Yedidi Ro'i Mekimi - Revision history

Larry: wordsmithing

2026-07-21T03:46:19Z

wordsmithing

← Older revision		Revision as of 03:46, July 21, 2026
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	=== The Music ===		=== The Music ===

	The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning before dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influenced by Najara. In that tradition each baqasha is associated with a particular parsha of the Torah~~. The melodies are taken from Andalusian classical music and popular Arabic tunes, transmitted orally with no specific known composer. The~~ melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the ~~Akeda~~).		The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning before dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influenced by Najara. In that tradition each baqasha is associated with a particular parsha of the Torah; the melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akedah). The melodies are taken from Andalusian classical music and popular Arabic tunes, transmitted orally with no specific known composer.

	Yedidi Ro'i Mekimi is also sung in Lubavitch communities to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>		Yedidi Ro'i Mekimi is also sung in Lubavitch communities to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>

Larry: typo

2026-07-17T00:53:45Z

typo

← Older revision		Revision as of 00:53, July 17, 2026
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	=== The Music ===		=== The Music ===

	The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning before dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily ~~influence~~ by Najara. In that tradition each baqasha is associated with a particular parsha of the Torah. The melodies are taken from Andalusian classical music and popular Arabic tunes, transmitted orally with no specific known composer. The melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda).		The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning before dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influenced by Najara. In that tradition each baqasha is associated with a particular parsha of the Torah. The melodies are taken from Andalusian classical music and popular Arabic tunes, transmitted orally with no specific known composer. The melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda).

	Yedidi Ro'i Mekimi is also sung in Lubavitch communities to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>		Yedidi Ro'i Mekimi is also sung in Lubavitch communities to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>

Larry: minor additions and rewrites

2026-06-22T15:41:58Z

minor additions and rewrites

← Older revision		Revision as of 15:41, June 22, 2026
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	where Najara eventually succeeded his father as Chief Rabbi of Gaza (a position which is currently vacant).		where Najara eventually succeeded his father as Chief Rabbi of Gaza (a position which is currently vacant).

	Najara was among other things a liturgical poet. He wrote hymns, poems, [https://en.wikipedia.org/wiki/Piyyut piyyutim], sermons, and commentary. His best-known work is Yah Ribon Olam, sung by Jews of many traditions on Friday night.		Najara was among other things a liturgical poet. He wrote hymns, poems, [https://en.wikipedia.org/wiki/Piyyut piyyutim], sermons, and commentary. His best-known work is [https://en.wikipedia.org/wiki/Ya_Ribon Yah Ribon Olam], sung by Jews of many traditions on Friday night.

	This particular poem, Yedidi Ro'i Mekimi, ~~is an~~ allegory ~~based on~~ sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a ~~fascinating~~ connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.		This particular poem, Yedidi Ro'i Mekimi,
			describes the yearning of the people of Israel for redemption and the glory of God as sheep yearning for their shepherd.
			The allegory with sheep and shepherds is pervasive—indeed, every stanza ends with the word "tzoan" (sheep). As in Yah Ribon Olam, the first letters of the first five verses form an acrostic for Najara's first name. There is also a lovely connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.

	(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, accused Najara of using foul language, ~~being a drunkard~~, ~~being a homosexual~~, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>But there is a longstanding tradition of the sexuality metaphor, especially in the Song of Songs; explanation [https://larry.denenberg.com/song-of-songs.txt here].</ref>)		(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, accused Najara of using foul language, drunkenness, homosexuality, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>But there is a longstanding tradition of the sexuality metaphor, especially in the Song of Songs; explanation [https://larry.denenberg.com/song-of-songs.txt here].</ref>)

	=== The Music ===		=== The Music ===

	The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning ~~from after midnight until~~ dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influence by Najara. In that tradition ~~there~~ is a ~~separate baqasha for each~~ parsha of the Torah. The melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda). ~~The melodies are taken from Andalusian classical music~~ and ~~popular Arabic tunes, transmitted orally with no specific known composer~~.		The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning before dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influence by Najara. In that tradition each baqasha is associated with a particular parsha of the Torah. The melodies are taken from Andalusian classical music and popular Arabic tunes, transmitted orally with no specific known composer. The melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda).

