eSTWANAT HAI
Neta Elkayam and Amit Hai Cohen, a couple in life and creation, are world-renowned multidisciplinary artists visiting Xavier University of Louisiana (XULA). Their work bridges cultures, blending music, history, and contemporary expression to revive and reinterpret Sephardic and North African traditions.
In this workshop, led by Neta Elkayam, participants will explore the tradition of piyyutim (prayer songs) from Sephardic and North African cultures. Through her guidance, the session will highlight the deep interfaith connections and universal themes within these sacred songs, often described as a form of Jewish gospel. Live performances, accompanied by Amit Hai Cohen on piano and various instruments, will bring these traditions to life. Discussions will focus on the poets, historical contexts, and the role of piyyutim in the Jewish calendar, offering participants an immersive experience into this rich musical heritage.
Dive into Neta and Amit's Websites
More about
Neta & Amit
the story of Iligh
The village in Morocco where Neta's roots are
the story of Tizgui
The village in Morocco where Amit's roots are
Testimony : Ahmed Akstem, a resident of Tizgi, tells about the Jews who lived in the village. Documented by a Amit in 2015
Visit and testimonies from the village
North African Music: A Cultural Blend
North African music merges Amazigh, Arab, Sub-Saharan, and Andalusian influences, shaped by migration and history. It features intricate rhythms, microtonal melodies, and expressive vocals, often accompanied by percussion, oud, and call-and-response singing.
Four Key Genres:
- Gnawa (Morocco) – Spiritual, trance-like music rooted in West African traditions.
- Raï (Algeria) – Rebellious folk-pop blending Bedouin melodies with modern sounds.
- Chaâbi (Algeria/Morocco) – Lively street and wedding music with poetic lyrics.
- Andalusian Classical (Maghreb) – Elegant court music from exiled Andalusian Jews and Muslims.
The Role of Jews in North African Culture
For over 2,000 years, Jews have shaped North African culture through music, literature, trade, and scholarship. They played a key role in Andalusian classical music, Raï, and Chaâbi, enriched local languages with Judeo-Arabic and Judeo-Berber, and contributed to art, craftsmanship, and philosophy. Though many emigrated in the 20th century, their influence remains deeply woven into the region’s heritage.
Selected scenes
In your eyes i see my country
'ya lhmama' by amit hai cohen
Reuven Abergel
Abir El Abed
3 figures from 'Ya lhmama'
Erez Bitton
Lirycs
Mommy, my merciful mom,
separation from you is hard for us.
your misery lengthens, mom.
We left you and departed
a lonely stranger, without a relative
I have only God and you
I am crying and can’t sleep well
I am asking God to bring us together
Mom , how tender is your heart
And your care is given to your children
You have suffered for many years
you were even oppressed
If I get sick, who will heal me but you?
No one will be of any use but you…
Oh mommy, merciful mom.
.jpg)
Hine ma tov | הִנֵּה מַה טּוֹב
Texte hébreu
הִנֵּה מַה טּוֹב וּמַה נָּעִים
שֶׁבֶת אַחִים גַּם יָחַד
Transcription française
Hine ma tov u'ma na'im
Shevet achim gam yachad
Français
Voici qu'il est bon et agréable
que des frères demeurent ensemble.
