A study on Psalmi, inquiring the way to express them using a proper partiture according to Tradition*.

Rhythmic Batteries:

6 – Ad Matai? 1 2 3 2 3 2 3 (Usquequo?)
32 – Attah Seter li 1 2 2 3 2 2 (Refugium meum)
38 – Chamatekha 1 2 2 2 3 2 3 (In furore)
51 – Lev Tahor 3 2 2 2 3 (Miserere)
102 – Be Tzion Shem 3 2 3 3 2 3 (Annunciet in Sion)
130 – Ha-Azinam 2 2 4 4 2 2 (De profundis)
143 – Maher Aneny 3-6 (Velociter exaudi)


*This study should be improved distinguishing the Psalmi in: Mizmor (just voice); Maskil (with Lyra) and ha-Maloth (with drums). A short essay is in preparation about this group of seven, that the Jewish tradition, especially in the humanistic age, has been calling “Poenitentiales”. They are still today in use, and also some esoterical Orders use them as purification tools before initiation process.

To a first deepening, here the link to a Michael Lefebvre’s essay of the Journal of Biblical Literature and to another one from Yeshivah Ben Tzion.

Tehillim 133

Psalm 133 is part of the Tehilim’s sequence called “Songs of Ascent”. The 133 is called the “gradual Song of David”, being characterized by the celebratory approach to group work.

In M .: this song is used in room Apprentice, to indicate the beginning of the spiritual path of ascension. In M :: it is used in chain operations, used for the lodge’s work and to get in touch with the Past Masters. The listener will notice that comparing the variability of rhythmic and melodic approaches the text can receive (from an ecclesiastical Latin in a medieval Gregorian, passing for more Gothic interpretations tending to Carmina). This checks the great distance between Latin and Jewish interpretations which, moreover, do not always maintain a traditional continuity with the spirit of their ancient Author (King David), and sometimes goes arbitrarily even to pop and neo-melodic interpretations. As in everything that is inherent the spiritual dimension, it seems unavoidable the human confusion. Anyway, the songs of David, are part of a holy book included in the Bible (the Tanakh to the Jews), and they constitute is a moment of high spirituality, constituting one of the highest for all models of “the offer of the voice”as an act of meditation, invocation and prayer.

We offer here, with grace and humility, a non-confessional version (it is esoteric and not religious), which almost does not feel the gap between the Latin and Hebrew versions, which are proposed separate just by the beat of the drum – as the gait of one who is on the slope of a hill path.