Isaac J Cabasso - יצחק יעקב כבאסו

Biography

Born in Brooklyn, New York, Isaac J. Cabasso was brought up in the Syrian Brooklyn community and was influenced by the generation of Hakham Moshe Ashear, Ezra and Naftali A. Tawil, Eliahou Menaged, Gabriel A. Shrem, and his uncle, Ezra Sayegh. Isaac Cabasso and his uncle Mickey Kairey were students of Hakham Eliahou Menaged.

Isaac Cabasso is affectionately known as “Cabby” and his beautiful hazzanut, delivered by his mellifluous voice, represents the authentic customs of the Aleppo Jewish community.

Isaac Cabasso was the official cantor of the Community Junior League (the Youth Congregation) in 1959 and later joined Congregation Beth Torah, where, nearly 60 years later, he is still currently the hazzan alongside famed cantor Yehezkel Zion. He is also on the board of Beit Edmund Safra Sephardic Synagogue in Aventura, Florida. He is a senior advisor to the Sephardic Pizmonim Project and has recorded over a hundred pizmonim recordings throughout his career. Cabasso was also on the original pizmonim book committee in 1959.

Isaac was married to Claire Mishaan a’h, and has four daughters: Marilyn Tawil, Lorie Jonas, Debbie Rahmey and Ellen Cohen.

Index of Recordings

Section	Pizmon	Page	Song	Commentary	Recordings	Application
Qiddush	0.01	1	יגדל אלהים חי	Thirteen Primary Jewish Beliefs according to Maimonides. R' Daniel ben Yehuda HaDayan- 13th century- Italy	I Cabasso- Saba- Milah tune- Semehim
Qiddush	קדוש	3	אשת חיל	Last Chapter of Proverbs. Said prior to Qiddush to honor the women of the household.	I. Cabasso
Qiddush	0.05	6	קדוש לליל שבת	Qiddush for Friday Night.	I Cabasso
Qiddush	0.15	7	קדוש ליום שבת	Qidusha Rabbah for Saturday Morning.	I Cabasso
Baqashot	10	20	ה' בוקר	Shelomo Ibn Gabirol Maqam Hoseni Hoseni. Psalms 5:4. Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso	ה' מלך
Baqashot	20	28	עורו שירו שיר	Ezra Attiah Maqam Saba The acrostic on "Ouru Shiru" spells Ezra Hazak. The last line also bears the name of his father "Chazak...nechamot Yeshaya" ... Chai gam Ataya (Attia). Saba. Ezra Attia Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917	I Cabasso- SA	שמחים
Baqashot	23	30	כי אשמרה שבת	Abraham Ibn Ezra Maqam Saba Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I Cabasso- SABA- Semehim	שמחים
Baqashot	34	42	רם אור גדול	Raphael Tabbush Maqam Rahawi Nawah Written by H Rephael Tabbush (1830-1918). Rahawi Nawah. Tabbush Manuscript A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	Isaac Cabasso- Qaddish	נשמת
Baqashot	37	45	מלא פי שירה	Raphael Tabbush Maqam Ajam Ajam. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso	נקדישך
Baqashot	38	46	אשא לבי	Eliahu Sasson Maqam Hoseni Written by H Eliahou Sasson (?-1869). Hoseni. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso - Mimisrayim Isaac Cabasso- Mimisrayim I Cabasso- Mimisrayim	ממצרים
Baqashot	41	48	אני אספר	Mordechai Abadi Maqam Rast This pizmon (BAQASHOT, page 48), translated as "I Will Explain," is a song that was written in order to glorify the observance of the Shabbat. The pizmon, whose melody is classified as both Maqam IRAQ or RAST, is part of the Baqashot collection; songs chanted pre-dawn prior to Morning services on Shabbat. The author is one of the most important Hakhamim of Aleppo, H Mordekhai Abadi (1826-1884), as illustrated by the song's acrostic "Ani Hu Mordekhai Ben L'Yaaqob Abadi Hazeq Amess” (אני הוא מרדכי בן ליעקב עבאדי חזק אמץ). This is one of seven songs in the Baqashot section authored by H Mordekhai Abadi. In one of the longest songs in our canon (28 stanzas), the author poetically enumerates all 39 Melakhot (forms of labor) that are prohibited on Shabbat. Despite all the prohibitions, the Sabbath day is considered "a delight," and those who participate in the Sabbath observance are entitled to great merit. Of all the songs encountered in the Aleppo tradition, this song seems to be the most focused on Halakha (Rabbinic Jewish law). The melody of this song is most commonly applied to Semehim for prayer services in Maqam RAST. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I Cabasso- Semehim	שמחים
Baqashot	42	51	מהללך ורוב גדלך	Mordechai Abadi Maqam Rast Written by H Mordekhai Abadi (1826-1883). Lists the seven heavens. Rast. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso - Qaddish Isaac Cabasso- Nishmat I Cabasso- Domamim- Qaddish I Cabasso- Qaddish (Domamim)	נשמת
Baqashot	49	57	יודוך כל המיחלים	David Kassin Maqam Saba Written by H David Kassin (1789-1877). Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso
Baqashot	53	61	בר יוחאי נמשחת	Shimon Labi Maqam Sigah The pizmon "Bar Yohai" (SIGAH, page 61), is written by H Simeon Labi (b. Spain, 1486- d. Tripoli, Libya,1585), in honor of Rabbi Shimon Bar Yohai, a 2nd century Tannaitic sage strongly associated with Jewish mysticism. Rabbi Simeon Labi, whose name forms the acrostic at the beginning of each stanza, was en-route to the Land of Israel, but on his way, he was stopped in Tripoli. Upon seeing the community's low spiritual situation, he decided to stay there his entire life, where he contributed to their revival of Jewish life. Excluding the first line, which is meant to be a repeating verse, there are ten stanzas to this song; all filled with rich allusions to Bar Yohai's life. In our tradition, there is a slow melody and a fast "Beirut" melody to this song. During the Baqashot of Shabbat, we use the slow melody for the first and last stanzas, and the fast melody for all the middle stanzas. On Lag La'Omer, which is the anniversary of his death, the slow melody of this pizmon is applied to Naqdishakh. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I Cabasso - Naqdishakh	נקדישך
Baqashot	59	67	אדון יחיד	Menashe Sitehon Maqam Sigah Alludes to the Ten Sefirot that God used to create the world. Written by Menashe Sittehon (?-1876), in honor of Isaac Harari. Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso - Semehim I Cabasso- Semehim	שמחים
Baqashot	61	69	ידיד נפש	Elazar Azkari Maqam Sigah 16th century. He defines this piyut as “a supplication for union and the desire of love”. Sigah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso	ממצרים
Baqashot	65	72	יה אל גדול ונאדר	Raphael Tabbush Maqam Saba This pizmon first appeared in Tabbush's 1888 pizmonim book. It is listed as Maqam Hijaz. It was written in honour of H Yaaqob Barzani. Saba. Aharon Rahamim Hares Baqashot Manuscript, 1917	I. Cabasso	שמחים
Mossaei Shabbat	72.03	85	הבדלה	All of these Habdalot recordings, courtesy of Steven M Ashear, took place in the Edmond J Safra Synagogue of South Deal (Hathaway) by Cantor Yehiel Nahari. Mahzor Aram Soba 1560	I Cabasso
Rast	106	107	יום יום תמיד	ישעיה חזק This pizmon (RAST, page 107), "Day by Day, to You I Pray," is the first song in the pizmonim book. It was composed in the nineteenth century in Aleppo by an individual named Yeshaya (acrostic: ישעיה חזק). There are 5 stanzas in this song. In the opening stanza, the author says that each day he prays for God, the King, to redeem His holy nation. He then asks to return the crown to the nation and to save them from all troubles. In the third and fourth stanzas, he petitions for the rebuilding of Zion, and for the prophecies of Isaiah to be fulfilled. Once this occurs, "every living soul will praise God" (alluding to Psalms 150:6). The final stanza praises God for giving His nation the Torah (the Ten Commandments) on Mount Sinai; the ultimate source of happiness for each Jewish person. Due to this song's important theme, it was considered a favorite of Mr Mickey Kairey A"H, and he made it a point to teach it to the youth on many occasions. This melody has been applied by H Moshe Ashear A"H to Naqdishakh on weeks of Maqam RAST. In addition, according to Mr Isaac Cabasso, this melody should also be applied to Nishmat of Shabbat Bereshit. Abraham Sitehon Manuscript Mosseri-Kozli Manuscript	Isaac Cabasso- Nishmat	נקדישך
Rast	107	108	מאמרי פי	Hatan. Hamaoui Manuscript Tabbush Manuscript Tabbush Manuscript	I. Cabasso I Cabasso
Rast	110	110	ידך עשת	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	I. Cabasso- Qaddish I Cabasso- Qaddish
Rast	114	111	אחבירה לך		I Cabasso	ואני תפלתי
Rast	118	113	ישיר ישראל ברננים	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	I. Cabasso - Qaddish
Rast	120	114	אתה אל טוב		I. Cabasso
Rast	121	114	דלני מיד הזרי		I. Cabasso	קדיש
Rast	122	115	מה טוב כאישון	Raphael Tabbush For a Hatan that is a first born. Hamaoui Manuscript	I. Cabasso
Rast	123	115	יה אל מגן	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	Isaac Cabasso- Naqdishakh	נשמת
Rast	124	116	אתה יודע	Raphael Tabbush	I Cabasso- Naqdishakh	נקדישך
Rast	128	118	רצה שירי	Raphael Tabbush	I. Cabasso
Rast	129	118	יאיר יזרח	Shalosh Regalim.	I Cabasso
Rast	130	119	הנה זה עומד		Isaac Cabasso- Mimisrayim	ממצרים
Rast	132	120	יחיד נורא	Raphael Tabbush This jovial pizmon (RAST, page 120), composed by H Raphael Antebi Tabbush (deceased December 1918) of Aleppo, Syria, is one of the most important and popular songs for the festival of Pesah. There are four stanzas in this pizmon; corresponding to the four letter of name of God (Tetragrammaton). Within each stanza, there are multiple rhyming clauses. Although the melody of this song should not be applied to any of the pieces of prayers, this pizmon is used for the PIZMON SEFER TORAH (typically on Shabbat HaHodesh or 1-2 Pesah). Many aspects of the month of Nisan, including the Haggadah and the counting of the Omer, are alluded to in this special pizmon. In general, the composer gives praise to God for all of His kindness to mankind, and specifically to the Jewish nation for the Exodus from Egypt and the splitting of the sea. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923	I Cabasso
