Sounds of the Shofar

Arthur L. Finkle

Notes came in sequence, in order to show this compromise. (Rosh Hashanah 4:9) There are also regional (Lithuanian, Hungarian, Sephardim, etc.) Differences regarding the exact notes sounded for the different sounds. The following section is based on the system I use.

The t’kiyah note starts out as a low note, near the fundamental tone of the shofar; then it rises quickly about three notes in the diatonic scale. Finally, it proceeds to a full octave above the first note. This may be diagrammed as follows:

The higher notes are obtained by tightening the lips.

The sh‘varim consists of the short blasts, each one-third the duration of the t’kiyah.

The t’ruah is simply nine staccato notes sounded in rapid succession. Again, the duration is one ninth that of the t’kiyah.

To correctly render the t’ruah, it is necessary to accent the last note. There is also another school that accents the last note and takes the note up a third. The t’ruah is a sound of nine staccato blasts. The t’kiyah g’dolah is an elongated t’kiyah. Hold it as long as you are able. You should be able to hold it for 30-40 seconds with the proper breathing from the diaphragm and chest cavity, as any wind instrumentalist will tell you. When you have developed your embouchure sufficiently well, it is possible to elongate the third note as well as the second. This end flourish is dramatic. Which brings me to an often-asked question: "how long should you hold the last note (t’kiyah g’dolah)?" Many people feel self-conscious about holding the note too long so as to seem to show off my answer is rooted in the Mishnah, ROSH HASHANAH 3:3, which indicates that the duty of the day (Rosh ha-Shanah) falls on the shofar. Therefore, Rosh Hashanah is associated with the shofar. Thus, the more emphasis on the shofar, the better. (Ramban, Mishneh Torah, Laws of Shofar 11)