El Nora Alila | אֵל נוֹרָא עֲלִילָה
Texte hébreu
אֵל נוֹרָא עֲלִילָה
הַמְצֵא לָנוּ מְחִילָה
בִּשְׁעַת הַנְּעִילָה
Transcription française
El Nora Alila
Hamtze lanu mechila
Bish'at ha'Ne'ila
Shema Yisrael | שְׁמַע יִשְׂרָאֵל
Transcription française
Shema Yisrael
Adonai Eloheinu
Adonai Echad
Texte hébreu
שְׁמַע יִשְׂרָאֵל
ה' אֱלֹהֵינוּ
ה' אֶחָד
Traduction française
Li habibi ursil salam
Koul waqtin assahou yajoud
Bi wissal al-moustaham
Ala rghm anf al-hassoud
Wa naqoul ya badr at-tamam
Anta sou'li bayna al-woujoud
Ya ghazali wa boughyati
Qad choughiftou bi dha al-gharam
Ya mounaya wa rahati
Min mouhibbika alf salam
Texte arabe
لِحَبِيبِي أَرْسِلْ سَلَام
كُلَّ وَقْتٍ عَسَاهُ يَجُود
بِوِصَالِ المُسْتَهَام
عَلَى رَغْمِ أَنْفِ الحَسُود
وَنَقُولْ يَا بَدْرَ التَّمَام
أَنْتَ سُؤْلِي بَيْنَ الوُجُود
يَا غَزَالِي وَبُغْيَتِي
قَدْ شُغِفْتُ بِذَا الغَرَام
يَا مُنَايَ وَرَاحَتِي
مِنْ مُحِبِّكَ أَلْفُ سَلَام
Elohim Diber BeKodsho
A Sabbath Piyyut by Rabbi David Hassine
Performed in the Andalusian mode Nouba Hijaz al-Kabir
Rabbi David Hassine (1727–1792) is considered one of the greatest Hebrew poets of Morocco. Living in Meknes, he composed more than 250 poems and piyyutim, many of which became central to Moroccan Jewish liturgical and musical traditions. His poetry draws upon Biblical Hebrew, rabbinic literature, and Kabbalistic imagery while reflecting the spiritual and cultural richness of North African Jewish life. His collected works were published under the title Tehillah LeDavid and continue to be sung throughout the Moroccan Jewish world.
Transcription française
Elohim diber be-kodsho
Yom ha-Shabbat le-kadsho
Nata shahak ve-hidsho
Ve-al yamim yissad artso
Yom shevi'i kila heftso
Kol melakha lo ta'assou
Devar mitzva lah taroutsou
Lo tikal'mou ve-lo tevoshou
Hizkou ve-imtsou hit'oshashou
Mi-be'od yom lo hakhnissou
Texte hébreu
אֱלֹהִים דִּבֵּר בְּקָדְשׁוֹ
יוֹם הַשַּׁבָּת לְקַדְּשׁוֹ
נָטַע שַׁחַק וְחִדְּשׁוֹ
וְעַל יָמִים יִסַּד אַרְצוֹ
יוֹם שְׁבִיעִי כִּלָּה חֶפְצוֹ
כָּל מְלָאכָה לֹא תַעֲשׂוּ
דְּבַר מִצְוָה לָהּ תָרוּצוּ
לֹא תִכָּלְמוּ וְלֹא תֵבוֹשׁוּ
חִזְקוּ וְאִמְצוּ הִתְאוֹשָׁשׁוּ
מִבְּעוֹד יוֹם לוֹ הַכְנִיסוּ
Traduction française
Li habibi ursil salam
Koul waqtin assahou yajoud
Bi wissal al-moustaham
Ala rghm anf al-hassoud
Wa naqoul ya badr at-tamam
Anta sou'li bayna al-woujoud
Ya ghazali wa boughyati
Qad choughiftou bi dha al-gharam
Ya mounaya wa rahati
Min mouhibbika alf salam
Texte arabe
لِحَبِيبِي أَرْسِلْ سَلَام
كُلَّ وَقْتٍ عَسَاهُ يَجُود
بِوِصَالِ المُسْتَهَام
عَلَى رَغْمِ أَنْفِ الحَسُود
وَنَقُولْ يَا بَدْرَ التَّمَام
أَنْتَ سُؤْلِي بَيْنَ الوُجُود
يَا غَزَالِي وَبُغْيَتِي
قَدْ شُغِفْتُ بِذَا الغَرَام
يَا مُنَايَ وَرَاحَتِي
مِنْ مُحِبِّكَ أَلْفُ سَلَام
Yafeh Nof / Yehuda Halevi
"Yafeh Nof" is one of Rabbi Judah Halevi's most cherished piyyutim (liturgical poems). It expresses a deep yearning for the Holy Land, reflecting his profound emotional and spiritual connection to Jerusalem. The poem beautifully describes the land’s beauty and the deep longing for the sacred city, highlighting its historical importance and divine glory. Through his words, Halevi conveys a powerful sense of attachment to the land, viewing it as the spiritual and physical heart of the Jewish people. This piyyut encapsulates his devotion and idealization of Jerusalem, which he saw as a place of ultimate spiritual fulfillment.
