With an unprecedented 10 million views on social media this song is a tribute to the powerful message of hope and renewal of the New Year - and to the art of collaboration. I cannot overstate the impact on this song of Rabbi Peter J. Rubinstein and his team at the 92Y. I am ever grateful to have been commissioned to write this piece and to play my small part in this project.

A feel good, uptempo tribute to the many versions of Adon Olam that put a smile on my face as a child. Notice the dramatic tempo and feel changes, the optional modulation, and call and answer vocals and counterpoint on the chorus. Everything but the kitchen sink! I'm so happy Cantor Shira Ginsburg not only commissioned this piece but INSISTED it include all the verses! Try it as a solo piece or with your choir and band!

Below: A live run through of Adon Olam and a "look Behind The Song"with Cantor Shira Ginsburg followed by a short piano tutorial.                                         

A niggun, a call to worship, an uptempo...sing it energy and with intention. Please take note of how easy it is to harmonize the lai lai lai opening theme. This one lends itself very well to your temple musicians and choir as it is a very straight ahead groove with a few chordal surprises;)

Hebrew and Arabic dance together in this piece inspired by the Sh’ma. This song is a safe way to start a conversation with your community about some of the similarities the Jewish and Arabic people share -- beginning easy enough with the relationship between the languages. It's as good a place to start as any. I'll never forget the tears I see whenever Alaa and I share this song on Shabbat. What a signal Alaa is sending as a Palestinian, flying to the states from Ramallah to sing and and reach out in a temple on Shabbat to the Jewish community.  I think when we begin to see and feel that our divided peoples do have so much in common...we feel hope and are moved to action to make this world a better place. 

Just a sweet little song about the wonder of trees. This song really makes me smile and reminds me of summers in Putnam Valley and the weeping willow outside my window. Of the red winged blackbirds singing from the branches. Tire swings and the cherry blossom in the front yard. What are some of your favorite memories of trees? There is a forum at the bottom of the page...please feel free to scroll on down to leave a comment or share a memory about trees. 

Below is a beautiful, raw home recording of the song. I love the background vocals Daniel sings on the last chorus — perfect if you are singing this with your youth choir!

This setting is one part a lullaby and one part a prayer to help us through the night. Imagine living in the day when an understanding of night and day, the light and darkness, was based more on superstition and experience than science. When this Hebrew was written, human beings were truly afraid of the night, not sure if the day would even return or afraid of being attacked in the dark- ness. The Talmud even refers to sleep itself as one-sixtieth of death.

As for the writing of this song, the melody emerged over three totally different versions until I found the one that I knew was right for Cantor Shira Ginsburg’s voice. I kept throwing melodies away until the one that is here fell out of the sky. I just couldn’t wait to hear Shira sing it and share it at East End Temple in NYC. This “Hashkiveinu” is meant to be sung as a round with the Hebrew and English weav- ing together. Lyrically, notice how the words grow from a prayer by and for an individual in the first verse (when I’m scared to close my eyes), to the second verse praying for the community (may You guide us on our way; hear these humble words we pray), and the third verse, a more universal prayer (for Your shelter and peace on earth; hashkiveinu). From I to we to You on our collective journey to embrace and connect with one another.

Below: A live run through of Hashkiveinu and a look "Behind The Song"with Cantor Shira Ginsburg  

It's funny to me! Daniel and I wrote this one basically just so our little buddy Brandon Green (he is now about 12 inches taller than me) could have a fun song to sing at Congregation Micah. Daniel started singing it at some of the Jewish camps...and it just caught on. And I'm so happy that Joe Eglash allowed us to include the original lyrics and the updated lyrics in the Anthology. It's amazing how songs can grow and evolve!

Below is a “glorified work tape” Daniel produced containing the updated lyrics. This version begins the with essentially an A7(b9) chord with C# in the bass — tasty!

I am so happy we included three versions of this song in the book. For me, L’chah Dodi is one of the most challenging pieces of liturgy to compose for because the verses are so long and there are so many.  And they all sing a bit differently! This version was written first with Daniel Leanse and to me is the most traditional...of course with a twist.

I cannot thank Cantor Rebecca Garfein enough for commissioning this piece and for uttering these words...L'chah Dodi Gospel.  I love the chance to be inspired by cantors and to assist them in their search for just the "right" version of a prayer. Try this one with a gospel choir and a full band and usher in Shabbat with an uptempo, foot stomping celebration! Here's a link to MLK Shabbat 2015 at Temple Rodeph Sholom.

