Miscellaneous Musical Terms and Phrases

a capella Italian. (lit. - in the style of the chapel) 1. a song without an independent instrumental accompaniment.

ACCOMPANY, to (la-nä-tsa'-chä) [H5329] 1. literally meaning to support. In the context of 1 Chronicles 15:21 in which this term is used specifically in relation to the function of the lyre players within the musical ensemble of the Levites, this term relates to the supporting role provided by the lyres. This supporting role was most likely associated with the manner in which the lyres accompanied or supported the singers and the harps. Due to the inherent physical characteristics and tuning of the lyres, this type of accompaniment was most logically by providing the chording backing over which the melody of the singers and the harps rode. 2. Used in reference to the Tabernacle and later Temple systems, this term relates to the non-priest members of the Levite family who acted as the support personnel to the priests. 3. to provide oversight, to oversee, manage.

accordatura 1. a defined set of pitches used to tune a string instrument like the lyre, harp, guitar, etc. A synonym for a tuning.

AMEN (ä-mën') [H0543] 1. a verbal acknowledgement by a group of people or an individual signifying agreement to a statement or act (e.g., so be it). In the Psalm manuscripts, amen is used in the concluding portions of four of the five divisions in which the manuscripts are traditionally divided (see traditional divisions of the Psalms). 2. in contemporary music, the amen is a compositional device often utilized as an ending phrase that is sung by the congregants or played instrumentally to conclude a sacred song or composition. Occurring as a IV-I [major] sub-dominant to tonic progression or iv-i [minor], the amen is technically referred to as a plagal cadence.

AMPLITUDE 1. how loud or soft a sound is heard or played. A synonym for intensity.

asosra (Greek ä-sos-rä) 1. Greek transliteration of the Hebrew word  (chä-tsots-rä'). In the account of Josephus, he states that the sound of the type of trumpets made by Moses was asosra ("Its sound was called in the Hebrew tongue asosra'" - Antiquities of the Jews, 3:291). In a very general sense, the use of the phrase its sound by Whiston may be acceptable. However, upon closer examination of the Greek words from which he is translating, we find a far deeper and meaningful understanding. The phrase its sound is translated from the two Greek words,  and .

to call, to summon
down or downwards

The Greek words appear to be referring to a specific, recognizable sound associated with the trumpets that would call or summon down, in other words - a call to assemble. Josephus now states that this call to assemble was referred to in the Hebrew tongue, asosra. As within our own language, foreign words are often assimilated into another language phonetically. It appears that this may have been the case with the use of this word. In the Scriptures, there is a Hebrew word that not only closely matches the phonetics of asosra, but is also used in reference to the silver trumpets - a word traditionally translated as a single trumpet and found only once in Hosea 5:8

Greek		Hebrew
	=
äsosrä		chä-tsots-rä'

Following the verbiage and description of Josephus, the translation of a "call to assemble" should be given consideration as a possible expansion to the traditional "single trumpet" translation and understanding this usage may imply within the context of this single occurrence.

BLOWN INSTRUMENTS 1. a family of hollow, tubular instruments terminated with a mouthpiece on one end and flared bell or wider opening on the other. Sound is created on these types of instruments by pursing the lips on the mouthpiece and buzzing. The number of tones playable on a blown instrument is determined by the bore-to-length ratio of the instrument (the bore being the technical term used for the diameter of the tubing and the length being how long the particular tubing is). Another consideration in the number of playable tones is the technical ability of the player. The specific tones that are playable are however, always in relation to the defined sequence of harmonics that occur above the instruments' lowest theoretical tone or fundamental (i.e., the pedal tone). Due to the small bore-to-length ratio of instruments like the shofar and the silver trumpets, there is generally only one playable primary tone and a few artificial lipped tones. 2. modern brass instruments like the trumpet, bugle, trombone, euphonium and tuba are also considered blown instruments in this context. -aka aerophones

BRONZE (na-cho-shët') [H5178] as used in relation to the melodic cymbals of the Levites 1. an alloy (mixture) of copper (a common metal in Biblical times) and tin (a rare metal in Biblical times) that was specifically identified as being used for the forging of the dual tuned cymbals (crotales) utilized by the Levite singers. Mistranslated as brass in many contemporary English translations.