Rast	134	121	אל רם ברך		I. Cabasso	שועת עניים
Rast	135	121	מה נעים החתן	Raphael Tabbush Hatan. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923	I Cabasso- Mimisrayim	ממצרים
Rast	139	123	הקץ יה חביבי	Raphael Tabbush סימן רפאל Hamaoui Manuscript	I Cabasso - Haleluya	הללויה
Rast	141	124	נשאם עד העולם	Raphael Tabbush Hamaoui Manuscript	I Cabasso- SA	שמחים
Rast	144	125	מימים ימימה	Moses Ashear Ashear Manuscript	I Cabasso	שועת עניים
Rast	145	126	יה שמע תפלה	Moses Ashear Ashear Manuscript	I Cabasso- SA I Cabasso
Rast	148	128	יחיד אל נורא	Moses Ashear Ashear Manuscript	I Cabasso
Rast	149	128	תען לשוני ותגיד	Moses Ashear (Maqam Sigah). Ashear Manuscript	I Cabasso I Cabasso	ממצרים
Rast	153	131	מבשר אתן	Moses Ashear In honour of the groom, Yosef Abraham Me'Eli HaKohen. Ashear Manuscript	I Cabasso- EH I Cabasso- EH
Rast	161	137	מה לך רעיה יחידה	Moses Ashear Nissim Shaul Dabbah Bar Misvah. February 23, 1935. Leaflet	I. Cabasso I. Cabasso 2
Rast	162	138	דגלך ישא על הרים	Moses Ashear Nissim Shaul Dabbah Bar Misvah. February 23, 1935. Leaflet	I Cabasso- Semehim (Lo Ahale Ki)
Rast	163	139	טל עלי יה	Moses Ashear Ephraim Mordechai Haddad Bar Misvah. January 1935. Leaflet	I. Cabasso	פזמון
Rast	164	140	אב הרחמן אהבת	Ezra Dweck and Gabriel Shrem Wedding of Lew Grazi on his wedding day, 15 Tammuz, 1956. The melody is from "Bint Il Jiran."	I. Cabasso	כתר
Rast	166	143	רננות שיר ושבחה	Raphael Yair Elnadav Gindi Bar Misvah.	I. Cabasso
Mahour	169	145	חסדך קדם	Raphael Tabbush Shabbat Bereshit, the Shalosh Regalim, as well as Purim. Tabbush. Turkish.	I. Cabasso - Qedusha I Cabasso- Naqdishakh	נקדישך
Mahour	170	146	אל חון על בת המענה	Baby Girl.	I. Cabasso - Hahodaot	ה' מלך
Mahour	174	147	יחיד האל ומהלל	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	I. Cabasso - Qaddish I Cabasso	קדיש
Mahour	177	149	חובי מלכי סלח	Raphael Tabbush	I. Cabasso- Nishmat	נשמת
Mahour	179	149	ידך תנחני	ישראל Yadekha Tanheni is a composition written by the legendary poet and Sephardic rabbi H Israel ben Moshe Najara (1555-1625). Based on the words in Psalms 139:10, the pizmon opens with the words "Your hand will guide me, O Living God, my maker." Throughout his life as a refugee (from Safed, to Damascus, and then to Gaza) filled with personal tragedy (loss of his wife and daughter at an early age), Najara manages to keep his faith in the Almighty and relies on Him for support. Still questions are asked of God, "Where is David? Where is Ben Yishai?" - referencing the Messiah and a promised redemption. In the prayers, H Moshe Ashear uses the MAHOUR melody of this pizmon on Shabbat Toledot for Semehim. This relates to the narrative of this perasha, because we are introduced to Jacob, also named Israel; an individual who also had a very difficult life but nevertheless relies on God for support. Hamaoui Manuscript Attiah Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923	I. Cabasso- Semehim Isaac Cabasso- Semehim 2	ה' מלך
Mahour	181	151	חנון רחם	Raphael Tabbush This pizmon (MAHOUR, page 151), whose title can be translated as "Merciful One, Have Compassion on Your Beloved People," is a song for the Shalosh Regalim, the three times of the year when Jews make the pilgrimage to the Temple in Jerusalem. It is composed by H Raphael Antebi Tabbush, and the acrostic of this 4 stanza song spells "Hayim" (סימן חיים), or ‘life’. The melody of this song is from the Arabic song “Midlam Minina.” Traditionally, our community sings this melody as the PIZMON SEFER TORAH on the second day of Sukkot. The first part of this song (first two stanzas) is a prayer for God to have compassion on His nation, and rebuild the Temple in Jerusalem, because the “time has come” for the redemption. The restoration of the Jewish people to their ancestral homeland and the end of their exile is represented by “living waters flowing out of Jerusalem,” and this is alluded to clearly in Zecharia 14:8. The second part of this song (the last two stanzas) goes on to express the great happiness that will befall the Jewish people (like the happiness of a bride and groom) once God performs these miracles of providing the new Temple, ending the exile; and having the Messiah announce the good news about the redemption. When these things happen, the Jewish people will be extremely happy and praise God, their Merciful Father. Hamaoui Manuscript Tabbush Manuscript	I Cabasso	פזמון
Mahour	182	151	שבתי שבתי	Raphael Tabbush This pizmon (MAHOUR, page 151), whose opening words are translated as “I Have Returned,” is a song for the Aseret Yeme Teshuba, or the ten days of repentance, and more specifically, for the Pizmon Sefer Torah on Shabbat Shuba. This melody, which can fit into the prayer piece of Mimisrayim, is said to have originated from Turkey, but no exact source of this melody can be identified. It is composed by the great Jewish poet H Raphael Antebi Tabbush (d. 1918) from Aleppo, Syria, and it is about the author’s personal journey to repentance. In this piece, the author starts by stating that he has returned to God by his refraining from the three categories of sins: Het (חטא), Avon (עון), and Pesha (פשע). In addition, he is offering God his constant praises and his heartfelt prayers. The prayers that he is asking for, mentioned in the second stanza, is for the general blessings of God’s kindness and a forgiveness for his transgressions. He then asks God for his own personal redemption and gathering of his community towards their redemption. The second stanza with the open question: Why do I continue to sit in this exile for such a long time? The song concludes with a prayer to God to strengthen the Jewish nation, send “their messenger” (צירם) and to reveal the end of days. He considers the hidden nature of God to be a sign of the nation's unworthiness and is trying to convince God that the nation is worthy of having God act in a more revealed way so that the nation can have God reign over them as their king forever.	I. Cabasso - Halleluyah I Cabasso I Cabasso- Mimisrayim	שמחים
Mahour	185	153	אל בחסדך גאלנו	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	I Cabasso- Nishmat	נשמת
Mahour	186	153	נעימה לי	Moses Ashear Eli S Haddad. Ashear Manuscript	Isaac Cabasso- Shavat I Cabasso- SA	שועת עניים
Mahour	187	154	ריבה ריבה	Moses Ashear Gabe Shasho. Ashear Manuscript	I Cabasso- EH	ואני תפלתי
Mahour	190	155	לביתך יה ארוצה	Moses Ashear Shalom. For Yom Kippur. Ashear Manuscript	I. Cabasso
Mahour	191	156	בואי ברנה	Moses Ashear Bo'ee BeRina is one of the most beautiful compositions authored by H Moshe Ashear (d. 1940). This pizmon was written for the groom, Seymour Charles Semah, in honor of his wedding to Sara Ashkenazie (daughter of Lulu and Aharon Ashkenazie). The content of the pizmon is written from the point of view of the Hatan talking to his new wife. Although the acrostic is Moshe- named after the author, the names Shaul, Sion, and Semah are alluded to in the first, second, and last stanzas, respectively. The melody of this pizmon is from the Arabic "Hawad Min Hina," sung by Egyptian singer Munira al-Mahdiya (1884-1965). Although this song is only listed in Maqam MAHOUR, Ashear made another melody to this pizmon in Maqam HIJAZ. It is the HIJAZ version that Ashear applied to Semehim on Shabbat Haye Sara in 1940. The pizmon relates to this Torah portion, because Isaac becomes a groom. Ashear Manuscript	I. Cabasso- Shav'at I. Cabasso- Hijaz	שמחים
Mahour	196	161	יה ניבי לך	Moses Ashear Isaac Harry Franco wedding. Kislev 1931. Leaflet	I Cabasso I Cabasso
Sasgar	200	163	אסיר ביוקשי	Raphael Tabbush Assir El 'Eshq: In 1906, Daoud Hosni was granted the first prize at the Musical Congress in Paris, for the composition of his famous hit "Assir El' Eshq" أســير العــشـق. It is a song that still thrills enthusiasts of Middle-Eastern Music.	I Cabasso - Qaddish	קדיש
Ajam	201	165	ישא ברכה	Raphael Tabbush This pizmon (AJAM, page 165) is composed by H Raphael Antebi Tabbush in honor of the installation of Rabbi Yaaqob Shaul Elyashar (Safed, 1817- Jerusalem, 1906) as the new Rishon LeSion (Sephardic Chief Rabbi) in 1893. The debut of this special song took place at the Rabbi Yohanan Ben Zakai synagogue in the Old City of Jerusalem by two choirs of boys (one from the Talmud Torah Doresh Zion and the other from the yeshiva Tiferet Yerushalayim) under the direction of H Raphael Tabbush. At the end of the performance, the Chief Rabbi thanked H Tabbush greatly and as a token of his gratitude, gave him 3 napoleon gold coins; hence the song became referred to as the "Golden Song". The title of this song "Yisa Berakha" refers to the abbreviation of Rabbi Elyashar's name (יש״א), and the acrostic of the four stanzas of this song is Yaaqob (יעקב); a reference to his first name. The melody of this song can be applied to Nishmat on weeks of Maqam AJAM, and is specifically associated with Shabbat Shofetim due to the Deuteronomy 17:20 reference of "Ya'arikh Yamim Al Mamlakhto" (translated as "long days for his reign") in the second stanza of the song. Tabbush Manuscript	I. Cabasso- Nishmat	נשמת