To Jerusalem / Yehuda Halevi
O fair of view! World’s joy! Great monarch’s home!
For you, from earth’s far end, my spirit yearns.
Compassion stirs in me when my mind turns
To your lost cloister and its splendor’s doom.
Would that on an eagle’s wings I flew
To mix the water of my tears with your parched clay!
Always I think of you—and though your king’s away,
And snakes and scorpions scuttle where once grew
Your balm of Gilead, your stones and earth
Would taste when kissed like honey in my mouth
Translation by Hillel Halkin
יפה נוף / ר' יהודה הלוי
יְפֵה נוֹף מְשׂוֹשׂ תֵּבֵל קִרְיָה לְמֶלֶךְ רָב
לְךָ נִכְסְפָה נַפְשִׁי מִפַּאֲתֵי מַעְרָב
הֲמוֹן רַחֲמַי נִכְמָר כִּי אֶזְכְּרָה קֶדֶם
כְּבוֹדֵךְ אֲשֶׁר גָּלָה וְנָוֵךְ אֲשֶׁר חָרַב
וּמִי יִתְּנֵנִי עַל כַּנְפֵי נְשָׁרִים עַד
אֲרַוֶּה בְדִמְעָתִי עֲפָרֵךְ וְיִתְעָרָב
דְּרַשְׁתִּיךְ וְאִם מַלְכֵּךְ אֵין בָּךְ וְאִם בִּמְקוֹם
צְרִי גִּלְעֲדֵךְ נָחָשׁ שָׂרָף וְגַם עַקְרָב
הֲלֹא אֶת אֲבָנַיִךְ אֲחוֹנֵן וְאֶשָּׁקֵם
וְטַעַם רְגָבַיִךְ לְפִי מִדְּבַשׁ יֶעְרַב
Yehuda Halevi, a renowned Jewish poet of the Golden Age of Spain, was not only a master of Hebrew poetry but also a philosopher and physician who wrote in both Hebrew and Arabic. Despite his success, he left Spain in his later years to fulfill his deep spiritual longing for the Land of Israel, where he ultimately died. His poetry blends personal devotion, national longing, and religious themes, making him a pioneering figure in Jewish literature. He also wrote The Kuzari, a philosophical work in Arabic that defends Judaism through a dialogue between the King of the Khazars and a Jewish scholar. This book became a foundational text in Jewish philosophy. Halevi broke new ground by intertwining spirituality with emotional depth, influencing both Hebrew poetry and Jewish thought for centuries. His legend, particularly the story of his tragic death at Jerusalem’s gates, further cemented his legacy.