CALL 1. a predefined and recognizable tone or sequence of tones played by a blown signaling instrument like a bugle, trumpet, or shofar that brings about a predictable response in the listener. For example, the bugle has over twenty-four established calls that are used by the U.S. Military. Each call tells the hearer to respond in a specific way (i.e., taps - time to go to bed, reveille - time to get up). Unlike the somewhat melodic calls of bugle, the calls playable by a shofar or the two silver trumpets played by the Levite priests are very elemental by nature, fundamentally consisting of only a few tones, played in various combinations of long and short durations.
     The simplest of these calls is a single tone, referred to as the tekiah or possibly in traditional terminology, the tekiah gedolah (i.e., great tekiah) because of being held for a longer period of time. In the scriptures however, the tekiah or tekiah gedolah is simply referred to as a long, sustained blast. This simple call was the signal to Moses and the people of Israel to come to the base of the Mt. Sinai (Exodus 19:13) and the call sounded by the priests at the famous battle of Jericho (Joshua 6:5).
     The second of the Biblical calls sounded by the shofar is the teruah. In this instance, the underlying etymology of the Hebrew word appears to be its apparent mimicking of the verbal shout of war. Unlike the single tone of the tekiah, the teruah consists of short (i.e., staccato), rapid blasts on the primary tone (Leviticus 25:9). 
     Today there are four calls that are traditionally by the shofar in the Jewish community on various holy days: the tekiah, tekiah gedolah, teruah and the shevarim.

Tekiah

     The simplest of the shofar calls is the tekiah. The tekiah usually starts with a short, pickup note that quickly moves to the primary tone, a medium length in duration. The tekiah may additionally end with a short higher burst above the primary tone.

Great Tekiah

     A slight variation of the tekiah is the tekiah gedolah (i.e., the big or great tekiah) in which the primary tone is held for an extended duration of time. The tekiah gedolah is the call traditionally sounded in the Synagogue to conclude the services on Yom Kippur.

Teruah

     The third of the traditional shofar calls is the teruah. Traditionally, the teruah consists of a series of eight or more rapid and short (i.e., staccato) blasts on the primary tone, ending with an accented final tone (a total of nine primary tones) and may, like the tekiah, start with a lower pickup note that quickly moves to the primary tone.
     Within the Biblical texts, the word teruah has wide and diverse applications. On the one hand, it is the term used to define a verbal shout (e.g., 1 Samuel 4:5) and in particular the high pitched, warbling battle cry that is still heard today in the center East (e.g., Job 39:24, 25). It was also the sound associated with war and is often times translated as the alarm in English translations. The underlying etymology of the word teruah in relation to the shofar or the two silver trumpets of the priests appears to be its apparent mimicking of the verbal shout of war. The teruah was also the call sounded by the two silver trumpets that signaled the breaking of camp for the Israelites in the desert (e.g., Numbers 10:5) and the term used for a rapid, oscillating cymbal pattern (e.g., Psalm 150:5). On the other extreme, teruah is also a word for joy (e.g., Psalm 89:15 (89:26 JPS)) and even a joyous shout (e.g., Ezra 3:13).

Shevarim

     The fourth of the traditional shofar calls is the shevarim (meaning broken). The shevarim consists of six low-to-high blasts sounded in triplet (three primary notes).

Traditional calls of the shofar written in standard music notation

CHENANIAH [H3663] 1. chief of the Levites and individual responsible individual for coordinating and implementing the transport of the Ark of the Covenant by the Levites from Kiriath-Jearim to the tent erected by David at the Citadel of Zion. Even though many English translations portray Chenaniah as the leader of the Levite singers, from the limited context in 1 Chronicles 15 and the verbiage used to describe his position and function as having the knowledge of and able to instruct in the lifting and transport of the Ark (mä-sä', meaning a lifting or a burden), it appears he was not the director of the singers, but was the foreman in charge of the lifting and transportation of Ark. Chenaniah and his sons were later assigned as officials and judges over the secular business affairs for Israel and are never listed as participants within the Levite musical system.