Ajam	206	169	לעם חביב	Maqam Sasgar Arabic: Sayed El Safti singing "Bid'i il Habib" in Maqam Geharka. Hamaoui Manuscript	I. Cabasso Kaddish	קדיש
Ajam	208	169	איברי יאמרו הב	Raphael Tabbush סימן אני נסים Tabbush Manuscript	I. Cabasso- Nishmat I Cabasso- Opening & Nishmat	נשמת
Ajam	209	170	היום רפא לעם נלבב	Raphael Tabbush Maqam Sasgar Hamaoui Manuscript Tabbush Manuscript	I Cabasso- Qaddish 1 I Cabasso- Qaddish 2	קדיש
Ajam	214	172	אני לקראת	Raphael Tabbush Engagement or Wedding. Manuscript	I. Cabasso	ממצרים
Ajam	215	173	מקהלות עם	Mordechai Abadi This pizmon (AJAM, page 173), whose opening words translate as "In the assembly of the nation God is blessed," is a popular celebratory song associated with weddings. It is composed by the prominent rabbi, judge, and poet, H Mordekhai Abadi (b. Aleppo, 1826 - 1883), who is the author of "Dibre Mordekhai" (Aleppo, 1873), a collection of sixty nine pizmonim assorted by maqam, as well as "Miqra Qodesh," a collection of Baqashot. This song has four stanzas (acrostic: מ-ר-ד-כי) and a repeating chorus ("Haleluhu Gadeluhu"). The song seems to honor a bridegroom with the first name 'Jacob,' but this name is a metaphor for the entire nation of Israel. The song is an ongoing blessing to this bridegroom (i.e. wealth, honor, and longevity), as well as an ongoing praise to God for His generosity and kindness. The song ends with a remembrance of the strength that Israel had at the exodus from Egypt as well as a blessing for us to merit a future redemption when we will all live in Jerusalem. A Z Idelsohn notes, 1923 British Library Or. 10375	I Cabasso	נקדישך
Ajam	216	173	יחיד רם שוכן בשחק		I Cabasso - Halleluya
Ajam	220	175	אל מלא הנחסר	El Male Hanehsar (AJAM, page 175) is a pizmon for the Pesah festival. This song, most probably composed by H Raphael Antebi Tabbush (d. 1918), has the acrostic of God’s name; first the word אהי״ה and then also the name יהו״ה. The song, which starts with “God, who fills the emptiness,” continues to list His attributes and how it relates to the Pesah festival; freeing His nation, settling them, etc. As a result of this kindness, the people give praise to Him (Hallel) and offer him the Pesah sacrifice. The second verse of the song does not allude to Pesah, but rather the day to day life of relying on God; calling out to Him; asking Him not to hold His hand back or delay from performing miracles, because the morning is coming and we, His chosen nation, need help right away. The melody of this song can be applied to El Hahodaot or Rau Banim for services in Maqam AJAM in close proximity to Pesah.	I. Cabasso	אל ההודאות
Ajam	224	177	ינון שמו	Raphael Tabbush This pizmon (AJAM, page 177), whose opening words are translated as “It Will Flourish,” is a song that celebrates the beauty of the Torah and the aspirations of the Jewish people. It is most likely composed by the great Jewish poet H Raphael Antebi Tabbush (d. 1918) from Aleppo, Syria. There are 4 stanzas in this song corresponding to the Hebrew name of ‘YisHaq’ (יצחק); which happens to be the author’s middle name and the name of his father. Taken from an Arabic march called “Intiyamo,” this melody can be heard with great enthusiasm when applied to the prayer-piece Shav’at Aniyim in virtually all Syrian Sephardic synagogues throughout the world. The song opens with a reference from Psalms 72:17 about someone named “Yinon,” which in Hebrew is translated as ‘it will flourish.’ According to rabbinic tradition, ‘Yinon’ refers to a future Messianic figure (see end of Piyut “Et Sha’are Rasson”). The author asks, where is Yinon of the Messianic age, and when will God bring the time when the people can rejoice in the Temple? He requests God to return the divine presence to the Temple and to treat the people with the kindness that they yearn for. The third stanza praises God for giving us the Torah; a gift exclusively for the Jewish people for them to both enjoy and live by. The song concludes with a prayer to gather the scattered people from foreign lands, to restore the Beit HaMiqdash as a place of song, and to shower the Jewish people with God’s greatness. Tabbush Manuscript	I. Cabasso	שועת עניים
Ajam	227	179	רועה נאמן הוא	Raphael Tabbush The pizmon "Ro'eh Ne'eman Hu" (AJAM, page 179), translated as "Faithful Shepherd Is He," is a song associated with the festival of Shabuot. It is composed by H Rephael Antebi Tabbush (d. Cairo, 1918), and the acrostic of his name, "Raphael," is spelled out in the song's four stanzas. The melody of this pizmon is adapted from "Salam Affandina" (translated as "Salute of our Lord"); a melody composed by Giuseppe Pugioli. This melody is well known because it was Egypt's national anthem from 1871-1958. The theme of the pizmon is about receiving of the Torah and the importance of it. In the last stanza of this pizmon, it says "Learn from it (the Torah) day by day, and all your days, you will find peace." The song concludes by saying that the way of the Torah will "save you from troubles and your words [of prayer] will be listened to by God." According to the Hazzanut notes of H Moshe Ashear, this pizmon is traditionally used as the PIZMON SEFER TORAH on the first day of Shabuot. Tabbush Manuscript	I. Cabasso - Qaddish I Cabasso	כתר
Lami	233	183	למי יזרח אור ופורקן	Moses Ashear Sion Ezra Levy wedding. September 20, 1938. Leaflet	I. Cabasso	קדיש
Ajam	234	186	מי יספר חסדי האל	Moses Ashear Hedaya. Alludes to the Ten Sefirot that God used to create the world. It's melody is taken from the 1888 Princeton University song called "The Orange and the Blue." Ashear Manuscript Leaflet	I. Cabasso	נשמת
Ajam	235	187	מי זאת הנשקפה	Moses Ashear Its melody is taken from the Neapolitan song "Santa Lucia", by Teodoro Cottrau, Written in honor of the birth of a baby girl. The text begins with a paraphrase of Song of Songs 6:10: "Who is she that shines through like dawn, tired. She is radiant and beautiful, the pleasing daughter of Zion." Written for Hebrat Qadimah which was a Zionistic society as the words of the song clearly indicate and not a community synagogue. Ashear wrote this song before 1928. Ashear Manuscript	I. Cabasso	שמחים
Ajam	239	189	מלאכי מרום	Moses Ashear Wedding of Isaac and Fortunee Betesh. German melody. Ashear Manuscript Photograph of Isaac S Betesh and Fortunee Antebi	I. Cabasso I. Cabasso 2 I Cabasso- SA	שועת עניים
Ajam	240	190	מה נורא מעשיך	Moses Ashear Sam Franco. Ashear Manuscript	I. Cabasso	אל ההודאות
Ajam	242	191	כל עת אליך	Moses Ashear Naftali Tawil. Arabic is: "Tilet Yamahla Nourha". Ashear Manuscript	I. Cabasso - Semehim I Cabasso- Semehim	שמחים
Ajam	243	193	אני בפי אביע	Moses Ashear Mizrachi. Ashear Manuscript	I. Cabasso - Nishmat	שמחים
Ajam	246	194	יה שוכן זבול	Moses Ashear Sutton. Ashear Manuscript	I. Cabasso I. Cabasso 2
Ajam	247	195	מה יפית ומה נעמת	Moses Ashear Written for Hebrat Qahal Qadosh Magen David. Tune is "The Star Spangled Banner." Written by Ashear pre 1928.	I. Cabasso
Ajam	253	202	מלכי אתה פודי	Murad Maslaton Bar Misvah of Sion Maslaton.	I Cabasso - Keter	כתר
Ajam	254	203	יאריך ימים על ממלכתו	ישראל בן משה Shabbat Shofetim, because it mentions the blessing of longevity for a new king. Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript	I. Cabasso - Nishmat I. Cabasso - Nishmat 2 Isaac Cabasso- Nishmat- 3	נשמת
Rast	254.4	204	הללי תשמע	Ezra Mishaniye Written in honor of birth of Joseph Yehudah Levy; March 27, 1952. Leaflet	I. Cabasso - Nishmat
Ajam	254.7	204e	רמ"ח אברי	"The Wheat Song." Bar Misvah of Moe Abraham Tawil (May 23, 1982).	Tawil & Cabasso
	254.91	203f	Yah Ma Banait	Maqam Ajam Used for Qaddish by G. Shrem on Shabbat Shirah.	I. Cabasso- Nishmat I Cabasso - Nishmat (higher pitch)	קדיש
Nahwand	255	205	שרים רוזנים	Wedding song. British Library Or. 10375	I Cabasso	נשמת
Nahwand	257	207	רצה לשירי	Introduction to the following song.	I. Cabasso	שמחים
Nahwand	260	207	אל אבי מחסדך	Raphael Tabbush	I. Cabasso	נשמת
Nahwand	265	210	אתה אל כביר	Raphael Tabbush The initials at the beginning of each stanza form the acrostic 'Ani Refael'. The song talks about Israel's redemption. The beginning of the pizmon has the composer turning to God to ask for mercy. The composer says that he will not stop praying until his prayers are accepted. He prays for the redemption of the Jewish people, the gathering of the exile, and returning to the Land of Israel. Tabbush Manuscript	I. Cabasso- Nishmat Isaac Cabasso- Nishmat Isaac Cabasso- Qaddish	נשמת
Nahwand	268	211	תכון לעד יפה יפה		I Cabasso I Cabasso	נשמת
Nahwand	269	212	רואה ובוחן לבב הכל	Raphael Tabbush	I. Cabasso	נקדישך
Nahwand	270	212	רננות שירו אחי	Raphael Tabbush Tabbush Manuscript	I. Cabasso I Cabasso I Cabasso	שמחים
