is most probably H Raphael Antebi Tabbush from Aleppo, Syria. The melody of this is from the Arabic song "Hai Kardo Kardo." Originally, there were two separate texts written for this melody; one entitled "Beyado" (not discussing the month of Nisan) and the other called "El Beyado." Eventually, the author merged the two songs into one; retaining the first stanza of the "Beyado" song (אהבתיך צור ידידי) and putting it into the holiday-oriented "El Beyado" song. This pizmon can be sung as PIZMON SEFER TORAH on the Shabbat prior to Rosh Hodesh Nisan, and the melody of this pizmon, as per H Isaac Cabasso, can be applied to Mimisrayim on Shabbat Hagadol. Hamaoui Manuscript Tabbush Manuscript Tabbush Manuscript	G. Shrem G. Shrem 2 G. Shrem Recording Y Nahari I Cabasso	כתר
486	401	יה אלי הנחל לי	Raphael Tabbush Should be Bayat. The Arabic of this is called "El Arsiyah" sung by Sabri Moudallal. Hamaoui Manuscript	J. Mosseri Charlie Chehebar- Qaddish Shabetai Laniado	הללויה
487	401	תדד שנת עיני		E. Menaged
488	402	רחום דל דאגי מני	Raphael Tabbush	E. Menaged Moshe Diib Laniado Arabic: Ya Daqaqitil Beini Shabetai Laniado	כתר
489	403	קומי יונה	Israel Najara	E. Menaged I. Cabasso Iraqi Recording
490	403	אל חי ונורא	Abraham Shabbat Bereshit.	I. Cabasso Fule Yanani G. Shrem G. Shrem Recording	קדיש
491	404	ערבים שבת אחים		G. Shrem G. Shrem	שועת עניים
492	405	יהי שלום	Milah. For the birth of a baby boy. This pizmon is used at the Berit Milah. The initials at the beginning of each stanza form the acrostic 'Yehoshua'. This pizmon is taken from Mahzor Aram Soba, Sefer Shirim, Baghdad, 1906. An older version of this same song is found in Mahzor Aram Soba of 1560 (words vary slightly). Mahzor Aram Soba 1560 Shire Zimrah, Algiers, 1889	SCC Choir Fule Yanani - Different melody M Tawil Recording Recording Recording A Mouhadeb- Sigah	בפי ישרים
493	406	אערך מהלל נבי	אנכי דוד בן אהרון בן חסין חזק Written for the Berit Milah. Also for Parashat Balaq, because Pinehas is mentioned. Written by R' David Hassin of Morocco in the 18th century. Written about Eliyahu, who is the "Malach HaBerit" and is present in each Berit Milah. The song talks about the miracles of Eliyahu and events throughout his life. Also according to Zohar, Pinehas=Eliyahu. Yabess Manuscript	J. Mosseri Fule Yanani Recording Recording Recording	שמחים
494	409	אהלל ואגילה	Milah Tabbush Manuscript	G. Shrem Recording Yaaqob Bozo	אל ההודאות
495	410	אתה אהובי	Abraham I Antebi Ata Ahubi (SABA, page 410), translated as "You are my Beloved," is the first song heard in a young boy's life; at his Berit Milah at eight days old. Composed by the illustrious H Abraham I Antebi (1765-1858), Chief Rabbi of Aleppo, the song has the acrostic "Abraham Hazaq." Each of the 6 stanzas end with the word "Eyn," meaning eye. In the first stanza, the author thanks God for "Him giving happiness in my heart" and is comforted that "in You, I can lean." The next four stanzas refer to the Berit Milah, the covenant between God and Abraham, and allude to some of its festive rituals. The last stanza, in the original version of the song, states "Strengthen Aram Soba (Aleppo), the good city, and also the [resting] place of the master, Ezra [HaSofer], a fine pearl that the eye shall see." In later publications, in an attempt to standardize the song, this last stanza was altered to remove the references to Aleppo. This melody is applied to Naqdishakh preceding a Berit Milah as well as on Shabbat Lekh Lekha and Tazria. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Shire Zimrah, Algiers, 1889	M Tawil Fule Yanani G. Shrem Recording Recording R Barzani- Semehim Nahari- Naqdishakh	נקדישך
496	411	מה טוב מה נעים	Mordechai Abadi Milah Abraham Sitehon Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375	M Tawil Fule Yanani G. Shrem Recording	אל ההודאות
497	412	מבטן ידיד יה קדש	Mordechai Abadi Milah Abraham Sitehon Manuscript	Morris Elmann Fule Yanani A Mouhadeb D Kassin - Mimisrayim
498	413	יחון אל צור	יוסף Milah. Chanted during the circumcision. Seen in Mahzor Aram Soba 1560. Attiah Manuscript Mahzor Aram Soba 1527	J. Mosseri Fule Yanani Recording
499	414	היום גאל היום
500	414	עלובה ועזובה	Raphael Tabbush