Ya Belaredj
Ya Belaredj ya tawil el-gaïma
Ah ya saken bein el-ghoraf ettnin
La ter’ach fi bahira Lalla
Moulat el-khelkhal bou ratleen
Ah yema yema chouchti mafzoura
Hado sab’ snin ma sallit
Ki jit n’ssai w nsit es-soura
Tfakkart khalili w bkit
W ida mit w radli maktoubi
Dirou gabri ‘and bab el-beyt
Nebki w ngoul ya mahboubi
Malek ya welfi ‘alach btit
Ah yema yema fi nahar el-joum’a
Ya yema yetsamhou l-arwah
Kharajli w ‘ayounou b’dam’a
Gatlou Allah ysamhak, arwah
Yema yema li’yati maktouba
W elli habito mcha w khalani
Mach ydir elli tarak et-touba
Rahi ed-dam’a kahret ‘ayani
Ah ya Belaredj ya tawil el-gaïma
Ya lli saken bein el-ghoraf ettnin
La ter’ach fi bahira Lalla
Moulat el-khelkhal bou ratleen
يا بلارج
يا بلارج يا طويل القايمة
اه يا ساكن بين الغرف الاتنين
لا ترعاش في بحيرة لالا
مولاة الخلخال بو رطلين
اه يما يما شوشتي مظفورة
هادو سبع سنين ما صليت
كي جيت نصاي و نسيت السورة
اتفكرت خليلي و بكيت
و اذا مت و رادلي مكتوبي
ديرو قبري عند باب البيت
نبكي و نقول يا محبوبي
مالك يا ولفي علاش بطيت
اه يما يما في نهار الجمعة
يا يما يتسامحو لرواح
خرجلي و عيونو بالدمعة
قتلو الله يسامحك ارواح
يما يما ليعتي مكتوبة
و اللي حبيتو مشى و خلاني
ماش يدير اللي ترك التوبة
راهي الدمعة قهرت عياني
اه يا بلارج يا طويل القايمة
يا للي ساكن بين الغرف الاتنين
لا ترعاش في بحيرة لالا
مولاة الخلخال بو رطلين
Istikhbar - استخبار | a Musical Intro
In Music (Andalusian & North African Traditions) – Istikhbar refers to an improvised vocal introduction in classical Algerian and Andalusian music, often performed a cappella. It serves as a free, unmetered prelude that showcases the singer's skill and sets the mood for the following piece. In this context, it can be translated as "musical prelude," "improvisation," or simply "vocal improvisation.
הנה לך תיטב זמרת אנוש
על כן אודך
בעוד תהיה נשמת אלוה בי
בעוד תהיה נשמת אלוה בי
Fadila Dziria (1917–1970) was a renowned Algerian singer known for her contributions to hawzi and shaabi music. Born in Algiers, she became a key figure in preserving Andalusian musical traditions while also embracing popular styles. With her powerful voice and expressive interpretations, she captivated audiences and played a crucial role in promoting Algerian music, particularly in the mid-20th century. Despite facing societal challenges as a female performer, she established herself as a respected artist and remains an important figure in Algeria’s musical heritage.
Haouzi music is another style of Algerian music. It took the melodies of Andalusian music and modernized them. Haouzi music is most often played at weddings and ceremonies.
Maqam Zarka / C
C – D – E – F – G – A – B♭ – C
To Jerusalem /Yehuda Halevi
יפה נוף / ר' יהודה הלוי
יְפֵה נוֹף מְשׂוֹשׂ תֵּבֵל קִרְיָה לְמֶלֶךְ רָב
Yafeh nof mesos tevel kiryah lemelech rav
O fair of view! World’s joy! Great monarch’s home!
לְךָ נִכְסְפָה נַפְשִׁי מִפַּאֲתֵי מַעְרָב
Lecha niksefa nafshi mi'pa'atei ma'arav
For you, from earth’s far end, my spirit yearns.
הֲמוֹן רַחֲמַי נִכְמָר כִּי אֶזְכְּרָה קֶדֶם
Hamon rachamai nikmar ki ezkerah kedem
Compassion stirs in me when my mind turns
כְּבוֹדֵךְ אֲשֶׁר גָּלָה וְנָוֵךְ אֲשֶׁר חָרַב
Kevodech asher galah ve'no'vech asher charav
To your lost cloister and its splendor’s doom.
וּמִי יִתְּנֵנִי עַל כַּנְפֵי נְשָׁרִים עַד
Umi yitneni al kanfei nesharim ad
Would that on an eagle’s wings I flew
אֲרַוֶּה בְדִמְעָתִי עֲפָרֵךְ וְיִתְעָרָב
Araveh b'dim'ati afarech v'yit'arav
To mix the water of my tears with your parched clay!