Nahwand	273	214	למה הקץ נסתם נא	Raphael Tabbush This pizmon (NAHWAND, page 214), whose title can be translated as "Why is the End Concealed," is composed by H Raphael Antebi Tabbush (d. 1918). The structure of this song is that it has five lines, and each one ends with a repeated chant of “Ne’eman, Ne’eman, Ne’eman,” or "Eli, Eli, Eli." In this song, the author starts by asking why the end of the exile cannot be revealed? But despite not knowing the answer to this difficult question, the Jewish people are nevertheless committed to remaining faithful, or “Ne’eman,” to the Almighty. The author continues by asking why his nation, Israel, finds themselves “locked up” in scenarios of sorrow and trouble? The author petitions that if it is because Israel is stained with sins, then those sins should be quickly forgiven, and God should revert Israel's status to “white as snow” (based on a reference from Isaiah 1:18). In the closing verse, the author requests for God to rebuild the Temple so that he, the author, can come and offer the 'Olah sacrifice to God, in order to thank Him for His overwhelming kindness. Regarding the melody of this pizmon, it is a very famous muwashshah called "Lama Bada Yatathana." Although the exact date of this melody is uncertain, in modern times, this melody has been recorded by many Arabic artists; including: Fairuz, Souad Massi, and Lena Chamamyan. The melody of this pizmon is also heard in Syrian synagogues when it is transposed to Naqdishakh on days when Maqam NAHWAND is applied to the prayers.	I. Cabasso- Qedusha	נקדישך
Nahwand	274	214	יה נחלה המצחה	Raphael Tabbush	I. Cabasso- Qaddish	קדיש
Nahwand	275	215	אודך אודך	Raphael Tabbush Tabbush Manuscript	I. Cabasso- Semehim	שמחים
Nahwand	276	215	רעיוני יחיד	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	Isaac Cabasso- Rau Banim	ממצרים
Nahwand	277	216	יבנה ביתו	Raphael Tabbush	I. Cabasso	שועת עניים
Nahwand	278	216	רחום אתה	Raphael Tabbush "Rahum Ata" (NAHWAND, page 216) is composed by H Rephael Tabbush (Aleppo, ~1830 - Cairo, 1918), author of the "Shir Ushbaha" pizmonim book (1888). According to the notes of H Moshe Ashear, this song is reserved for Shabbat Beshalah (Shabbat Shira), and the Seventh Day of Pesah. There are 4 stanzas in this pizmon; corresponding to ר-פ-א-ל. The melody of this pizmon is called "Bafta Hindi," and can be applied to Mimisrayim on weeks of Maqam NAHWAND. "Merciful are You for redeeming us from captivity," the pizmon opens; referring to the captivity of slavery under Pharaoh. The second verse is a prayer to redeem us now and to send Eliahu the Prophet to herald the redemption. After we hear of the redemption, the third verse says that we will sing praises to God. The fourth verse mentions how on the seventh day after the Exodus, God rescued our nation by overpowering nature and splitting the Red Sea. Hamaoui Manuscript Tabbush Manuscript	I. Cabasso I Cabasso	ממצרים
Nahwand	280	217	בשם יי אקרא	Moses Ashear Rishty. Ashear Manuscript	I. Cabasso
Nahwand	281	218	מרים ראשי וכבודי	Moses Ashear Isaac Shalom. Ashear Manuscript	I. Cabasso
Nahwand	283	219	מה נעמו אמריך	Moses Ashear Moshe Ezra Shrem. Ashear Manuscript	I Cabasso I Cabasso
Nahwand	284	220	מלך רם	Moses Ashear The pizmon “Melekh Ram” (NAHWAND, page 220), which translates as “Exalted King,” is a very popular song composed by H Moshe Ashear (acrostic: משה). It was composed in honor of the wedding of Mr. Joseph Ezra Tawil (alluded to in the third paragraph). Prominently mentioned in this song are Joseph’s three brothers: Abraham, Shaul, and Mordekhai Tawil; distinguished leaders of Congregation Magen David of Bensonhurst in the 1920’s. This individual, Joseph, ended up moving permanently to Mexico for business opportunities. In this song, we praise God for being the “Exalted King,” and we ask Him to send a savior and redeemer to his chosen nation. We also ask for God to raise our fortunes (with many happy occasions such as weddings) and return His children to their borders so that they can sing and praise Him for all eternity. The melody of this is from a “Chopin March." This melody is popularly applied to Shav’at Aniyim when praying in Maqam NAHWAND. Ashear Manuscript Photograph of Shaul, Joseph and Abraham Tawil	I. Cabasso	שועת עניים
Nahwand	285	220	אהלל ואביע	Moses Ashear "Ahallel Veabia" (NAHWAND, page 220), a pizmon associated with the festival of Shabuot, is composed by H Moshe Ashear (1877-1940). There are fifteen stanzas in this pizmon; all rhyming with one another. The acrostic of the pizmon is "Anokhi Hashem Elohekha, Lo Tahmod Asher Lere'ekha" (אנכי ה׳ אלהיך לא תחמד אשר לרעך); referring to the first and tenth commandments, respectively. The melody of this pizmon is called “Izmir Sefasi”; named after Izmir, Turkey. This pizmon is a poetic rendition of the narrative in Exodus 19 and 20; the narrative that discusses Israel's preparation, receiving, and acceptance of the Ten Commandments on Mount Sinai. The song concludes with a plea for God to listen to our prayers of returning the Jews to Zion so that they can live there in peace. The melody of this pizmon is traditionally applied to Halleluya (Psalm 150) on Shabuot, as well as on Shabbat Yitro and Shabbat Vaethanan. Ashear Manuscript	I. Cabasso- Halleluyah	הללויה
Nahwand	289	225	מה עצמו	Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Ashear Manuscript Photograph of Selim and Nizha Gindi	I. Cabasso- El Hahodaot I Cabasso - Naqdishakh	קדיש
Nahwand	291	226	יעטר יה	Moses Ashear Wedding of Sam and Renee Esses. Shabbat Vayesse. Photograph is courtesy of grandson Ike Esses in Phoenix. Names of family members scattered throughout this pizmon. Photograph of Sam and Renee Esses	I. Cabasso I Cabasso
Nahwand	293.3	228b	יפרח יה אבי		I. Cabasso- Qaddish	קדיש
Nahwand	296	231	ירומם צורי	Moses Ashear Ashear composed this pizmon in honor of the birth of his grandson Moshe to his son Yosef. The initials at the beginning of each main stanza form the acrostic 'Yosef HaCohen Hazak'. June 8, 1935. Leaflet	I. Cabasso I Cabasso- Semehim I Cabasso- Semehim 2	קדיש
Nahwand	299.001	237	אנא בחסדך		I. Cabasso
Nahwand	299.01	237a	מלכי צורי אל כביר	Haim S Aboud	I. Cabasso- Naqdishakh
Nahwand	299.02	237b	החיש לצירך	Haim S Aboud	Isaac Cabasso- Qaddish
	299.14		Oh How We Danced	Gabriel A Shrem Maqam Nahwand Al Jolson Anniversary Song	play pause Isaac Cabasso- Rau Banim	ואני תפלתי
Bayat	305	240	יפת עין לבבתיני	Ezra Attiah Siman "Yeshaya". Yeshaya is the name of his father. Pizmon for Abi HaBat.	I. Cabasso- Nishmat	נשמת
Bayat	306	241	אל יצרת	Raphael Tabbush Aseret Yeme Teshubah. Can be used for Shabbats of Maqam Bayat-Hijaz. Hamaoui Manuscript Tabbush Manuscript	I Cabasso- Nishmat
Bayat	308	242	יה אלי מהר	Raphael Tabbush Title in Red Book of "Abd Al Ekhoua" is incorrect. The actual title is “min abli mah ahwah algamal.”	I. Cabasso- Nishmat Isaac Cabasso- Nishmat I Cabasso- Nishmat 3	נשמת
Bayat	309	242	אני אגיד בקהל עם זו	Arabic: Ahd El Ekhewwa. DOR in Maqam Bayat.	I. Cabasso- Qaddish
Bayat	311	243	שבחו אל רוממו	Hatan/Kallah. British Library Or. 10375	I Cabasso- Nishmat	נשמת
Bayat	313	243	אבוא אל ציון		I. Cabasso	נשמת
Bayat	315	244	יחידתי בת אימה	Raphael Tabbush	I. Cabasso	שמחים
Bayat	316	245a	למה אויבי רדפוני		I. Cabasso
Bayat	319	246	מעזי אז כלה קץ	Raphael Tabbush “Mauzi,” or “My Fortress” (BAYAT, page 246), is a song that is very popular. H Raphael Tabbush is likely the author of this pizmon, but this is uncertain. The melody of this song is from the Arabic song “Baladi Askara Min Araf il Lama.” This song is associated with the Shalosh Regalim festivals due to a brief reference to them. The melody of this pizmon is typically applied to Shav’at Aniyim for weeks of Maqam BAYAT. Despite this being a song for the most happy of holidays, this song is actually very sad. It asks why has God abandoned us and why has the Messiah not yet arrived? It describes how our enemies have taken over our vineyards and have killed us. The climax of the song, “Al Damam,” describes how “my tears fall on their blood" (the blood of fellow Jews) and how our tears are enough to fill rivers. The four verse piece concludes with an open question: “Where has my Beloved gone; to Whom I rejoice three times a year?” Commentary on Pizmon	I. Cabasso- Shav'at I Cabasso	שועת עניים
Bayat	320	246	חביבי הב		I. Cabasso
Bayat	324	248	חזק אל ידי		I. Cabasso
Bayat	331	254	אל רם ואיום		I Cabasso- Shavat	שועת עניים
Bayat	339	260	לשם יי צבאות	Moses Ashear Bar Misvah. Ashear Manuscript	I. Cabasso
Bayat	343	263	מה יפו לי פעמיך	Moses Ashear Bijou. Ashear Manuscript	I. Cabasso
Bayat	344	264	מענה לשון	Moses Ashear Safdieh. Ashear Manuscript	I. Cabasso I. Cabasso- Qedusha	הללויה
Bayat	345	265	מלך צור עולמים	Moses Ashear Pre 1928 for Hebrat Qehal Qadosh Agudath Ahim. חברת אגודת אחים / Hebrath Agudath Ahim / The oriental Hebrew Aid Society and Congregation, 87 Eldridge Street, New York. Ashear Manuscript	I Cabasso
Bayat	346	266	אל מאד נעלה	Moses Ashear The pizmon “El Meod Na’ala” (BAYAT, page 266) is one of the most famous compositions written by cantor H Moshe Ashear (1877-1940). This was written in honor of the groom Mr Elie J Gindi (born in 1900, Syria) for his wedding (circa 1924 in Brooklyn, NY). The acrostic of the pizmon is “Eliah Moshe” with the first word of each of the three stanzas spelling “Eliah” and the second word of each stanza spelling “Moshe.” The names of the bride’s father, Moses (Attieh), and the bride, Rachel, are alluded to in the first and third stanza’s respectively. The melody of this pizmon is from polka music from Istanbul, Turkey. In the prayers, this melody is commonly applied to Semehim on weeks of Maqam BAYAT. This song is also traditionally used as the PIZMON SEFER TORAH for Shabbat Shemot because of it mentioning Moshe and Aharon, two important people introduced in this Torah portion. Ashear Manuscript	I. Cabasso- Semehim	שמחים