CONDUCTOR (hä-pä-ked') [H6496] 1. a choir director, conductor or musical director of the Levite singers. (see also For the Director)

crescendo. (ho-lëkh' va-chä-zëk' ma-od') [H1980] [H2390] [H3966] 1. a technical term (i.e., a dynamic) used to indicate a section of music or sound is to increase in intensity and strength through a period of time. Literally translated as grew louder and stronger, this phrase is used in relation to the dynamics of a shofar sounded on Mt. Sinai shortly after the Exodus from the land of Egypt.

CHROMATIC SCALE 1. the twelve tones (comprised of the seven natural and five accidental tones) that are found within one octave 2. twelve consecutive keys of the piano. 3. twelve consecutive frets on the guitar finger board.

CRY OUT (ru-ä) - root [H7321] 1. to cry out or shout 2. the alarm (i.e., teruah) as used in relation to a shofar or trumpet 3. a war cry.

CYCLE of 5ths 1. the sequence derived by assembling the twelve tones of the musical scale in perfect 5ths. The exact frequency of a perfect 5th in equal temperament can be derived by multiplying a given frequency by 2.996614153753360 then dividing the result by two. The cycle of 5ths has many uses for the musician as it represents among other things: melodic and chord movement, major and minor keys, and most importantly for our discussions - the correlation between the twelve tones of the musical scale and the Hebrew alphabet.

CYMBAL (tsel) - root 1. a generic term referring to a broad family of instruments consisting of singular or paired, circular, doomed or flat metal plates made of bronze (ancient types) or other composite materials such as brass (modern types). Depending on the thickness and diameter of the plate or plates, cymbals can produce a wide range of sounds from the 'crash' of hand cymbals (like those used in concert or marching band), the 'tinkle' of finger cymbals (like used in center Eastern dance), to the defined tones and pitches of the thicker tuned cymbals (aka pitched cymbals, melodic cymbals, crotales.

CYMBALS of TERUAH (ba-tsel-tsa-la' ta-ru-ä') [H6767] [8643] 1. a rapidly oscillating rhythm that is characteristic of the sound produced by a cymbal clapper or cymbal roll played with the finger cymbals of center Eastern dancers.

DIN (hä-mon') [H1995] 1. derogatory term used in relation to the songs of the people (Ezekiel 26:12) and the songs of the Temple (Amos 5:23). Additional translations include noise, multitude.

DRUMMING [H8068] 1. as relating to the frame-drum (Psalm 68:25 (68:26 JPS)). 2. as relating to the sound of doves beating their breasts (Nahum 2:7 (2:8 JPS)).

DURATION 1. the length of time that a sound is held for or remains sounding.

EMBOUCHURE 1. from the French word bouche (meaning mouth), the word embouchure literally means 'to put into the mouth.' In the context of playing a wind instrument, embouchure refers to the overall technique used to form the lips in relation to a mouthpiece. With blown instruments like the trumpet and shofar, the embouchure is formed by the pursing of the lips on a mouthpiece and buzzing while blowing outward. On a pipe instrument like the flute, the embouchure relates to the technique by which the lips are pursed while blowing across a sound hole (like blowing on the neck of a soda bottle) -see Hosea 8:1

ETHAN (ay-tän') [H0387] 1. another name for Jeduthun.

falsetto. 1. Derived from the Hebrew word for a young woman, two of the three occurrences within the Scriptures are found in the technical superscriptions of Psalm 9:1 and 46:1 and refer to singing in a falsetto (i.e., feminine-like) voice by a male singer or a soft head-tone. In a technical sense, the falsetto is created when only the outer edges of the vocal chords are allowed to vibrate (maximal elongation of the vocal chords with minimal glottis gap). In a practical sense, the sound of the falsetto for a male singer is much thinner and mimics the sound and range of the female soprano voice generally an octave higher than the same tones sung in the chest tone of a male baritone or tenor (the normal singing range of the male voice). As females and Levite men under the age of 30 were not permitted to serve as singers in the service-of-song, this may have been a vocal technique employed by the Levites to create more diversity in their vocal presentations. 2. A reference to a specific type of harp used by the Levite musicians in marching formation (i.e., when the ark was moved to Jerusalem). Due to the weight and size of the concert harp, this usage may have indicated that the harp was a smaller, more portable type of instrument was employed on this occasion, a soprano or falsetto harp. This type of instrument clarification if still used today when naming smaller (more feminine) instruments like a soprano saxophone, soprano trumpet, etc.

