3. The Tradition Modes of Jewish prayer

Question 1

The tefilah mode

Answer 1

1. Derived from the Chumash mode of cantillation
2. Soulful, almost dreamy character - suitable for devout prayer
3. Most of the traditional chanting of the yamim noraim
4. Used by Ashkenazim for the introductory selections of Shabbos and a great part of shachris for Shabbos and Yom Tov

Question 2

The Selichah mode

Answer 2

Reflection of innermost despair and longing, yet with a bright note of hope. Repeated voicing of the lovingkindness of Hashem and expressed in the modes of hatorah and Tehillim.

Question 3

The Vidui mode

Answer 3

Derived from Iyov mode. It expresses sentiments and pain, desire and longing, wishes and hope in minor; as soon as it strives to express or confess truth, it turns to the emphatic sound of the major third.

Question 4

The Magen Avos mode

Answer 4

Derived from the Magen Avos prayer. Tender and lyrical, basis of many Jewish folk song.

Question 5

Ahavah Rabbah mode

Answer 5

Used from Egypt to Hungry, Asia Minor and Ukraine. The power of this mode is seen most in the compositions of teh chazzanim in Eastern Europe in the 18th and 19th centuries. Based on the Ahavah Rabbah prayer of Shachris especially on yamim noraim. Used for “hineni” before musaf of yamim noraim. A vehicle of tense emotion.