501	415	חיש משגבי	Raphael Tabbush "Hish Misgabi" (SABA, page 415) is a pizmon composed by H Raphael Antebi Tabbush in honor of Purim. It has been said by Rabbi Aaron Hamaoui of Boston that H Raphael Antebi Tabbush (d. 1918) was blind in his later years, and he needed his students to assist him to walk in the shuq, market, in Syria. One day, as he was walking, he heard the catchy Arabic melody “Hisbi Rabi“ being chanted in the market place. H Tabbush then rushed home, and immediately, he dictated words to his student, H Eliahou Hamaoui, the grandfather of Rabbi Aaron Hamaoui, to fit this melody. This ended up being “Hish Misgabi”; a song in honor of Purim. This pizmon has the acrostic “Raphael Hazaq”, and has 5 stanzas (in addition to the first verse, which serves as the chorus). The melody of this pizmon can be applied to Keter or Va’ani Tefilati, but should only be applied in close proximity to Purim. Hamaoui Manuscript Tabbush Manuscript	Yosef Hamaoui I. Cabasso G. Shrem G. Shrem Recording I Cabasso Recording	כתר
502	416	אוחיל יום יום	Eliahu Hazzan This is a "remake" of the other song with the same title (p.345). In praise of Jerusalem and its prominent place throughout Jewish history. Both songs have the same melody.	G. Shrem I. Dayan (Alternate version) Iraqi Recording
503	417	ידידי רועי מקימי	ישראל חזק Yedidi Ro'ee Meqimi (SABA, page 417), whose acrostic is "Yisrael Hazaq," is written by H Israel Najara (1555-1625). This poem compares God to a shepherd who takes care of a flock of sheep. The sheep, mentioned at the end of each stanza, is a metaphor for the people of Israel. It is God, the shepherd, who rescues Israel, the sheep, from her enemies and who will gather a scattered people back to the Holy Land to rebuild the Temple. This relates to the Torah portion of Vayesse due to the reference in the last stanza to Genesis 29:9 when "Rachel comes out with her sheep." When Jacob is a refugee, it isn't until he spotted Rachel that he finds the hope needed to survive. On Shabbat Vayesse, the melody of this pizmon is traditionally applied to Semehim. Although SABA is not the "Maqam of the Week," the Hazzan should switch from AJAM to SABA shortly before Semehim to apply this important melody. Attiah Manuscript Yabess Manuscript Mosseri-Kozli Manuscript	G. Shrem Fule Yanani G. Shrem Recording Recording R Barzani- Mimisrayim I Cabasso - Semehim	שמחים
504	418	איש אלהים קדוש הוא	Ben Ish Hai Lag LaOmer. For R' Shimon Bar Yochai. Written by the "Ben Ish Hai" of Babel in the 19th century. Song is an acrostic (Aleph Bet) and has many allusions to the life of R' Shimon. Abraham Sitehon Manuscript	Fule Yanani G. Shrem Recording Recording	כתר
505	422	אנה אלך מרוחך	ישראל Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript	G. Shrem G. Shrem Recording Recording Agudat Dodim (Buenos Aires)- Mimisrayim I Cabasso- Mimisrayim I Cabasso	אל ההודאות
506	422	לבת מעונה	Raphael Tabbush	J. Mosseri
507	423	רעיה את שירי	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	G. Shrem
508	423	עזי עזי	Ezekiel Hai Albeg	G. Shrem G. Shrem Recording R Barzani- Hahodaot	אל ההודאות
508.1	426e	בנה לעירך	Raphael Tabbush Hamaoui Manuscript	Recording
508.2	424a	אך טוב לישראל	Abraham I Antebi אברהם. Composed by H Abraham Antebi (1765-1858), Chief Rabbi of Aleppo from 1817. Pizmon found in "Ohel Yesharim" book from 1843. Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Mosseri-Kozli Manuscript
509	425	אל מוכתר בכתר	Moses Ashear פיוט על סדר אלף בית אומרה- Alludes to 10 Sefirot. Ashear applies this tune often to Naqdishakh. Ashear Manuscript	M. Nadaf I. Cabasso I. Cabasso - Nishmat E. Menaged - Nishmat I Cabasso- El Mukhtar- Nishmat I Cabasso 2 R Elnadav- Nishmat	נשמת
510	426	יחידי אל צור	Moses Ashear Ashear Manuscript	Arabic
510.5	426a	לי יה לי יה יבנה יה	NLevy	Recording I Cabasso- EH
511	427	רצני אהוב	Ezra Dweck and Gabriel Shrem In honor of Hakham Baruch Ben-Haim when his son, Eli Ben Haim was born. Also, a song for the month of Nissan. Leaflet Photograph of H Barukh Ben Haim	G. Shrem Part 1 G. Shrem Part 2 G. Shrem 2 G. Shrem Recording Eliahou Ozen- Qaddish Isaac Cabasso- Qaddish Shrem and Cabby E Sayegh	הללויה
512	428	יה מוראך בי	Ezra Mishaniye Bar Misvah.	M. Nadaf - Qaddish M. Nadaf - Qaddish 2	קדיש
512.05	429a	יודו שמך אלוהים משגבי	Shelomo Hazzan Hazaq	J Mosseri
512.09	429b	רנה רנה רנה	דוד בוזלי Shaare Zimra, Argentina book page 384. Shaare Zimra, Argentina	F. Yanani