Bayat	349	267	הודך יה תנה לי	Moses Ashear Wedding of Ezra S Tawil. Song is a mixture of Bayat and Hijaz. Ashear Manuscript	I. Cabasso Qaddish I. Cabasso Qaddish I Cabasso- Naqdishakh I Cabasso - Pizmon	נקדישך
Bayat	350	268	'הללו את ה	Moses Ashear Matan Torah. Ashear Manuscript	I Cabasso I Cabasso
Bayat	351	269	איומה לי שובי בחבה	Moses Ashear Ashear Manuscript	I. Cabasso
Bayat	352	270	לדודי נא	Moses Ashear Ashear Manuscript	I. Cabasso
Bayat	354	272	תנהלני לעיר כבודך	Moses Ashear Serure. Ashear Manuscript	I. Cabasso
Bayat	355	273	יה הושיעה עדתי	Moses Ashear Wedding of Jacob Isaac Cabasso, father of Eli and Isaac J Cabasso. Ashear Manuscript Photograph of Isaac Cabasso with DMB	I. Cabasso I Cabasso 2
Bayat	356	274	אל חי שוכן	Moses Ashear Paragraph 1 can be applied to El Hahodaot and Paragraph 3 can be applied to Qaddish. Appropriate for Shabbat Re'eh. Arabic is sung by Daoud Hosni. Ashear Manuscript	I. Cabasso Qaddish I Cabasso- EH & Qaddish	שמחים
Bayat	358	276	אל דורשה נפשי	Raphael Tabbush Tabbush Manuscript	I. Cabasso- Mimisrayim	ממצרים
Bayat	359	276	אבי כחותם שימני	Shrem Manuscript	I. Cabasso- Qedusha	נקדישך
Bayat	361	278	לך חילי	Ezekiel Dweck Shrem Manuscript	I. Cabasso
Bayat	362	278	אל נעלה רפא	Moses Ashear Eli Ashear Bar Misvah. Kislev 1929. Leaflet	I Cabasso I Cabasso I Cabasso- Nishmat	קדיש
Bayat	363	280	שובי העדי	Moses Ashear Written May 26, 1940. Song in memory of Rabbi Shimon Bar Yohai, for Lag LaOmer. Leaflet	I. Cabasso	כתר
Bayat	364	282	יה נורא ונשגב	Moses Ashear Mordechai Israel Missry Bar Misvah. March 19, 1935. Leaflet	I. Cabasso
Bayat	365	284	לאל עתרתי תעלה	Moses Ashear David Moshe Ashear Wedding. March 14, 1937. Leaflet	I. Cabasso
Bayat	368	288	אנא אנא אימא	Moses Ashear Moshe Pinehas Schwecky Bar Misvah. Sivan 1931. Leaflet	I. Cabasso
Bayat	371	291	יחידה התנערי	Moses Ashear Bar Misvah of Joe Saff. The pizmon contains references to Bar Mitzvah as well as allusions to the particular situation of the Saff family. 1933. Leaflet Photograph of Joseph E Saff	I. Cabasso
Bayat	379	299	אני לו אשיר	Moses Ashear Continuation of previous song. Abdel Wahab song EL NIL NAGASHI. The section that Menaged is using is minute 2:40 through 4:20 of the Arabic song. In the pizmon it's from the 5th line on page 300 (Malkekh Yinhar) until the 12th line (El Ahoub Yahel Lah). Leaflet	I. Cabasso I. Cabasso - only page 300	שועת עניים
Bayat	381	302	שבחך אני אגידה	Ezra Mishaniye Composed by Hakham Ezra Mishaniye for Nissim Franco, Hazzan of Congregation Magen David and subsequently Shaare Zion (Brooklyn, New York), for the occasion of the Bar Misvah of his son, Steve Franco (yeshaya) . It is sung to the Arabic melody of ANI MANI RAYISAH. Can be applied to Odecha or Keter. Bar Misvah on January 19, 1950. Leaflet Photograph of Nathan Nissim Franco	I Cabasso- Semehim	כתר
Bayat	382	304	חוס לעמך	Ezra Mishaniye Sam Haddad- "Simbol" (Joseph) Kassin Wedding. December 1, 1951. Leaflet	I Cabasso	קדיש
Bayat	387	311	יה אל הבט למענה	Ezekiel Dweck Written during the time of the Holocaust. Shrem Manuscript	I. Cabasso- Qaddish I Cabasso- SA	קדיש
Bayat	388	312	שירו שיר חדוה	Ezekiel Hai Albeg This special pizmon (BAYAT, page 312) is composed to the Arabic melody of "Al Hiya Helwa" by Cantor Ezekiel Hai Albeg in honor of the Bar Misvah of Benny Levy (1939-2024) son of Olga and Elie Bechor Levy. Benny Levy is one of the pioneers of Ahi Ezer Congregation. It is said about him that he lived a humble yet fulfilling life. He passed away the 24th of Adar 1, 5784 (which is March 4, 2024). The melody of this song can be applied to Semehim when prayers are conducted in Maqam BAYAT. Photo of Benny Bechor Levy (1939-2024)	I. Cabasso Isaac Cabasso- Qaddish	שמחים
Bayat	391.05	318c	קולי שמעה		I. Cabasso I. Cabasso - El Hahodaot	אל ההודאות
Mehayar-Bayat	392	319	מגן ועזרה	Moses Ashear Shames wedding. Alludes to the Ten Sefirot.	I. Cabasso
Mehayar-Bayat	395	321	אשיר אני בבית נאוה	Moses Ashear J Gindi.	I. Cabasso I Cabasso 2	קדיש
Mehayar-Bayat	397	323	יה מתנשא	Moses Ashear Meyer Salem wedding. Ashear Manuscript	Isaac Cabasso- Rau Banim
Mehayar-Bayat	398	324	מלכי יוצרי	Moses Ashear Composed by H Moshe Ashear in honor of the wedding of Ezra Moshe and Nahmo Azar Cohen, on February 25, 1925. Photographs courtesy of descendents Jack and Ezra Azar. Ashear Manuscript Wedding of Ezra and Nahmo Azar 2-25-1925 Photograph of Ezra Moshe and Nahmo Azar	I Cabasso	שועת עניים
Mehayar-Bayat	399	325	מראשית כל	Moses Ashear Harari wedding. Ashear Manuscript	I Cabasso	קדיש
Mehayar-Bayat	406	331	מלך הדור	Moses Ashear Wedding of Isaac Haim Massri; March 20, 1934. Leaflet	I. Cabasso	קדיש
Hoseni	407	333	משמחי לב	Each stanza ends with the name "David." Attiah Manuscript Abraham Sitehon Manuscript	I Cabasso- Qaddish I Cabasso- Nishmat	קדיש
Hoseni	409	334	דעת ומזמה	דוד חזק This pizmon, entitled “Knowledge and Discretion” (HOSENI, page 334), is a very sacred song in Aleppo tradition reserved for Matan Torah, the giving of the Ten Commandments. This song pre-dates most other pizmonim in our tradition; being older than 1850. The opening verse says “Knowledge, discretion, and words of wisdom; more than them, on the day Moses spoke; her (Wisdom’s) profit is greater than fine gold; this is the Law that Moses place.” There are a total of eight stanza’s in the original manuscripts; all ending with the word “Moshe,” and each phrase, containing rich biblical allusions, rhyme with one another. The acrostic of this pizmon, “David Hazaq,” indicates that the first name of the author is David, but his specific identity is unknownto us. The melody of the pizmon is from the Arabic song “Tazri Bel Ajafen,” and is only applied for Naqdishakh three times a year: Shabbat Yitro, Shabbat Kallah (the Shabbat prior to the Shabuot festival), and Shabbat Vaethanan. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Commentary on Pizmon British Library Or. 10375	I Cabasso- Qedusha	נקדישך
Hoseni	411	336	יה אשאל ממך	ידידיה חזק אמץ Attiah Manuscript Mosseri-Kozli Manuscript	I. Cabasso
Hoseni	416	339	יה חסדך גלי	Raphael Tabbush Aseret Yeme Teshuba.	I Cabasso- SA	שועת עניים
Hoseni	417	340	אל הנאזר בגבורתיה	Raphael Tabbush Tabbush Manuscript	I Cabasso- Qaddish	קדיש
Hoseni	425	348	יהיו כמוץ	Israel Najara Attiah Manuscript Abraham Sitehon Manuscript	I Cabasso- EH	אל ההודאות
Hoseni	430	353	אמרי פי והגיוני	אברהם Maqam Hoseni or Tahir. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript	Isaac Cabasso- Semehim I Cabasso- Semehim	שמחים
Ashiran	431	354	אני אשיר שיר	Ezra Moshe Soued	I Cabasso	שועת עניים
Rahawi Nawah	434	358	מגן אל צורי	Moshe Tabbush Manuscript	I. Cabasso- Qedusha Isaac Cabasso- Qaddish I Cabasso	קדיש
Rahawi Nawah	438	361	בנה לי זבול משכני	רפאל (חזק) "Build Me An Abode For My Dwelling" (NAWAH, page 361) is a song for Pesah. It is composed by the early nineteenth century Aleppian poet H Raphael Dwek HaKohen (acrostic: רפאל). It's melody is transposed from the Arabic song "Ya Sahee El Sabree." In this four stanza rhyming song with a repeating chorus, the author speaks from God's point of view in the first person. God, through the lens of the author, is describing what He desires to see in a future messianic era. He asks the Jewish people to build a place for Him to dwell (like the Mishkan). In this sanctuary, the Kohen will bring sacrifice offerings, the Levites will return and sing from their posts, and the Israelites will come with their families to celebrate good times. The second stanza describes how the Pesah offering will be brought at the right time, as well as the 'Omer offering, and everything will return back to the pre-exilic normal. The song then focuses on describing the sorry state of affairs of the Jewish people in exile, and how God commits to sending help via a messenger from King David's household (the Messiah). The fourth stanza is God pleading for the Jewish people not to return to God empty handed, but rather take what belongs to them, and overcome their troubles by defeating their enemies. The imagery of returning to the Land of Israel and bringing the Pesah offering to the future Beit Hamiqdash makes this pizmon especially meaningful and appropriate for the Pesah festival. The melody of this pizmon is often applied to various pieces of prayers on Shabbat Hagadol (the Shabbat prior to Pesah), and the pizmon itself is sung at the beginning of the Pesah holiday. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375	Isaac Cabasso- Rau Banim	נקדישך
Rahawi Nawah	439	361	מי ימלל	Mordechai Abadi This pizmon, (Maqam NAWAH, page 361), is composed by H Mordekhai Abadi (Aleppo, 1826, - Jerusalem, 1884), author of "Dibre Mordekhai," and other Halakha responsa. There are a total of 5 stanzas in this pizmon; corresponding to מ-ר-ד-כ-י. "Who can recount the strengths and wonders of the most perfect and wise?" the poem begins, and then proceeds to list the miracles that God orchestrated as the Children of Israel leave Egypt. Starting with the third stanza, the 10 plagues that occurred in Egypt are poetically described. In the last verse, after the festival of Pesah is mentioned, there is a reference to the belief that Pesah, a time of a previous redemption, will be the season in the future when "we will be redeemed." As per the Hazzanut notes of H Moshe Ashear, this song is reserved for Shabbat Bo and Shabbat Hagadol. The Ades synagogue in Jerusalem, however, has a tradition of using this song one week earlier on Shabbat Vaera. Abraham Sitehon Manuscript	I Cabasso	ממצרים