FANFARE [H2690] 1. The act of playing a defined type of trumpet call executed by multiple instruments that is used to precede, announce or highlight an important event. [bracketed] words are notated marginal variations.

FISHING SPEAR (tsïl-tsäl') [H6767] 1. a singular form relating to the shape of a pronged fishing spear and the apparent etymology of the fork-like shape of a cymbal clapper. - also see locust

FLUTE 1. a type of woodwind instrument of the blown pipe family with a dark, sweet tone. Made from a reed that had been hollowed and bored, the different pitches are created (like modern flutes) by opening or closing combinations of holes in the body of the instrument as the player blows across an open hole at the end of the pipe.

forte. or f. (chä-zäk' ma-od') [H2390] [H3966] 1. literally translated as loud or strong, this phrase is used only once in relation to the shofar that was sounded on Mt. Sinai after the Exodus from the land of Egypt. - see also crescendo.

GAPPED TUNING 1. a type of tuning in which the strings of a string instrument like the lyre are tuned in various combinations of major and minor thirds (skipping every other scalewise tone) thus enabling the chords to be easily played.

GOD (ël) [H0410] 1. when used as a noun, the Hebrew word ël is a term for God (as in the Creator) or god (as in a lesser god or a mighty one). 2. when used as a preposition, ël implies the English word to or towards. 3. the tritone (D and G#) related to the E dominant 7th chord (i.e., 3rd and 7th tones) in the key of A minor. In relation to the cycle of 5ths and the Davidic cipher the Hebrew word ël harmonically resolves to Yäh (i.e., D and G# resolve to C and A). 4. The vertical axis of the cycle of 5ths. -(see Psalm 120:1 ël Yäh-vah, God, Yahveh)

GOLD (zä-häv') [H2091] 1. the precious metal used to make the bells of gold that were sewn to the hem of Aaron's robe.

HALELU YAH (hä-la-lu' Yäh) 1. derived from the two Hebrew words halelu (an imperative verb literally meaning praise you) [H1984] [the admonition to boast about the accomplishments of another and especially the Creator] and Yäh [H5030], the translated word hallelujah (literally meaning praise you Yah) occurs primarily as a two-word phase and only once as a single word in the Scriptures in Psalm 106:1.
     Unique to the book of Psalms, this recurring text apparently served as a musical device and cadence to the introduction and conclusion of specific Psalm manuscripts. Only in Psalm 135:3 does hallelujah occur within the body of the Psalm text. Translated traditionally as "Praise ye the Lord" (KJV), "Hallelujah" (JPS), "Haleluya" (JBK), "Alleluia" (JB), " " [alleluiah] (Greek), "alleluia" (Latin). -(see Halelu Yah in the main texts for more detail)

HAND-CLAP [H8628] [H3709] verb 1. literally to strike the palm of the hand.

HARMONICS 1. a series of naturally occurring pitches called overtones or partials that sound at defined intervals and varying amplitudes above the fundamental of a particular instrument (i.e., 1 1 5 1 3 5 b7 1 2 3 #4 etc.). 2. the parameter of a sound that gives an instrument its characteristic tone color or timbre. 3. The tones that are playable and written for all blown instruments like bugle, trumpet and shofar. The fundamental, also referred to as the pedal tone, is generally not playable or desirable on smaller bore instruments like the shofars and silver trumpets. 4. the sound created on a stringed instrument (like the lyre, harp or guitar) when the string is lightly touched at: a. 1/2 the string length (i.e., the 1st harmonic sounding a perfect octave above the open string (the fundamental) b. 2/3 its' length (i.e., the 2nd harmonic sounding a perfect 13th above the open string) c. 1/4 its' length (i.e., the 3rd harmonic sounding two octave above the open string).