Below Cantor Rebecca Garfein MLK 2015 and an accompaniment tutorial.

Did you know there are over 2000 documented musical settings for L'chah Dodi? But very few contain any English. Thank you and huge props to Cantor Shira Ginsburg for being persistent and challenging me (I really resisted at first!) to write yet another L'chah Dodi. In this piece the English verses are not a translation of the Hebrew - they are a telling of the story of the Jews of Safed and of the hopes and beliefs of the Kabalists of the time.

The clip below is one of our first times playing the song together and we had the cameras rolling to capture the moment. You might notice...I'm still reading the music, missed a chord or two - and in need of a haircut! But I love Shira's performance so figured this was a good one to share with all its imperfections.

Below: A live run through of L'chah Dodi and a look "Behind The Song" with Cantor Shira Ginsburg 

The lengthy opening guitar solo is so inspiring...and totally optional. If you are not able to find a flamenco style guitarist to open the song...try beginning with the outro niggun! Sing it slowly and quietly, gradually building to the down beat and the words...mi chamocha...who is like you?

Below: the original Gesher recording and an performance/accompaniment tutorial.

This song means so much to me...written with my dear friend Stephanie Lewis while my dad was in the middle of his stem cell transplant just before Biennial, 2005. It is my deepest and most sincere hope this piece brings comfort and healing to you, your congregation and loved ones.  On certain Shabbats, if there is somebody on my mind during Mi Shebeirach, I might end the song by repeating the call and answer for a full minute...a capella. Below are two different approaches to the same song. The video version is the way I usually play the song live...though I always experiment a little! The MP3 version follows the sheet music more closely and is a bit more of a band and soft rock approach. Feel free to experiment and come up with an arrangement that best fits your community. And feel free to post it in the forum below or to email it to me!

Below: a live video recording, an accompaniment tutorial, and a full band recording of Mi Shebeirach.

This song has been a beautiful and inspiring journey. What began as a commission by Cantor Tracy Fishbein at The Temple (Nashville, TN) has evolved into much more than a song. As Tracy discusses below The Temple has used the song as a beautiful exercise with students and congregants of all ages (even on women's retreat) by inviting participants to write their own lyrics of gratitude to this melody.

The song has also become a powerful interfaith experience. We could not have imagined when conceiving the original version back in 2014 that in 2015 a Muslim Palestinian would end up adding the beautiful Arabic verses  - truly poetry - to the English and Hebrew text. Thank you my brother, Alaa Alshaham...you brought your heart and so much beauty and sensitivity and hope to this song.

Below: the Pursuit Of Harmony version, the original version commissioned and performed by Cantor Tracy Fishbein and a short (technically challenged) Zoom conversation with Tracy about the piece. 

Again...thank you to Cantor Shira Ginsburg. It was her idea to commission a song for mourners. We decided quickly that it had to be rooted  in the traditional kaddish, to feel familiar. But it also needed to incorporate something more, something that would help connect those in mourning, or those remembering, to their loved ones. In English. Hours of research about Judaism and death ensued and the result is this song that weaves lines from the mourner's kaddish and 23rd psalm together with original English lyrics...like the waves upon the sea are separate and connected, you are gone and still by my side. As the seasons must change to dust we must return again, but love, love, love...never dies. 
 

Below is a live video recording of A Mourner’s Song followed by a “behind the song” video and a short conversation between me and Cantor Ginsburg about the piece. 

This is the first of my songs to catch on with the reform movement across the states. I literally wrote it parked in my car outside of Congregation Micah in Nashville, TN. And I've now heard it sung in Oslo, Copenhagen, Israel, Germany...just so beautiful when a song connects with so many people and finds its way around the world. Here are two VERY different versions of the same song! The first is the original - from my Gesher project with Daniel Leanse. Then an unbelievable Gospel version recorded by Walt Whitman and Soul Children Of Chicago! I've been so fortunate to have my songs recorded by some of the biggest artist in the world. But when I heard the Soul Children singing Oseh Shalom...I had chills. This may be one of my favorite cover of any of my songs ever! But perhaps perhaps the truest test of a melody is if it is singable by the youngest among us. I was blown away when Cantor Magda Fishman sent me the video clip below of her 3.5 year old singing his own rendition of Oseh Shalom!

Below: The original Gesher version, a full blown Gospel version with 500 voices, and Cantor Magda Fishman's 3.5 year old song brings his spin!

Really all this song needs is a guitar or piano and a single, still, small voice. Below is the original Gesher version and a deeply moving and emotional interpretation by my friend, Cantor Sheera Ben David.