			Yedidi Ro'i Mekimi is also sung in Lubavitch communities to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>

	Yedidi Ro'i Mekimi is also sung by Lubavitch to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>		The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats followed by four measures of two beats: 3-3-2-2-2-2. The recording we dance to is performed by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. In the original, the meter of the intro is different; it's 3-3-2-2-2 until the singer enters; similarly, the meter of the outro is 3-3-2-2-2 once the singing ends. In the recording we dance to, Mitch has made the meter uniform by changing both to 3-3-2-2-2-2, though it's ''very'' hard to hear in the outro.

	The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats ~~each~~ followed by four measures of two beats ~~each~~: 3-3-2-2-2-2. The recording we dance to is performed by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. In the original, the meter of the intro is different; it's 3-3-2-2-2 until the singer enters; similarly, the meter of the outro is 3-3-2-2-2 once the singing ends. In the recording we dance to, Mitch has made the meter uniform by changing both to 3-3-2-2-2-2, though it's ''very'' hard to hear in the outro.
	Mitch says:		Mitch says:
	<blockquote>		<blockquote>

Larry: Minor rewording

2026-06-10T18:39:53Z

Minor rewording

← Older revision		Revision as of 18:39, June 10, 2026
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	This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.		This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.

	(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, ~~attacked~~ Najara~~, accusing him~~ of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>But there is a longstanding tradition of the sexuality metaphor, especially in the Song of Songs; explanation [https://larry.denenberg.com/song-of-songs.txt here].</ref>)		(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, accused Najara of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>But there is a longstanding tradition of the sexuality metaphor, especially in the Song of Songs; explanation [https://larry.denenberg.com/song-of-songs.txt here].</ref>)

	=== The Music ===		=== The Music ===

Larry: Incorporate Mitch's replies; wordsmithing

2026-06-10T18:36:16Z

Incorporate Mitch's replies; wordsmithing

← Older revision		Revision as of 18:36, June 10, 2026
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	Hebrew: ידידי רועי מקימי (My Friend, My Shepard, My Support). Circle dance by [[Mitch Ginsburgh]], 2026.		Hebrew: ידידי רועי מקימי (My Friend, My Shepard, My Support). Circle dance by [[Mitch Ginsburgh]], 2026.

	Each ~~aspect~~ of this work is independently interesting. We take them ~~in order~~.		Each element of this work is independently interesting. We take them one by one.

	=== The Lyrics ===		=== The Lyrics ===
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	where Najara eventually succeeded his father as Chief Rabbi of Gaza (a position which is currently vacant).		where Najara eventually succeeded his father as Chief Rabbi of Gaza (a position which is currently vacant).

	Najara was among other things a liturgical poet. He wrote hymns, poems, [https://en.wikipedia.org/wiki/Piyyut piyyutim], sermons, and commentary. His ~~most famous~~ work is ~~likely~~ Yah Ribon Olam, sung by Jews of many traditions on Friday night.		Najara was among other things a liturgical poet. He wrote hymns, poems, [https://en.wikipedia.org/wiki/Piyyut piyyutim], sermons, and commentary. His best-known work is Yah Ribon Olam, sung by Jews of many traditions on Friday night.

	This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.		This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.
Line 20:		Line 20:
	Yedidi Ro'i Mekimi is also sung by Lubavitch to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>		Yedidi Ro'i Mekimi is also sung by Lubavitch to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>

	The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats each followed by four measures of two beats each: 3-3-2-2-2-2. ~~This meter repeats without exception through the entire song, though the pattern is ''very'' hard to hear during the outro.~~		The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats each followed by four measures of two beats each: 3-3-2-2-2-2. The recording we dance to is performed by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. In the original, the meter of the intro is different; it's 3-3-2-2-2 until the singer enters; similarly, the meter of the outro is 3-3-2-2-2 once the singing ends. In the recording we dance to, Mitch has made the meter uniform by changing both to 3-3-2-2-2-2, though it's ''very'' hard to hear in the outro.
			Mitch says:
	The recording we dance to is performed by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. ~~Curiously, in~~ the original, the meter of the intro is different; it is 3-3-2-2-2 until the singer enters. ~~This has been changed in~~ the recording ~~for the~~ dance, ~~where~~ the ~~intro is~~ 3-3-2-2-2-2.		<blockquote>
			The “hook” for me that led me to go forward with the dance was the
			unusual rhythm itself, as I knew it would feel like learning a new
			rhythmic language. Like in my 5 months learning Spanish, each part/bit
			gets a little more complex, with the 5th part putting together many of
			the elements found in the previous 4 until you get to the ultimate
			challenge of the outro: having to internalize the rhythm and not rely
			on clear musical cues, just as a language learner must learn to
			produce language on their own outside of the controlled classroom
			environment.<ref>Personal communication, 9 June 2026</ref>
			</blockquote>