דְּרַשְׁתִּיךְ וְאִם מַלְכֵּךְ אֵין בָּךְ וְאִם בִּמְקוֹם
Drashtich v'im malkech ein bach v'im bimkom
Always I think of you—and though your king’s away,
צְרִי גִּלְעֲדֵךְ נָחָשׁ שָׂרָף וְגַם עַקְרָב
Tzuri Gil'adch nachash saraf v'gam akrav
And snakes and scorpions scuttle where once grew
הֲלֹא אֶת אֲבָנַיִךְ אֲחוֹנֵן וְאֶשָּׁקֵם
Halo et avaneich achonen v'esha'kem
Your balm of Gilead, your stones and earth
וְטַעַם רְגָבַיִךְ לְפִי מִדְּבַשׁ יֶעְרַב
V'ta'am regavayich lefi midvash ye'arav
Would taste when kissed like honey in my mouth.
Chorus:
Yafeh nof mesos tevel kiryah lemelech rav
Lach niksefa nafshi mi'pa'atei ma'arav
Arabic:
Ya Belaredj ya tawil el-gaïmaAh ya saken bein el-ghoraf ettninLa ter’ach fi bahira LallaMoulat el-khelkhal bou ratleen
Verses:
1. Hamon rachamai nikmar ki ezkerah kedem
2. Kevodech asher galah ve'no'vech asher charav
3. Umi yitneni al kanfei nesharim ad
4. Araveh b'dim'ati afarech v'yit'arav
Bebehilu Yatzanu MiMitzrayim
This text comes from the Passover Haggadah, recited during the Seder night. It reflects the story of the Exodus from Egypt and the hope for future redemption. Among Moroccan Jews, Leil HaSeder is marked by vivid rituals, lively melodies, and symbolic reenactments of the Exodus—such as carrying the seder plate over the heads of guests while chanting "Bebehilu Yatzanu MiMitzrayim", to bring the story to life.
The Moroccan-Andalusian melody follows the Andalusian piyyut tradition, featuring maqam-based modal structures influenced by Andalusian nubah. Often performed around the Seder table in a call-and-response style, it is sung while lifting the Passover plate over the heads of family members, accompanied by wishes and blessings. This unique tradition blends solemnity with joy, preserving the rich Sephardic and North African Jewish heritage.
Bebehilu Yatzanu MiMitzrayim,
In haste, we left Egypt
Ha Lhma Ania,
this is the bread of affliction
Bnei Horin,
we are now free
Leshana Haba’a BiYerushalayim
next year in Jerusalem
בִּבְהִילוּ יָצָאנוּ מִמִּצְרַיִם –
הָא לַחְמָא עַנְיָא בְּנֵי חוֹרִין,
לשנה הבאה בירושלים.
To You, my Rock, who dwells on high,
I will sing a song— a psalm, a meditation. My eyes gaze toward You in silent devotion, Praise to God in Zion.
Remember the storm-tossed, impoverished vine, Moaning as she dwells in Zion.
Gather my scattered ones, my exiles as well,
O Supreme God, who calls from the dawn of time.
A branch shall emerge from the stem of Yishai, And a shoot from his roots shall bear fruit.