Saba	452	375	עליון רם גדול	Ezra Attia Manuscript British Library Or. 10375	I. Cabasso- Qaddish I Cabasso Isaac Cabasso- Nishmat	נשמת
Saba	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.	I. Cabasso - Nishmat I. Cabasso - Nishmat	נשמת
Saba	459	381	נורא תתן כח לי	Tabbush Manuscript	I Cabasso	קדיש
Saba	460	381	היום על עדרי	Raphael Tabbush	I Cabasso
Saba	467	385	רם אמור	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923	I. Cabasso - Nishmat I Cabasso I Cabasso- EH
Saba	470	387	למן אתפלל למן	Raphael Tabbush Hamaoui Manuscript	I Cabasso
Saba	471	388	בנין מעוני תמהר	Tabbush Manuscript	I Cabasso
Saba	472	389	יה אודה לך יה	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	I. Cabasso	שועת עניים
Saba	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	I Cabasso	שמחים
Saba	483	398	ענני יה		I. Cabasso I. Cabasso - Nishmat	נשמת
Saba	484	399	יה הוריד נא	Hamaoui Manuscript	I Cabasso	ממצרים
Saba	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	I Cabasso I Cabasso	כתר
Saba	489	403	קומי יונה	Israel Najara	I. Cabasso
Saba	490	403	אל חי ונורא	Abraham Shabbat Bereshit.	I. Cabasso I Cabasso	קדיש
Saba	491	404	ערבים שבת אחים		I Cabasso
Saba	494	409	אהלל ואגילה	Milah Tabbush Manuscript	I Cabasso	אל ההודאות
Saba	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	I Cabasso	נקדישך
Saba	496	411	מה טוב מה נעים	Mordechai Abadi This pizmon (SABA, page 411), whose opening words are “How Good, How Nice Are Things In Their [Proper] Time,” is a song for the Mila; the circumcision ceremony. It is composed by the Aleppian sage, H Mordekhai Abadi (1826-1884), author of “Dibre Mordekhai.” The acrostic is “Mordekhai Hazaq Abadi,” and each of the 6 stanzas is followed by the famous chorus “Eliahou, Mebaser Hu...”. In the chorus, we recall Eliahou the Prophet as one who announces the redemption and who attends every Mila ceremony. There are references in the song to three blessings recited: "HaGefen," “Al HaMila,” and “Koret HaBerit," as well as a reference to the tradition of setting up a special chair for Eliahou, who is referred to as the “angel of the covenant.” At the song's conclusion, in the merit of Abraham (the father of the covenant), there is a prayer to rescue (like in the days of Mordekhai) all those who partake in the festive meal of this very special Misvah (one which weighs equivalent to all the other laws combined). In differing sources, this song is classified as either Maqam SABA, BAYAT or NAWAH, and in the morning prayers of a Mila, this melody can be heard for El Hahodaot. Abraham Sitehon Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375	I Cabasso	אל ההודאות
Saba	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	I. Cabasso I Cabasso	כתר
Saba	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	I Cabasso - Semehim	שמחים
Saba	505	422	אנה אלך מרוחך	ישראל Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript	I Cabasso- Mimisrayim I Cabasso	אל ההודאות
Saba	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	I. Cabasso I. Cabasso - Nishmat I Cabasso- El Mukhtar- Nishmat I Cabasso 2	נשמת
Saba	510.5	426a	לי יה לי יה יבנה יה	NLevy	I Cabasso- EH
Saba	511	427	רצני אהוב	Ezra Dweck and Gabriel Shrem This pizmon (SABA, page 427), whose title can be translated as “My Beloved Will Want Me,” is a song that describes the love between man and his creator. The Hebrew words to the pizmon were composed by H Ezra Dweck with the assistance of Hazzan Gabriel A Shrem. It is written in honor of the great rabbi, H Baruch Ben Haim, who moved into the Syrian Jewish community of Brooklyn circa 1950 and got married to Charlotte, the daughter of the Chief Rabbi, Jacob S Kassin. The melody of this is from an Arabic song by the famous and influential Syrian-Egyptian composer, singer, and Oud player, Farid Al-Atrash (1910 - 1974). The song, called “Ghali Ya Bouy” (Dear Boy), was featured in the 1948 film called “Bolbol Effendi” (Mr Nightingale), and became wildly popular and beloved throughout the world; our community included. The melody of this song has been adapted to many pieces of prayers, such as Halleluya (Psalm 150), when prayers are being conducted in Maqam SABA. In addition, this song became associated with Pesah, and the entire month of Nissan, due to the references to them mentioned in the song’s second stanza. Leaflet Photograph of H Barukh Ben Haim	Isaac Cabasso- Qaddish	הללויה
Awj-Oj	514	430	אל פקוד עמך	Raphael Tabbush This pizmon (OJ, page 430), "Lord, Take Note of Your Nation," is composed based on the Arabic melody called "El Füad Habaq." The Hebrew song is found in the Old "Shir Ushbaha" (page 49), and is most likely written by H Raphael Antebi Tabbush. This melody is popularly applied to Naqdishakh on weeks of Maqam SIGAH. This pizmon is actually a solemn prayer to God from the author, Tabbush; written in first person. The author requests for God to single out and notice His nation, gather them to His house, and to shelter those that are God-fearing. He should have mercy on the poor people, and elevate their paths to be smoother. God should be good to them because they rely on Him and call out to Him. The author continues and petitions God for his own personal welfare. Paraphrasing his words, he says that at all times my heart has high emotions for You (God). God carries my wrongdoings and should have mercy on me and help me. God should watch over me, at all times I pray; and should sustain me forever.	I Cabasso - Naqdishakh	נקדישך
Sigah	515	432	יצו האל	יעקב עבדי Alludes to the 10 Sefirot. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript British Library Or. 10375	I Cabasso- Nishmat	נשמת
Sigah	517	434	ראש פעלי	Arabic: Eshfa'ouli. Sung by Muhammad Salim.	I. Cabasso- Qaddish	קדיש
Sigah	520	436	עורי כלה	Acrostic: Ezra. British Library Or. 10375	I. Cabasso- Qedusha I Cabasso - Qedusha 2	נקדישך
Sigah	522	438	מלך רם ונשא	Moshe Ashkenazi Tabbush Manuscript British Library Or. 10375	Isaac Cabasso	פזמון
Sigah	523	439	את כלה	Alef-Bet. Tabbush Manuscript British Library Or. 10375	I. Cabasso- Qaddish Isaac Cabasso- Qaddish Isaac Cabasso	קדיש
Sigah	525	441	אשיש אל בך	This song is a DOR and the name in Arabic is 'Aziz Hobak.	I Cabasso- Qaddish	קדיש
Sigah	528	443	אל יצרני לעמל	Raphael Tabbush Maqam Awj-Oj	Isaac Cabasso- Nishmat	נשמת
Sigah	530	444	דבר סתר גל	Raphael Tabbush Maqam Rast	I. Cabasso: Hashem Melekh	ה' מלך
Sigah	532	445	חסדך עם	Sing for philantropist. Hamaoui Manuscript Tabbush Manuscript Tabbush Manuscript	I. Cabasso
Sigah	533	445	יה אוחיל	Raphael Tabbush Maqam Awj-Oj Hamaoui Manuscript Tabbush Manuscript	I. Cabasso
Sigah	536	447	אדיר ונורא	Tabbush Manuscript	I. Cabasso Isaac Cabasso- Qaddish	קדיש
Sigah	538	448	רזי עולם	Raphael Tabbush Shalosh Regalim. Tabbush Manuscript	I. Cabasso- Qaddish	קדיש
Sigah	540	449	ארך זמני	Pesah association.	I. Cabasso I. Cabasso- Shav'at	שועת עניים
Sigah	541	450	קץ ימין יפרח יציץ		I Cabasso- Naqdishakh I Cabasso- Naqdishakh 2
Sigah	542	451	יחיד אל דגול מרבבה	This pizmon (SIGAH, page 451) is composed by H Yeshaya Sutton Rabia, a mid-nineteenth century Aleppo rabbi who composed many pizmonim. The acrostic of the song is Yeshaya, and it contains four rhyming stanzas. It is possibly written in honor of an "Ezra Shalom," whose name is alluded to in the third stanza. The song intends to give praise to an important person, such as a Rabbi. Here is a translation: "Only God stands out in the tens of thousands; He will bless this big man; the one my soul likes; with love and much endearment. The Lord will bless him and protect his arrival and departure; the whole nation goes out to greet him and exclaim to him "welcome." Above will exalt his fortune, and He will be a help to him; His good treasure will be open to him, and he will merit a good ending. God will bless his efforts, years of life will be added for him, peace will be placed in his borders, because he will have a high wall." When praying in Maqam SIGAH, this melody can be applied to "Befi Yesharim." Hamaoui Manuscript Abraham Sitehon Manuscript Shir Ushbaha, 1921 British Library Or. 10375	I. Cabasso	בפי ישרים
Sigah	543	451	שוכן רומה	Rosh Hashana.	I. Cabasso I Cabasso	פזמון
Sigah	545	452	אגילה אגילה	Hamaoui Manuscript Tabbush Manuscript	I. Cabasso- El Hahodaot I. Cabasso - Alternate version	אל ההודאות
Sigah	550	456	ידיד השב את שיבותי	Isaac Dabbah יצחק דבח חזק Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Mosseri-Kozli Manuscript	I. Cabasso	ממצרים
Sigah	552	457	ראה זר גבר	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	I. Cabasso I Cabasso- Mimisrayim	ממצרים
Sigah	556	462	אל עושה נקמה	This pizmon (SIGAH, page 462), whose first words are translated "God who makes revenge," is an entertaining song that retells the miracle of Purim using rhymes. There are a total of 22 stanzas in this piece; corresponding to each letter of the Hebrew alphabet (א״ב). Within a stanza, each clause rhymes with one another, except for the last clause of the stanza, which rhymes with all the previous stanzas. The pizmon, which is classified as Maqam OJ in the older manuscripts, originates from Aleppo and is older than 1850. The author of this piece is uncertain, although there is a possibility that it may be H Raphael Antebi Tabbush. The melody of this pizmon is from the Arabic "Ya Dini Yeaman," and is typically applied to Shavat Aniyim on Shabbat Zakhor, and to El Hahodaot on Purim itself. The song concludes with a prayer for redemption; to give good things to the Jewish nation in order to raise their spirits. Hamaoui Manuscript Tabbush Manuscript	I Cabasso	שועת עניים