	=== The Dance ===		=== The Dance ===

	The dance consists of five parts, which Mitch calls "bits" rather than "sections" or "parts". The entire sequence repeats twice and then ends with the second bit in the third repetition.		The dance consists of five parts, which Mitch calls "bits"<ref>Mitch says: "If I had opened the teach saying that the dance has 5 “parts,” most of the dancers would’ve left the floor right then and there." (Personal communication, 9 June 2026)</ref>
			rather than "sections" or "parts". The entire sequence repeats twice and then ends with the second bit in the third repetition.

	=== Footnotes ===		=== Footnotes ===
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	The original: Yigal Haroush [https://www.youtube.com/watch?v=bOhhOxzi-bY singing] Yedidi Ro'i Mekimi (includes Hebrew lyrics)		The original: Yigal Haroush [https://www.youtube.com/watch?v=bOhhOxzi-bY singing] Yedidi Ro'i Mekimi (includes Hebrew lyrics)

	The entire album [https://www.youtube.com/watch?v=eD7TmVj9_9c&list=OLAK5uy_m6i29rGWurRB9AmbPINu05i7Z9EKwkQ_g A'irah Shachar], including other Moroccan baqashot (like Yedid Nefesh) in unusual meters		The entire album [https://www.youtube.com/watch?v=eD7TmVj9_9c&list=OLAK5uy_m6i29rGWurRB9AmbPINu05i7Z9EKwkQ_g A'irah Shachar], including other Moroccan baqashot (like Yedid Nefesh) for awakening dawn, in unusual meters

	[https://en.wikipedia.org/wiki/Israel_ben_Moses_Najara Rabbi Israel ben Moses Najara] at Wikipedia (English)		[https://en.wikipedia.org/wiki/Israel_ben_Moses_Najara Rabbi Israel ben Moses Najara] at Wikipedia (English)

Larry: minor rewording

2026-06-09T02:49:50Z

minor rewording

← Older revision		Revision as of 02:49, June 9, 2026
Line 12:		Line 12:
	This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.		This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.

	(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>~~There~~ is a longstanding tradition of ~~this~~ metaphor, especially in the Song of Songs; ~~see commentary~~ [https://larry.denenberg.com/song-of-songs.txt here].</ref>)		(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>But there is a longstanding tradition of the sexuality metaphor, especially in the Song of Songs; explanation [https://larry.denenberg.com/song-of-songs.txt here].</ref>)

	=== The Music ===		=== The Music ===

Larry: missing paren

2026-06-08T17:28:18Z

missing paren

← Older revision		Revision as of 17:28, June 8, 2026
Line 12:		Line 12:
	This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.		This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.

	(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>There is a longstanding tradition of this metaphor, especially in the Song of Songs; see commentary [https://larry.denenberg.com/song-of-songs.txt here].</ref>		(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>There is a longstanding tradition of this metaphor, especially in the Song of Songs; see commentary [https://larry.denenberg.com/song-of-songs.txt here].</ref>)

	=== The Music ===		=== The Music ===

Larry: restructure stuff into footnotes

2026-06-08T17:24:15Z

restructure stuff into footnotes

← Older revision		Revision as of 17:24, June 8, 2026
Line 12:		Line 12:
	This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.		This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.