אליך צורי שוכן עליה / ר' דוד חסין
אֵלֶיךָ צוּרִי שׁוֹכֵן עֲלִיָּה אָשִׁיר שִׁיר מִכְתָּם וְשִׁגָּיוֹן
עֵינִי צוֹפִיָּה לְךָ דּוּמִיָּה תְּהִלָּה לֵאלֹהִים בְּצִיּוֹן
וּפְקֹד גֶּפֶן סוֹעֲרָה עֲנִיָּה הוֹמִיָּה יוֹשֶׁבֶת בְּצָיוֹן
קַבֵּץ נְפוּצַי גַּם מְגֹרָשַׁי אֵל עֶלְיוֹן מֵרֹאשׁ דּוֹרוֹת קֹרֵא
וְיָצָא חֹטֶר מִגֶּזַע יִשָׁי וְנֵצֶר מִשָּׁרָשָׁיו יִפְרֶה
אליך צורי שוכן עליה / ר' דוד חסין
אֵלֶיךָ צוּרִי שׁוֹכֵן עֲלִיָּה
Eilekha Tzuri shokhen aliyah
To You, my Rock, who dwells on high,
אָשִׁיר שִׁיר מִכְתָּם וְשִׁגָּיוֹן
Ashir shir miktam ve-shiggayon
I will sing a song— a psalm, a meditation.
עֵינִי צוֹפִיָּה לְךָ דּוּמִיָּה
Eini tzofiyah lekha dumiyah
My eyes gaze toward You in silent devotion,
תְּהִלָּה לֵאלֹהִים בְּצִיּוֹן
Tehillah le-Elohim be-Tziyon
Praise to God in Zion.
וּפְקֹד גֶּפֶן סוֹעֲרָה עֲנִיָּה
Uf’kod gefen so’arah aniyah
Remember the storm-tossed, impoverished vine,
הוֹמִיָּה יוֹשֶׁבֶת בְּצָיוֹן
Homiyah yoshevet be-Tziyon
Moaning as she dwells in Zion.
קַבֵּץ נְפוּצַי גַּם מְגֹרָשַׁי
Kabetz nefuẓai gam megorashai
Gather my scattered ones, my exiles as well,
אֵל עֶלְיוֹן מֵרֹאשׁ דּוֹרוֹת קֹרֵא
El Elyon mero’sh dorot koreh
O Supreme God, who calls from the dawn of time.
וְיָצָא חֹטֶר מִגֶּזַע יִשָׁי
Veyatza ḥoter mi-geza Yishai
A branch shall emerge from the stem of Yishai,
וְנֵצֶר מִשָּׁרָשָׁיו יִפְרֶה
Ve-netzer mi-shorashav yifreh
And a shoot from his roots shall bear fruit.
يا وحدة العصري في الجمالي
وطلعة البدري في الكمالي
O Unique One of the era, full of beauty,
And your appearance is of high destiny and perfection.
Ya wahda el-‘asri fi el-jamāli *2
Ou tlā‘ta el-badri fi el-kamāli
This piyyut was written by Rabbi David Hassin (1727–1792), one of the most important and influential poets of Morocco in the 18th century. He was the first to publish a structured codex of his poetry, Tehila LeDavid, which became a cornerstone of Moroccan Jewish liturgical music. His songs blend tradition, Kabbalistic thought, and deeply emotional depictions of communal life and redemption.
Nerdi Natan Reicho / Rabbi Avraham Ibn Musa
Nerdi Natan Reicho is a special Jewish poem (piyut) sung on Shavuot, when God gave us the Torah.
It was written long ago by Rabbi Avraham Ibn Musa in Spain, and later sung with melodies from Morocco.
The words mean “My perfume gave its smell” , a way of saying the Torah is beautiful, like a sweet smell.
The poem tells how God gave the Torah on Mount Sinai, and ends with a prayer for peace and blessings.
Rabbi Avraham Ibn Musa was a wise Jewish teacher from Morocco. He learned Torah, taught others, and helped people make good choices. He lived in cities like Tetouan, Salé, and Tunis. A long time ago, in 1733, he passed away, but we still remember his songs and teachings today.
