Shofar history and technique derived from book of same title by Arthur L. Finkle

1. Shofar
History and Technique
Arthur L. Finkle, R.J.E
Baal Tekiah
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2. Early Horn Uses
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Pre-historic humankind utilized whatever was useful
in their environment. Wherever the primitive lived,
they utilized the available materials to signal. Those
in the Indian and Caribbean Seas used the Conch
shell. The Australian aborigines, the didjeridoo (a
bamboo hollowed out by fire ants).
Hindus also utilize the Conch Trumpet. In ancient
China, the primitives played the Yu – a reed wind
instrument made of bamboo.

3. Shofar in the
Bible?
•
• Commentators have tracked the word “Shofar” in 7 parts of the Hebrew Scripture:
Exodus, Leviticus, Numbers, Joshua Chronicles and Psalms
•
• In the first five books of Moses, Shofar is cited:
•
• Exodus 19:12-14
•
• EX. 13 . . . Only when the ram's horn sounds a long blast may they go up to the
mountain."
•
• In Leviticus 23 and 24, there is a priestly commandment:
•
• "In the seventh month, on the first day of the month, you shall observe complete rest,
a sacred occasion commemorated with loud blasts" (Lev. 23:24).
•
• There are references to the Shofar in the Hebrew Scriptures and the New Testament,
that Gabriel will announce the Messiah with the sound the Shofar. (16;Matthew 24:29-31;
I Thessalonians 4:16-17; I Corinthians 15:51-52 .
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4. Temple Sacrifices
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The burnt, grain, peace, sin, and guilt offering
composed the basic sacrificial system of Israel.
These sacrifices were commonly used in conjunction
with each other and were carried out on both an
individual and a corporate basis. The sacrificial
system taught the necessity of dealing with sin and,
at the same time, demonstrated that God had
provided a way for dealing with sin.
1. Burnt offering (olah). The burnt offering of
certain animals was offered both in the morning and
in the evening, as well as on special days such as
the Sabbath, the new moon, and the yearly feasts
(Numbers 28-29; 2 Kings 16:15; 2 Chronicles 2:4;
2 Chronicles 31:3; Ezra 3:3-6).
2. Grain offering (minchah; “meat offering” in
KJV). An offering from the harvest of the land is the
only type that required no bloodshed. (Leviticus
2:13),
3. Peace offering This consisted of the sacrifice of
a bull, cow, lamb, or goat that had no defect. As
with the burnt offering, the individual laid a hand on
the animal and killed it. The priests, in turn,
sprinkled the blood around the altar. The priest
received the breast and the right thigh (Leviticus
7:28-36), but the offerer was given much of the
meat to have a meal of celebration (Leviticus 7:11-