HARMONIC SERIES 1. the sequence of harmonics that naturally occur and sound in varying amplitudes above the fundamental of a particular instrument or string (i.e., 1 1 5 1 3 5 b7 1 2 3 #4 etc.).

HARMONIOUS (nä-em') [H5273] 1. in a musical context; implies the sense of being musical, pleasing to the ear, pleasant-sounding 2. in a non-musical context, implies the sense of things working or fitting together in agreement. Traditionally translated as delightful, pleasant, etc.

HEBREW (ïv-re') [H5680] 1. a term applied initially to Abram [Abraham] meaning a foreigner, one from beyond, from the other side, etc.

HORN 1. a term used in relation to the animal horn from which a shofar is made. 2. a synonym for a shofar.

HORSE BRASS (ma-tse-lot') [H4698] 1. Horse brasses (horse amulets), as they are referred to in modern times, were circular ornamental plates (amulets used to ward off the effects of the evil-eye or to bring good luck) that were attached to the harnesses of a horse. Roman horse brasses have been found dating back 1,500 years in England.

(artist rendering)

Possibly due to its circular cymbal-like footprint, the Hebrew word (from the same root as the word for cymbal - tsel) implies a cymbal-like faceplate, worn by a horse and inscribed with the words; Holy to Yahveh. Although translated as bells in many modern translations, there is no indication from the single Scriptural context in which the word occurs that this was a musical device of any sort.

IMPROVISE (hä-por-tem') [H6527] 1. to make up or to create variations of an existing melody or theme extemporaneously with the voice or an instrument. Used only once in relation to the playing of extemporaneious melodies over the sound hole (i.e., mouth) of the harp. (see harp in the main texts)

INSTRUMENTS (ka'-la) [H3627] 1. In relation to the music of the Scriptures, this term refers to constructed devices that are able to play musical tones and used primarily in relation to the string instruments and cymbals played by the Levites (i.e. lyres, harps and cymbals). 2. a musical instrument. 3. in a non-musical sense refers to devices, weapons, etc. (see Concordance: instruments of song for detailed listing)

INTENSITY 1. how loud or soft a sound is heard or played 2. a synonym for amplitude.

ISRAEL, ISRAELITE
Who and what the term Israel and Israelite refer to is dependant on the time period and context in which the terms are used:

1. the name of Jacob

Time Period: prior to entering the land of Egypt

Israel - the name given to Jacob; the son of Isaac, the grandson of Abraham (Genesis 32:29 [32:28 JPS])

2. Twelve sons of Jacob (a collective term for his children)

Reuben, Simeon, Levi, Judah, Dan, Naphtali, Gad, Asher, Issachar, Zebulon, *Joseph and Benjamin

Time Period: entering the land of Egypt

Israelite (lit. children of Israel) - The extended family unit consisting of the twelve sons of Israel and their families who entered the land of Egypt. (*Joseph and his family were already in Egypt) (Genesis 46:8-27)

3. Twelve tribes of Israel

Time period: three months after the Exodus from Egypt

Israel - Reuben, Simeon, Judah, Dan, Naphtali, Gad, Asher, Issachar, Zebulon, [Ephraim, Manasseh - the sons of Joseph], and Benjamin

Israel, Israelite - The collective people descended from the sons of Jacob PLUS his grandsons Ephraim and Manasseh (the two sons of Joseph) but NOT including the descendants of Levi who were separated from the general population to serve in the Tabernacle system (Numbers 1:2-3, 47)

4. Northern 'ten-tribe' kingdom of Israel

Time period - ca. 1,100 B.C.E.

Israel - the ten families who had initially aligned themselves with Saul, also known as the house of Saul and the later after the death of Solomon, the Northern Ten Tribe Kingdom.
Reuben, Simeon, Dan, Naphtali, Gad, Asher, Issachar, Zebulon, Ephraim and Manasseh

the Southern 'two-tribe kingdom of Judah (aka house of David) included Judah, Benjamin and the Levites. (2 Kings 17:1, 18:1)

5. Remnant of Israel

Time Period - ca. 740 B.C.E.