This piece works as a lovely vehicle for a soloist with or without choir. Below is the original fully produced Gesher recording with live strings and the full "wall of sound" treatment and a brand new interpretation by Cantor Lizzie Weiss featuring piano and vocal. There are times I love playing this song with a full band - but it is also such a beautiful thing to simply focus on an angelic, heartfelt vocal (thank you Cantor Weiss!) and nothing else. It's all about the melody and lyric!

Though the Gesher version of this song is arranged for a string section and small orchestra...all you really need is to sing it from your heart, maybe with a piano or guitar. Let the melody and those 6 words lead the way...

It is my sincere hope this song may in some small way assist and be of comfort to those on their personal journey of conversion. 

A performance note - after the 2nd chorus if I'm feeling it I'll modulate for the bridge and then return to the original key. Sometimes, if I'm not feeling it, I will opt to stay in the original key for the entire song. Feel free to experiment, modulate to any key you want, or to simply remain in one key. With this song and subject matter the modulation can feel like it highlights the action within the lyric...I will go where you. The key change is movement, and it is daring - as it is an unusual move down a minor third. It really just depends how the soloist or cantor feels on a given night.

This is the only song in the book that was not inspired by the liturgy. It is a song about the power of friendship...especially improbable friendship. In English and Arabic, this was the first song written by Alaa and I for our project, The Pursuit Of Harmony. http://www.thepurusitofharmony.com

The shortest song in the book. Feel free to repeat the form if you'd like to lengthen it and make it longer. I love the way Cantor Chayim Frenkel at Kehillat Israel sings this one. I'll try to find a clip to post later! Or if you’re in Pacific Palisades stop by Kehillat Israel and check it out live during a Shabbat. 

Can be sung as it is here, as a duet...or for soloist and congregation. Again, don't be intimidated by the full production of the Gesher version. I regularly play it with just piano and vocal and it works beautifully. Take note how the chords of the second verse are not quite the same as the first verse. This is to reflect the lyrics in the music — on the 7th day G-d rested and was refreshed. The bass note rests on the tonic for this phrase...before moving to a repeat of the chorus. 

Many thanks to Lisa Silver for singing with me in the clip below. So many members at Congregation Micah tell me every year that as the High Holy Days approach, they look forward to hearing this song. I am so grateful to Transcontinental for affording me this chance to finally share the song far and wide. Please notice the bridge - it is a part of the piece you can make your own! Feel free to repeat it for as long as you want! It is a call answer with three words -- t'shuvah, tefilah, tzadakah. Start quietly and build slowly. Use the written melody as it is, or simply as a guide to create your own melodies encouraging the congregation to follow your lead. Please share your versions with me! I'd love to hear what you come up with.

Below: a live video recording of We Return To You and an accompaniment/performance/arrangement tutorial.

Written in Berlin and performed spontaneously at a service to commemorate the 70th anniversary of Kristallnacht, 2008. Ironically I'm actually in Berlin right now as I build this webpage and as Joe Eglash and I put the final touches on the manuscript for the Anthology! This song is uptempo and a perfect way to begin Shabbat or any happy occasion - ironic when thought about in the context of where and when it was written.

Lisa and I wrote this almost by accident one evening while rehearsing for Yom Kippur. Take note of the chromatic chord changes that lead from the Hebrew verses to the English chorus...there are stars.  Also...I think I began with the tempo a little bit too fast in this clip. It was the week after all the High Holy Days, and after a particularly long Shabbat with a guest lecturer...so maybe I was a bit tired and rushed it. But I think the song still comes across and otherwise I feel good about this performance. The point...don't rush this song. Let it meander, let it breathe...give the lyrics time to reach the stars.

Although the recording below is fully produced with 6 piece band and choir, I often share it on Shabbat with just a piano accompaniment and one or two voices. 

So humbling to be commissioned to write a piece in honor of Dr. Alan Mason and his 25 year contribution and commitment to Temple Israel of Greater Miami. Knowing Dr. Mason is a virtuoso on the piano, notice the composition includes plenty of room for him (or any accompanist) to dance with the vocalist. The verse melody is very sparse, one or two notes...allowing the piano or guitar to assist in the sharing of the prayer. The melodic phrasing of the chorus leaves room between each line for the piano to "answer" the voice. By the way if anyone has a video of Dr. Mason performing the piece...please message me! I would love to see it;)

Below a live video recording with Cantor Shira Ginsburg and an accompaniment tutorial.