Sigah	557	464	אור גילה	Raphael Tabbush Purim. A song of praise and thanksgiving for God's deliverance of the Jews from Haman. The pizmon, by Refael Antebi (19th century), has allusions to the Megillah as well its midrashim. The Jews got saved from the evil decree after prayers. Shir Ushbaha, 1921 A Z Idelsohn notes, 1923	I Cabasso- (3) songs	אל ההודאות
Sigah	563	468	ענני אל במרחב יה	Ezra	Isaac Cabasso- Nishmat I Cabasso - Qaddish	קדיש
Hijaz	571	476	אל רם נורא ואיום	Raphael Tabbush Maqam Shehnaz Yom Kippur. Tabbush Manuscript	I Cabasso- Pizmon & EH I Cabasso- Naqdishakh	שמחים
Hijaz	572	477	ירצני אהוב יה אלי	Yehudah Ben Noah Maqam Shehnaz Yabess Manuscript	I. Cabasso
Hijaz	574	478	רבת שבעה לה נפשי	Raphael Tabbush This pizmon (HIJAZ, page 478), whose opening words are translated as “My Soul is Satiated” (based on a reference from Psalms 123:4), is a song for Yom Kippur. It is composed by the great Aleppian poet, H Raphael Antebi Tabbush, whose first name, ‘Raphael’ (רפאל), forms the acrostic of this 4 stanza rhyming song. The origin of this melody is the Spanish song called “Mis Hermanos” (My Brothers), and it can be applied to Naqdishakh on the morning of Yom Kippur. The theme of this song is about the “Day of Judgment” and the Hebrew word “Dean” (דין), or judgment, is the last word of each stanza. The author opens with an expression of trouble and despair, saying that his soul is filled with the suffering caused by the hands of his adversaries. He asks God for help; asking Him to judge against these adversaries. The author then recognizes that his transgressions are the main causes of his sufferings and then expresses regret about his misdeeds. He ponders to himself “If I don’t observe the commandments of the Torah, how will I come out on the day of judgment?” In the third stanza, the author asks for forgiveness and for his lot to be placed with “good people” or those who are knowledgeable in law. The author concludes by asking God to save him, to satiate him with good (in contrast to the satiation mentioned in the opening stanza), and to judge him favorably, leniently, and with mercy. Tabbush Manuscript	I. Cabasso I Cabasso	נקדישך
Hijaz	579	481	אתה רוממה אתה	Tabbush Manuscript	I. Cabasso I. Cabasso 2	שמחים
Hijaz	580	482	רודף צדק ומשכיל	Raphael Tabbush Shabbat Vayehi. Tabbush Manuscript	I. Cabasso	ממצרים
Hijaz	580.01	482a	יחיד ורם		Isaac Cabasso
Hijaz	584	484	אתוהי כמה רברבין	Raphael Tabbush This pizmon (HIJAZ, page 484), whose title translates as "How Great Are His Signs," is written by H Raphael Tabbush. This song is unique in that it is one of our shortest pizmonim (only 20 words; 10 words in each of the two stanzas), and it is one of the only ones to be written in Aramaic. The melody is from the Arabic song "Ahwa Al-Ghazal Al Rabrabi," and can be transcribed into Nishmat or Naqdishakh. The opening words of this song are based on Daniel 3:33. After seeing how God saves Hanania, Mishael, and Azaria from the burning furnace, Nebuchadnessar praises God, 'How great are His signs! How mighty are His wonders! His kingdom is everlasting, and His dominion is over every generation!' The first stanza describes how God's glory is displayed through His miraculous signs. Although both Israel and the angels sing praises to God, it is Israel that God favors, because according to the Talmud (TB Hullin 91b), the angels only start praising God in the Heavens once Israel initiates the praises down on Earth.	I Cabasso - Nishmat	נשמת
Hijaz	585	485	רוכב עבים ומהלך	Raphael Tabbush This pizmon (HIJAZ, page 485), whose title is translated as "Driver of Clouds," is a song about God's role in controlling nature. This song is composed by H Raphael Antebi Tabbush, and the acrostic "Raphael" is spelled in the song's 4 stanzas. The beginning of the song introduces the concept of God being 'the Driver of clouds' and 'Controller of wind' (see Psalms 104, Isaiah 19:1, and Exodus 15:22); meaning the 'gatekeeper' of most precious resource in the world: rain. With rain, the second stanza says that the desert can bloom, and the land can become paradise (like the Garden of Eden). The words "Masheeb Ruah U'Moreed Gesem," the traditional Jewish prayer for rain, is also alluded to in the second stanza. Acknowledging that God is the master of all nature, the third stanza pleads to the Almighty to use this strength to help and protect the Jewish nation and redeem them so that they will celebrate this in the Temple. The author concludes with a prayer to help renew and invigorate him so that he, too, can partake in the upcoming redemption. The melody of this song can be applied to Shav'at Aniyim on weeks when Maqam HIJAZ is applied, and the song is traditionally sung as the PIZMON SEFER TORAH on the Shemini Asseret festival, because this is the first day of the year that Jews start to pray for rain in the Amida prayer.	I Cabasso	שועת עניים
Hijaz	590	488	אור הנעלם	א''ב Tabbush Manuscript	I Cabasso- Pizmon & EH	כתר
Hijaz	591	490	שמח נפשי	שלמה חזק This pizmon (HIJAZ, page 490), whose opening words can be translated as “My Soul Will Rejoice,” is one of the most popular pizmonim known in the Syrian Jewish tradition. In Shabbat morning services, whenever its joyous melody is transposed to Mimisrayim, it seems to bring immense happiness to the crowd. The melody of this is from the Arabic song “Qadokh Al Mayas” and over the years, a number of Hebrew pizmonim have been composed to fit into this great melody (i.e. ‘Elekha Kama Besari’ and ‘Niflaot Nissim’ are other Hebrew pizmonim written to the same melody). The Hebrew pizmon “Samah Nafshi” is the version of the song that has survived in part due to its inclusion in the important book “Shir Ushbaha” by H Raphael Cohen (1922). The author of the song is unknown, but the acrostic of the song suggests that it was written either by or in honor of a “Shelomo” (שלמה חזק). In its 5 rhyming stanzas, the author exclaims that his soul will rejoice if the following prayers are answered: solving all troubles of the Jewish people, a returning of Israel to the status it had during the days of King Solomon, the rebuilding of the Temple in Jerusalem as well as the entire Land of Israel, and ultimately, the announcement of a redeemer by Eliahou HaNavi that the Messianic age has arrived.	I Cabasso- SA	ממצרים
Hijaz	596	494	מרומי ברך לחברת ק"ק מגן דוד	Moses Ashear This pizmon (HIJAZ, page 494), whose title can be translated as “From Above, Send Blessing to the Group, the Holy Congregation of Magen David,” is a song written in honor of Congregation Magen David of 67th Street in Bensonhurst, Brooklyn. It was composed by the community’s chief cantor, H Moshe Ashear (1877-1940), for the inauguration of the synagogue in December 1921. In addition to the repeating chorus, there are three stanzas to this song, and the acrostic spells out “Moshe Hai” (משה חי). The melody of this song is said to be from an “English opera,” but no definite identification of this melody is known to us. The melody of this song can be transposed into SEMEHIM BESSETAM on days when the services are conducted in Maqam HIJAZ. The content of this song praises the community for their hard work, day and night, especially when taking care of one another. The song blesses the members of this community that God should repay their hard work with success and prosperity. They should be numerous like the stars in the sky, and all groups, from youngest to oldest, should be included in this blessing. In the second stanza, it petitions God to bestow the people with the blessing of the forefathers, redeem them, and “like the times of old, renew their days” (a reference to the closing verses of Megillat Eikha). Just like the waves completely cover and overwhelm the ocean, so too shall peace and happiness completely cover the tents (homes) of all the members of this community. The song concludes by saying that this community, together with the angels, praise God's generosity and proclaim the biblical verse "Barukh Hashem LeOlam," meaning: Blessed be God for all of eternity.	I Cabasso- Nishmat	שמחים
Hijaz	598	496	יה לגני בא נא יה	Moses Ashear Ashear Manuscript	Isaac Cabasso- Nishmat
Hijaz	602	498	מהר חביבי רחמני	Moses Ashear Ashear Manuscript	Isaac Cabasso I Cabasso- Nishmat	נשמת
Hijaz	605	501	אל השב	Moses Ashear Same melody as page 491. Ashear Manuscript	Isaac Cabasso
Hijaz	605.5	502a	מול אלי וגודלו	NLevy	I Cabasso- Semehim
Hijaz	610	506	נדה אני	Moses Ashear Bar Misvah of Shaul Abraham Houssni. January 1938. Leaflet	I Cabasso - Qaddish	קדיש
Hijaz	611.01	509	אנא אלי נאמן		I Cabasso- Qaddish
Hijaz	611.1	514i	יום וליל	Maqam Shehnaz About the spliting of the Red Sea. Appropriate for Seventh Day of Pesah.	Isaac Cabasso
	860		Gahalah	Maqam Bayat This Qaddish in Maqam Bayat is said to be a standard for Arbit of Saturday night.	play pause I Cabasso- Qaddish- Gahala