Israel, Israelite - Around the year 740 B.C.E. the collective family groups of Israel (i.e., the Northern ten-tribe kingdom) were deported into Assyria and all further references to them lost in antiquity [the lost tribes of Israel] (2 Kings 17:1-23). From this juncture forward and into the common era, the term Israel refers to the descendants of Judah and Benjamin PLUS the Levites who served at the Temple in Jerusalem prior to 70 C.E.

6. Nation of Israel

Time Period - ca. 1948 CE

Israel - In modern times, Israel refers to the area of Palestine that was made into the State of Israel in 1948 CE. A nation who primary citizenship was to be the alleged descendants of Judah, Benjamin AND the Levites (i.e., the Southern two-tribe kingdom).

JUBAL 1. a descendant of Adam through Cain and referred to as the father of all who handle the lyre and the ugav.

JUBILEE

LAMENT

LAMENTATION 1. a type of dirge

LEAD SHEET 1. contemporary terminology for a written document containing information that will enable a musician or singer to recreate a composition or song. A properly engraved lead sheet will generally contain the following information: (see Psalm 150, Psalm 117, Psalm 136, Psalm 96 and Psalm 23 as examples)

• Title: the name of the song
• Music by: who composed the melody
• Words by: author of the lyrics
• Tempo: how fast or slow the song is to be played
• Time Signature: How many beats in a measure, type of note that receives 1 beat
• Key: Where the pitches fall in relation to a tonal center
• Style: a general sense of how the song is to be played Instrumentation: what instruments or vocals to be used
• Melody: the tones on which the lyrics are to sung
• Harmony: a secondary vocal or instrumental melody that compliments the main melody
• Lyrics: the words of the song
• Chord Progressions: a suggested set of chords used to accompany the song
• Copyright Notice: the person or organization who controls the rights to print and distribute the song or arrangement

LOCUST, [the]1. a singular form relating to the insect or the sound produced by the wings of the locust and apparant etymology for the Hebrew word for cymbal. (see also fishing spear)

LONG BLAST 1. terminology used in relation to the shofar for a long, sustained blast. - (see also tekiah gedolah)

LYRICS 1. literally, words of song.

Mt. SINAI 1. This location in the texts is referred to as in various places as "Horeb," "Mt. Sinai," and the "Mountain of God." Like most locations in the ancient manuscripts, the exact location of Mt. Sinai has been lost in antiquity. Some believe that Mt. Sinai was located at present day Jabal Musa (Gebal Musa) [Mount Moses in Arabic], a mountain located in the Southern Sinai Peninsula (28.53417 N, 33.97361 E). Early Christian writings (Galatians 4:25) place Mt. Sinai near the ancient city of Petra (a major trade center and former Nabatean capital in present Jordan (30.20 N, 35.22 E). A logical place considering the scope of materials that would be needed to sustain the people and complete the Tabernacle project.

MUSIC NOTATION 1. a system of written symbols permitting a composer to indicate specific tones to be played or sung by a performer thus enabling an instrumentalist or singer to replicate a specific sequence of defined tones. (see also Psalm superscriptions: from an engraving)

MUSICAL INSTRUMENTS - (see instruments and Concordance: song instruments for detailed listing)

PIPED - verb [H2490] . 1. used only once in the book of 1 Kings in relation to the reed-pipe (chä-lel') -(see also reed-pipe)

PRAISE, PRAISES [H8416] 1. words and phrases used to extol and recount the deeds of another, especially the Creator.

RAM 1. a male sheep 2. a synonym for a shofar. - see also Jubal, Jubilee

ROAR verb. 1. an allusion to the sound made by the reed-pipes, as in the roaring of the sea.