	(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple~~, but there~~ is a longstanding tradition of this metaphor, especially in the [https://larry.denenberg.com/song-of-songs.txt ~~allegorical translation of the Song of Songs~~].)		(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple.<ref>There is a longstanding tradition of this metaphor, especially in the Song of Songs; see commentary [https://larry.denenberg.com/song-of-songs.txt here].</ref>

	=== The Music ===		=== The Music ===

	The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning from after midnight until dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influence by Najara. In that tradition there is a separate baqasha for each parsha of the Torah. The melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda).		The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning from after midnight until dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influence by Najara. In that tradition there is a separate baqasha for each parsha of the Torah. The melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda). The melodies are taken from Andalusian classical music and popular Arabic tunes, transmitted orally with no specific known composer.
	Yedidi Ro'i Mekimi is also sung by Lubavitch to a completely different tune that has its own interesting story.
			Yedidi Ro'i Mekimi is also sung by Lubavitch to a completely different tune that has its own interesting story.<ref>[https://www.soulwords.org/video/yedidi/ This commentary] on the song by Rabbi Shais Taub includes discussion and performance of the Lubavitch tune.</ref>

	The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats each followed by four measures of two beats each: 3-3-2-2-2-2. This meter repeats without exception through the entire song, though the pattern is ''very'' hard to hear during the outro.		The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats each followed by four measures of two beats each: 3-3-2-2-2-2. This meter repeats without exception through the entire song, though the pattern is ''very'' hard to hear during the outro.

	The recording we dance to is by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. Curiously, in the original, the meter of the intro is different; it is 3-3-2-2-2 until the singer enters. This has ~~somehow~~ been ~~"fixed"~~ in the recording for the dance, where the intro is ~~also~~ 3-3-2-2-2-2.		The recording we dance to is performed by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. Curiously, in the original, the meter of the intro is different; it is 3-3-2-2-2 until the singer enters. This has been changed in the recording for the dance, where the intro is 3-3-2-2-2-2.

	=== The Dance ===		=== The Dance ===

	The dance consists of five parts, which Mitch calls "bits" rather than "sections" or "parts". The entire sequence repeats twice and then ends with the second bit in the third repetition.		The dance consists of five parts, which Mitch calls "bits" rather than "sections" or "parts". The entire sequence repeats twice and then ends with the second bit in the third repetition.

			=== Footnotes ===

			<references/>

	=== Links ===		=== Links ===
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	The original: Yigal Haroush [https://www.youtube.com/watch?v=bOhhOxzi-bY singing] Yedidi Ro'i Mekimi (includes Hebrew lyrics)		The original: Yigal Haroush [https://www.youtube.com/watch?v=bOhhOxzi-bY singing] Yedidi Ro'i Mekimi (includes Hebrew lyrics)

	The entire album [https://www.youtube.com/watch?v=eD7TmVj9_9c&list=OLAK5uy_m6i29rGWurRB9AmbPINu05i7Z9EKwkQ_g A'irah Shachar], including other Moroccan baqashot (like Yedid Nefesh) in unusual ~~meter~~		The entire album [https://www.youtube.com/watch?v=eD7TmVj9_9c&list=OLAK5uy_m6i29rGWurRB9AmbPINu05i7Z9EKwkQ_g A'irah Shachar], including other Moroccan baqashot (like Yedid Nefesh) in unusual meters

	[https://en.wikipedia.org/wiki/Israel_ben_Moses_Najara Rabbi Israel ben Moses Najara] at Wikipedia (English)		[https://en.wikipedia.org/wiki/Israel_ben_Moses_Najara Rabbi Israel ben Moses Najara] at Wikipedia (English)

	~~[https://www.soulwords.org/video/yedidi/ Commentary] on the song by Rabbi Shais Taub (but beware: he's talking about the Lubavitch melody, not the Moroccan baqasha)~~

	The [https://mechon-mamre.org/i/t/t08a17.htm# first book of Samuel, chapter 17] (Hebrew)		The [https://mechon-mamre.org/i/t/t08a17.htm# first book of Samuel, chapter 17] (Hebrew)

Larry: wordsmithing

2026-06-07T17:07:31Z

wordsmithing

← Older revision		Revision as of 17:07, June 7, 2026
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	=== The Lyrics ===		=== The Lyrics ===

	The words were written by Rabbi Israel ben Moses Najara, who was born in Damascus in about 1555. He later moved to Safed, but after a pogrom in 1579 his family moved to Gaza,		The words were written by Rabbi Israel ben Moses Najara, who was born in Damascus in about 1555. He later moved to Safed, but after a pogrom there in 1579 his family moved to Gaza,
	where Najara eventually succeeded his father as Chief Rabbi of Gaza (a position which is currently vacant).		where Najara eventually succeeded his father as Chief Rabbi of Gaza (a position which is currently vacant).