נרדי נתן ריחו / ר' אברהם אבן מוסה
נִרְדִּי נָתַן רֵיחוֹ מֶלֶךְ בִּמְסִבּוֹ
יוֹם עָשָׂה ה' נָגִיל נִשְׂמַח בּוֹ
2. הַר סִינַי בּוֹ נִגְלָה לְעַם זִכָּהוּ
שָׁם שָׂם חֹק וּמִשְׁפָּט וְשָׁם נִסָּהוּ
עֶשֶׂר דִּבְּרוֹתָיו שָׁמָּה צִוָּהוּ
לְרוּם הַמַּעֲלוֹת אָז הֶעֱלָהוּ
לִמְכוֹן שִׁבְתּוֹ אֲשֶׁר שָׁמָּה מִשְׁכָּנוֹ
1. אֵל נָתַן לְעַמּוֹ תּוֹרָה תְמִימָה
יָפָה כַלְּבָנָה בָּרָה כַּחַמָּה
נוֹתֶנֶת לִפְתָאִים דַּעַת וּמְזִמָּה
יָרְדָה מִשְּׁחָקִים מִשְּׁמֵי רוֹמָה
לְעָם אֲשֶׁר אָהַב בְּכָל לְבָבוֹ
3. מִסּוֹעָה וָסַעַר מִפְלָט הָחִישָׁה
וְהוֹצֵא מִתּוֹךְ כּוּר אֶבֶן הָרֹאשָׁה
סְמוֹךְ הַנּוֹפְלָה עֵדָה קְדוֹשָׁה
נִשְׁמַת חַי תְּבָרֵךְ נֶעֱרָץ בִּקְדֻשָּׁה
וְרוּחַ כָּל בָּשָׂר נִשְׁמַת חַיִּים בּוֹ
נִרְדִּי נָתַן רֵיחוֹ מֶלֶךְ בִּמְסִבּוֹ
Nirdi natan reicho, melech bimsibo
יוֹם עָשָׂה אֲדֹנִי נָגִיל נִשְׂמַח בּוֹ
Yom asah Adoni, nagil nismecha bo
2. הַר סִינַי בּוֹ נִגְלָה לְעַם זִכָּהוּ
Har Sinai bo niglah le’am zikhahu
שָׁם שָׂם חֹק וּמִשְׁפָּט וְשָׁם נִסָּהוּ
Sham sam chok u’mishpat, ve-sham nissahu
עֶשֶׂר דִּבְּרוֹתָיו שָׁמָּה צִוָּהוּ
Eser dibrotav shamah tzivahu
לְרוּם הַמַּעֲלוֹת אָז הֶעֱלָהוּ
Lerum ha-ma’alot az he’ela-hu
לִמְכוֹן שִׁבְתּוֹ אֲשֶׁר שָׁמָּה מִשְׁכָּנוֹ
Limchon shivto asher sham mishkano
1. אֵל נָתַן לְעַמּוֹ תּוֹרָה תְמִימָה
El natan le’amo Torah temimah
יָפָה כַלְּבָנָה בָּרָה כַּחַמָּה
Yafah ka-levanah, barah ka-chamah
נוֹתֶנֶת לִפְתָאִים דַּעַת וּמְזִמָּה
Notenet lifta’im da’at u’mezimah
יָרְדָה מִשְּׁחָקִים מִשְּׁמֵי רוֹמָה
Yardah mishchakim mi-shmei romah
לְעָם אֲשֶׁר אָהַב בְּכָל לְבָבוֹ
Le’am asher ahav bechol levavo
3. מִסּוֹעָה וָסַעַר מִפְלָט הָחִישָׁה
Misso’ah va-sa’ar miflat hechishah
וְהוֹצֵא מִתּוֹךְ כּוּר אֶבֶן הָרֹאשָׁה
Ve-hotzi mitoch kur even ha-roshah
סְמוֹךְ הַנּוֹפְלָה עֵדָה קְדוֹשָׁה
Smokh ha-noflah, eidah kedoshah
נִשְׁמַת חַי תְּבָרֵךְ נֶעֱרָץ בִּקְדֻשָּׁה
Nishmat chai tevarekh, ne’eratz bikdushah
וְרוּחַ כָּל בָּשָׂר נִשְׁמַת חַיִּים בּוֹ
Veruach kol basar, nishmat chayyim bo