ROSH HASHANAH 1. the phrase Rosh Hashanah, meaning, first or head (rosh) of the year (hä-shä-nä), occurs on the first and second days of the seventh Hebrew month Tishri (in relation to the Gregorian calendar, Tishri can fall at various times during the months of September and October). Although the phrase Rosh Hashanah does not occur in any of Scriptural texts, it does reference the Scriptural accounts found in Numbers 29:1 and Leviticus 23:24 (i.e., the first day of the seventh month). It was to be a day when no laborious work was to be done, a day to meet together in sacred assembly and a day heralded by the shofar. It was to be a day of joy and a memorial or remembrance of joy (traditionally translated as a day of teruah and a memorial or remembrance of teruah). 2. In our present times, the shofar is still sounded on Rosh Hashanah with the calls of tekiah, teruah and shevarim.

shalishim 1. a plural term of uncertain meaning relating to the women who came out to meet David after he slew Goliath. Possibly some type of rhythm instrument. Translated in contemporary translations as: "three-string instrument" - JPS; "instruments of music" - KJV; "sistrums" - NJB; "cymbals" - LXX

SILVER 1. the metal used to construct the two silver trumpets.

SOPRANO HARPS 1. a smaller, more portable soprano harp used in the marching ensemble of the Levite musicians.

SOUND, to verb., 1. derived from the Hebrew root tqa, the subsequent words are used to define the physical act of playing, sounding, or blowing instruments like the shofar or trumpet. 2. to concussively strike the palm of the hand with the other hand. see hand-clap

SOUND-HOLE 1. Literally translated as mouth of the harp this phrase refers to the oblong hole carved into the body of the harp that is initially used to carve the interior of the body and secondarily as the sound-hole for the sounding chamber. (see harp for more details)

SOUND of [the] SHOFAR [H6963] [H7782] , ) 1. the sound or voice of the shofar as expressed in the Biblical Hebrew.

STRING PLAYER - noun [H5059] 1. derived from the Hebrew root ngn, refers to a person or persons who play a string instrument like the harp or lyre. (see Concordance: ngn for detailed listings).

STRINGS 1. used only once in Psalm 150:4 may be a generic term for a string ensemble of some sort.

STRING, STRINGS [H5058] 1.derived from the Hebrew root ngn, refers to a string instrument like the harp or lyre. (see Concordance: ngn for detailed listings).

TEN 1. a term relating to a ten-string harp and an *unknown string instrument of ten strings.

TERUAH 1. a specific call of a shofar or silver trumpets 2. rapidly oscillating cymbal pattern 3. joy 4. shout

TRUMPETS (chä-tsots-rot') [H2689] 1. a pair of non-musical metal signaling devices used by the Levite priests to signal the breaking of camp, assembly and in conjunction with various ritual functions performed by them. Originally crafted as a pair out of a solid piece of beaten silver measuring about 45cm (17.5") in length, the instruments consisted of a mouthpiece and a straight bore body terminating in a flared bell. Sound is created by buzzing the lips on the mouthpiece and have a similar range to that of the shofar. Also like the shofar, the calls of the two silver trumpets consisted of varying sequences of long and short tones.

unison. 1. two or more people singing or playing the same parts or rhythms as expressed in Hebrew. Literally translated sound as one.

YAH 1. a variation of the Sacred Name of Yahveh, God of Israel. Rendered in relation to the Davidic cipher, was playable by the lyres, harps and melodic cymbals of the Levites with the tones A and C.

YOM KIPPUR 1. meaning Day of Atonement, occurs on the tenth day of the seventh Hebrew month Tishri (in relation to the Gregorian calendar, Tishri can fall at various times during the months of September and October). Traditionally on Yom Kippur, the tekiah godalah (the big or great teikiah) of the shofar is sounded at the culmination of the days services in the Synagogue. 2. The day established in the Scriptures on which the shofar of joy (lit. 'shofar of teruah') was to be sounded every forty-nine years heralding the year of Jubilee (Leviticus 25:9). -see also Jubilee

VOICE or SOUND 1. a general term for a sound. 2. the voice, spoken or sung 3. the sound heard when a shofar or ram's horn is sounded (or in a more poetic setting) 'the voice of a shofar.' 4. thunder.

Appendices