	Najara was among other things a liturgical poet. He wrote hymns, poems, [https://en.wikipedia.org/wiki/Piyyut piyyutim], sermons, and commentary. His most famous work is likely Yah Ribon Olam, sung by Jews of many traditions on Friday night.		Najara was among other things a liturgical poet. He wrote hymns, poems, [https://en.wikipedia.org/wiki/Piyyut piyyutim], sermons, and commentary. His most famous work is likely Yah Ribon Olam, sung by Jews of many traditions on Friday night.

	This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.		This particular poem, Yedidi Ro'i Mekimi, is an allegory based on sheep and shepherds—indeed, every stanza ends with the word "tzoan" (sheep). There is a fascinating connection with the Tanach: the end of the first stanza is "עַל מִי נָטַשְׁתָּ מְעַט הַצֹּאן" ("with whom have you left those few sheep [in the wilderness]?"). These are the exact words of Eliav, oldest brother of David, upbraiding David for abandoning his post as shepherd to battle Goliath (1 Samuel 17:28). Similar allusions are rife in Najara's works.

	(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple, but there is a longstanding tradition of this metaphor, especially in the [https://larry.denenberg.com/song-of-songs.txt allegorical translation of the Song of Songs].)		(Not everyone was a fan of Najara. [https://en.wikipedia.org/wiki/Hayyim_ben_Joseph_Vital Hayyim Vital], a contemporary and a Kabbalist, attacked Najara, accusing him of using foul language, being a drunkard, being a homosexual, and having sexual relations with non-Jewish women. It's hard to take these denunciations seriously, since Vital based them on mystic revelations rather than on fact. Najara was also criticized for poetry describing God and Israel as a married couple, but there is a longstanding tradition of this metaphor, especially in the [https://larry.denenberg.com/song-of-songs.txt allegorical translation of the Song of Songs].)
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	=== The Music ===		=== The Music ===

	The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning from after midnight until dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influence by Najara. In that tradition there is a separate baqasha for each parsha of the Torah~~; the~~ melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda).		The tune we dance to is a [https://en.wikipedia.org/wiki/Baqashot baqasha], a song sung in some Sephardic Jewish communities on Shabbat morning from after midnight until dawn, especially in winter when the dawn comes late. The order and structure of the baqashot can be extremely complex. This particular baqasha comes from the Moroccan sequence, which was heavily influence by Najara. In that tradition there is a separate baqasha for each parsha of the Torah. The melody for this dance is the Moroccan baqasha for parshat Vayeira (Genesis 18:1–22:24, including the Akeda).
	Yedidi Ro'i Mekimi is also sung by Lubavitch to a completely different tune that has its own interesting story.		Yedidi Ro'i Mekimi is also sung by Lubavitch to a completely different tune that has its own interesting story.

Larry: typos

2026-06-06T02:24:12Z

typos

← Older revision		Revision as of 02:24, June 6, 2026
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	The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats each followed by four measures of two beats each: 3-3-2-2-2-2. This meter repeats without exception through the entire song, though the pattern is ''very'' hard to hear during the outro.		The meter of the tune is [[Unusual Meters \| unusual]], as is common in the Moroccan tradition of baqashot. It consists of two measures of three beats each followed by four measures of two beats each: 3-3-2-2-2-2. This meter repeats without exception through the entire song, though the pattern is ''very'' hard to hear during the outro.

	The recording we dance to is by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. Curiously, in the original, the meter of the intro is different; it is 3-3-2-2-2 until the singer enters. This has somehow been "fixed" in the recording for the dance, where the intro ~~too~~ is 3-3-2-2-2-2.		The recording we dance to is by Yigal Haroush, from his album A'ira Shachar ("I Will Awaken Dawn"), a collection of Moroccan baqashot. Curiously, in the original, the meter of the intro is different; it is 3-3-2-2-2 until the singer enters. This has somehow been "fixed" in the recording for the dance, where the intro is also 3-3-2-2-2-2.

	=== The Dance ===		=== The Dance ===

	The dance consists of five parts, which Mitch calls "bits" rather than "sections" or "parts". The entire sequence repeats twice and then ends with the ~~seccond~~ bit in the third repetition.		The dance consists of five parts, which Mitch calls "bits" rather than "sections" or "parts". The entire sequence repeats twice and then ends with the second bit in the third repetition.

	=== Links ===		=== Links ===