	2102	514j	אחות קטנה	Abraham Hazan Maqam Rahawi Nawah "Ahot Qetana," or "Young Sister," is a poem by the 13th century rabbi H Abraham Hazan of Girona, in eastern Spain (acrostic: “Abraham Hazan Hazaq”). This piyut is sung on the eve of Rosh Hashana; at the closing of the old year. According to Gabriel A Shrem, its melody, which is in Maqam NAWAH, is also applied for Semehim on the Shabbat prior to Rosh Hashana. What relates this poem to Rosh Hashana are the words at the end of each of the first eight verses "Tikhle Shana Veqileloteha" (end the year and all its curses). The poem compares the Jewish people to a young sister; one who relies on her brothers to survive. This young sister is suffering from all types of problems. She is constantly under attack from enemies. Her possessions are looted and vandalized by foreigners. She is left with nothing; humiliated and alone. In essence, this poem is a protest to God on how He can allow such bad things to happen to the suffering Jewish nation. In the last verse, however, God responds: "Strengthen and Rejoice, for your exile is over." Echoing the words of Isaiah, there is a call for all the people to get on the paths to Zion and return from the exile. On that note, the poem concludes with the words: "Tahel Shana Ubirkhoteha" (begin the year with all it's blessings).	I Cabasso	ה' מלך
	2104	514v	אוחילה לאל אחלה פניו	This is also used prior to the Amidah of Musaf on Rosh Hashanah and Yom Kippur.	I. Cabasso - Nishmat I. Cabasso	נשמת
	2105		ה' הוא האלוהים	נגמת מוסה אשר ע"ה	play pause I. Cabasso	נשמת
	2107		בן אדמה	Abraham Ibn Ezra "Ben Adama," or "Son of Earth," is considered one of the most sacred and thought-provoking hymns of the entire Sephardic liturgy. It is said to be composed by H Abraham Ibn Ezra (1089-1167) during the Golden Age of Spain. There is a tradition among Syrian Jews to sing this poem on the eve of Yom Kippur after Arbit. In addition, according to Aleppo sources, including H Moshe Ashear, it's melody is used for the Qaddish on Yom Kippur as well as Shabbat Shuba. "Ben Adama" is especially appropriate for Yom Kippur, because it is a composition of introspection of some of the existential aspects of life. In each of it's ten stanzas, the author describes one decade of a person's life. The general message of the poem is to take a step back from where you are in life and think about the different stages of your life. The last verse concludes "Happy is the man who considers himself to be a transient visitor," because all of us are only here for a short time, and once life is over, we should have no regrets.	play pause I. Cabasso	קדיש
	2108	514k	עת שערי רצון	Yehuda Samuel Abbas Aleppo, 12th Century, Used on Rosh Hashana before the shofar. The piyyut relates the Akedah of Isaac to the themes of Judgment, and loyalty to Hashem.	I Cabasso	שמחים
	2110	514u	שואף כמו עבד	Shelomo Ibn Gabirol Song is meant to be a Reshut for Nishmat for Shaharit of Rosh Hashanah---The song compares us to slaves who must return to serve our master, Hashem.	I Cabasso	נקדישך
	2111		Unspecified Traditional Melodies		play pause I. Cabasso play pause I. Cabasso
	2114		שיך סלאמה חג'אזי	Maqam Hijaz	play pause I. Cabasso - Qedousha	נקדישך
	2115	514r	יה שמך ארוממך	Yehuda HaLevi Rosh Hashana---Meant to be a Reshut for the Kaddish of Yosser---Meant to recognize the greatness of Hashem.	I. Cabasso	קדיש
	2116	S24	יה שמע אביוניך	Yehuda HaLevi Song, which is used in Selihot, discusses the situation of the Jewish people.	I Cabasso - Rau Banim	ראו בנים
	2117		כי לה' המלוכה לימים הנוראים		play pause I. Cabasso play pause I Cabasso- Ajam for High Holidays	דוגמא
	2118		ומבלעדיך	Sample of how to read plainly after Nishmat and throughout the prayers prior to the Amidah.	play pause I. Cabasso	דוגמא
	2119		שועת עניים בלתי נגון	Most commonly used.	play pause I. Cabasso	שועת עניים
	2120		אל ההודאות בלתי נגון	Most commonly used.	play pause I. Cabasso	אל ההודאות
	2125		ה' בקול שופר	Before blowing the shofar on Rosh Hashana.	play pause I Cabasso	פיוט
	2127	514j	חזקו וגילו מאחות קטנה	This is the last verse of the above song. that the cantor sings alone.	I. Cabasso	פיוט
	2128	514l	חון תחון על בניך	Binyanim Hazak--- Opens the prayers for the Second night of Rosh Hashana--- closes the Selihot prayers---	I Cabasso	פיוט
	2130	514m	אלהי אל תדינני	Isaac Ibn Mar Shaul Spain--10th-11th century--- The piyyut, used on Rosh Hashanah, is an alphabetical acrostic, and portrays a person confessing his sins.	I Cabasso	פיוט
	2131	514o	ידי רשים	Yehuda HaLevi	I Cabasso	פיוט
	2132	514o	המבורך	This is the last verse of the above song that the cantor sings alone.	I. Cabasso I. Cabasso - Qaddish	פיוט
	2193	74	קדיש	Maqam Baqashot	I. Cabasso - Rast 1 I. Cabasso- Nawah I Cabasso- Ajam 2 Isaac Cabasso- Ajam- Qaddish Isaac Cabasso- Rast- Qaddish I Cabasso- Nahwand 1 I Cabasso- Nawah 1 I Cabasso- Nahwand 2 I Cabasso- Bayat 02 I Cabasso- Plain Reading- No Maqam I Cabasso- Qaddish- Nahwand
Haggadah	2302		כי לא נאה	Maqam Ajam	play pause I Cabasso
Azharot	2351	A4	אזהרות	Solomon Ibn Gabirol Composed by Sephardic Poet H Solomon Ibn Gabirol. Recited on the Shabuot holiday. Day 1- Positive Commandments. Day 2- Negative Commandments.	I Cabasso- Semehim	שמחים
	2353		שמח בני חתן נעים בן פרת יוסף	Maqam Hoseni Arabic melody: רקץ אל באן. Specifically applied to Nishmat on weeks related to Mattan Torah. Hamaoui Manuscript British Library Or. 10375	play pause I Cabasso- Opening & Nishmat	נשמת
	2642		מלכי איום ונורא	Ezekiel Hai Albeg Maqam Sigah Lehen: Wansit Ta'abi. Pizmon by E Albeg, in Maqam Sigah, composed in honor of H Mordekhai Maslaton on the day of a Torah Dedication in Congregation Ahi Ezer. Song mentions Menorah. E Albeg, "Mizmor Shir."	play pause I Cabasso	אל ההודאות
	2643		Allamou Kaifa Yagfou	Maqam Sigah Arabic song of Abdel Wahab; Maqam Sigah. Popular tune for El Hahodaot.	play pause I Cabasso- EH- Sigah	אל ההודאות
Sigah	2684		אדון עולם ישועתי	אליעזר Melody of this song traditionally associated with Purim, although nothing in the song's text refers to holiday. Yabess Manuscript Shire Zimrah, Algiers, 1889	play pause I Cabasso- Qaddish
	2729		לך אל חי יצחק ירנן	Maqam Ajam "Doulab AJAM"	play pause I Cabasso- EH
	2730		Ahon Aleq (Abdel Wahab)	Maqam Ajam	play pause I Cabasso- Mimisrayim
Haftarot	3985	P568	הפטרת וזאת הברכה	Joshua 1:1–9. Simhat Torah. Aleppo Codex- Joshua 1	I Cabasso- Haftarat Simhat Torah	ראש יהושע
	4027	353b	אור צח קדוש ונעלם	Haim S Aboud Maqam Bayat In honor of "Hebrat Hobebei Shirah"	I Cabasso - Qaddish
	4083.2	N1	זמירות ליום השבת		I Cabasso
	4083.41		למנצח מזמור לדוד השמים מספרים	Psalm 19.	play pause I Cabasso
	4083.42		רננו צדיקים	Psalm 33.	play pause I Cabasso
	4083.43		לדוד בשנותו	Psalm 34.	play pause I Cabasso
	4083.44		תפלה למשה איש האלהים	Psalm 90.	play pause I Cabasso
	4083.45		ישב בסתר עליון	Psalm 91.	play pause I Cabasso
	4083.46		מזמור שירו		play pause I Cabasso
	4083.47		שיר למעלות אשא עיני		play pause I Cabasso
	4083.48		שיר המעלות לדוד שמחתי באמרים לי		play pause I Cabasso
	4083.49		שיר המעלות אליך נשאתי		play pause I Cabasso
	4083.5		שיר המעלות לדוד לולי ה' שהיה לנו		play pause I Cabasso
	4083.51		הללויה הללו את שם		play pause I Cabasso
	4083.52		הודו לה' כי טוב		play pause I Cabasso
	4086	N3	כי לה' המלוכה		I. Cabasso: Mahour I. Cabasso- Sample in Ajam I. Cabasso- Another Ajam Sample I. Cabasso: Sigah I. Cabasso- Nahwand I. Cabasso- Rast I. Cabasso- Sigah I. Cabasso- Bayat I. Cabasso- Saba I Cabasso- Ajam Opening I Cabasso- Hijaz Opening Cabby 2015- RAST Cabby 2015- MAHOUR Cabby 2015- AJAM Cabby 2015- NAHWAND Cabby 2015- BAYAT Cabby 2015- HOSENI Cabby 2015- SABA Cabby 2015- SIGAH Cabby 2015- HIJAZ
	4093		ירד דודי לגנו	Israel Najara Maqam Hijaz To the Hebrew song "Ess HaRimon" (עץ הרימון).	play pause I Cabasso - Qaddish	נקדישך
	4094	N4	נשמת	Pillar #1 of Shaharit. Heavy musical style.	I Cabasso- Nishmat- Sigah
	4096	N7	אל ההודאות	Light musical style.	I Cabasso- Bayat 01 I Cabasso- EH- Ajam
	4099	N20	נקדישך	Pillar #3 of Shaharit. Heavy musical style.	I Cabasso- Bayat 01 I Cabasso- Saba- Qedusha
	4859		El Leil Yetawil Alayah	Maqam Hijaz This is a song from Abdel Wahab. Using this for Nishmat on Yom Kippur was an innovation of the Tawil brothers.	play pause I Cabasso- Nishmat (Nahwand)	נשמת
	4863		מלך רם ונשגב	MArking Maqam Ajam The following is a Pizmon written in honor of the wedding of Mary Salem to Victor Dweck that took place on August 27, 2020 (7 Elul 5780) in Farmingdale, NJ. It was written by Morris Arking, Joseph Harari, and Joseph Mosseri. Victor Dweck, son of Eliane and Bobby Dweck, is the Marketing Director of the Sephardic Community Alliance (SCA). The SCA is mentioned in this song. The name of the melody is "Rah Ashghal Fekri" from the Arabic song "Yalli Nawet Teshghelni." Victor Dweck Wedding Song	play pause I Cabasso - Pizmon and EH	אל ההודאות
Minha-Arbit	5000		ובא לציון		play pause I Cabasso- Uba Lesion- Nahwand play pause I Cabasso 2
Minha-Arbit	5001		ואני תפלתי		play pause I Cabasso- Rare Traditional Tune
	5568		שירו לאל ברכו שמו	שלמה Maqam Sigah Old SU. Old SU.	play pause I Cabasso- Nishmat	נשמת
	5569		קדיש המערה	Maqam Rahawi Nawah Qaddish Ha'Me'arah, literally "The Qaddish of the Cave," is named such, because each Friday night in the Great Synagogue of Aleppo, they used to go to the Cave of Eliahou the Prophet, read Tehillim, and use this tune for Qaddish.	play pause I Cabasso- Qaddish