5. Temple Sacrifices (cont)
4. Sin offering was designed to deal with sin that was committed unintentionally. The
sacrifice varied according to who committed the sin.
5. Guilt offering. This is hard to distinguish from the sin offering (Leviticus 4-5). In
Leviticus 5:6-7, the guilt offering is called the sin offering.
Interestingly the sacrifice system is found in the New Testament. Hebrews portrays Jesus as
the sinless high priest who offered himself up as a sacrifice for sinners (Leviticus 7:27). The
book ends with an encouragement to offer sacrifices of praise to God through Jesus.
After the Romans destroyed the Holy Temple, the sacrificial cult terminated. During this
time, moreover, the early Church also disbanded the sacrificial rites because Christianity
began to differ materially form Judaism.
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6. The Sounds (NOTES)
The Sounds
Thereafter, two Priests stood atop of a marble stand near the altar signaling trumpet
blasts: tekiah, tekiah and teruah.
A long note followed a series of short notes; then another long note.
In the Mishnah (gathering the laws of the Bible, written in 200 CE by great-
grandchildren of those who worshipped at The Temple in Jerusalem) there is a difference
of opinion when reciting the manner of Shofar sounding in the Temple in Jerusalem. The
Sages indicate that on Rosh Hashanah (Jewish New Year) Two Shofars and one trumpet
are sounded at the sacrifices. The remainder of the year, two trumpets and one Shofar.
There are others who contend that the Shofar was sounded only on Rosh Hashanah and
Yom Kippur during the Jubilee Year (every 50-years when debts and servitude is
forgiven). The fact is that whatever was the system was forgotten in three generations.
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7. Reasons for Sounding the Shofar
•The Saadiah Gaon (10th century CE, head of a famous Babylonian
university) offered ten reasons, two of which are cited below:
• (1) as a reminder to be faithful to the teachings of the Torah, since the
Shofar was heard at the giving of the Torah;
•(2) as a reminder of the prophets, the teachers of righteousness, who
raised their voices desire the Shofar to touch our consciences (Abudarham
[Jerusalem, 1959 ed.], 269f.).
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8. Reasons for Sounding
• There is also a dispute as to what the Shofar
sounds should be. The Sages agreed on the
“Teki'ah" blast) but differed on the“Teruah" note.
• Some indicated that Teruah was 9 staccato sounds;
others, three weeping wounds.
• The Rabbis compromised by adding all both
sounds in the service.
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9. Additional Reasons
• Rabbinic Judaism adduces reminders of the Holy Temple, with shofar
blasts, Torah, etc.
• Every Jewish denomination has a Shofar Service
• Ritual is a metaphor for remembrance, atonement and making
oneself as good a human being as possible
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10. •Rim
Wide: Increases endurance.
Narrow: Improves flexibility.
Round: Improves comfort.
Sharp: Increases precision of attack.
Anatomy of a Brass Mouthpiece
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11. Characteristics of Brass Instruments
• Cup
• Large: Increases volume, control.
• Small: Relieves fatigue, weakness.
• Deep: Darkens tone, especially in low register.
• Shallow: Brightens tone, improves response, especially in high
• register.
• Throat
• Large: Increases blowing freedom, volume, tone; sharpens high
• register (largest sizes also sharpen low register).
• Small: Increases resistance, endurance, brilliance; flattens high
• register.
• Backbore
• Combinations of size and shape make the tone darker or
brighter, raise or lower the pitch in one or more registers,
increase or decrease volume. The backbore's effects depends in
part also on the throat and cup.
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12. Embouchure
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Wait a second. What’s an embouchure?
The embouchure is the manner in which the lips and tongue are applied to such a mouthpiece. The word derives
from the French embouchure (to put into the mouth). Many Shofar sounders are not brass instrumentalists and
do not know the techniques developed over the past three hundred years.
If Shofar repairing requires the Shofar Sounder to change his embouchure, then we find another factor to
consider whether the Shofar changes its tone. If, in fact, the repaired Shofar required a change in embouchure,
the likelihood is the Shofar's sound changes, which brings Jewish Law issues.
To form an embouchure two groups of muscles are at work. The first are those muscles that bring our lips to an
extreme pucker, such as would be used to whistle--the muscles around our lips. The second group are those which
bring our lips to a smile--the cheek muscles. Either group can form a brass embouchure of sorts.

13. SHOFAR MOUTHPIECE
• A shofar mouthpiece is a much smaller and inexact version of a
brass mouthpiece. But serves the same function. Thus, the larger
the backbore, the deeper the tone. The shallower the cup, the
higher the pitch. The larger circumference of the backbore, the
better the timbre.
• Accordingly, the choice of your shofar mouthpiece is At the time of
your choice of shofar, which Already has the mouthpiece built-in.
(There were some who placed a trumpet mouthpiece inside the
shofar, but this practice is pasul.)
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14. MUSCULATURE
• Muscles can only contract or relax. When you pucker your lips, the cheek muscles relax and the
lips contract. When you smile, your cheek muscles contract while the lips relax.
• Embouchure
• Flat chin – point chin to the ground
• Place mouthpiece upon the lips that are moist and firmed keeping all of the red of the lips
inside the cup of the mouthpiece. (think “mmm”).
• Firm mouth corners. Relax your jaw, face and all of the muscles in and around your lip area.
When you are relaxed, begin to firm the corners of the mouth
• Teeth apart (about the same as the width of a mouthpiece
• shank. Inverting the mouthpiece and placing it between the teeth makes for a good way to
check the distance.)
• The throat is to be open at all times.
• Bottom lip slightly curled in lips together as if saying the letter “m”. Do not to tense your lips
and chin as you play. This will "pinch" the sound.
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15. Don’t puff
cheeks
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•Lips are comparable to a double reed. A vibrant buzz will
produce a good sound.
•Buzzing practice is invaluable in the development of
embouchure control, flexibility, and a clear and focused sound
•Make a clear and focused sounds when buzzing.
If the embouchure changes it may affect one or a combination
of: 1) the angle of mouthpiece placement; 2) wet (moist) or dry
lips; 3) amount of lip opening through which the air passes
(the lip aperture); 4) the angle of the chin; and 5) the amount of
mouthpiece pressure in playing the high or low notes. (Farkas,
Philip, 1962; Arban, 1908; and Whitner, 1997).
•Presenting ideas on Shofar playing techniques fill a need in
the area about which there is very sparse material in English.
This article introduces some brass instrumentalist techniques
to fit the aerophone, called a Shofar. Thin of orchestrating
these techniques in to your repertoire so that you can give it
all you have to fulfill the mitzvah of hearing the Shofar on
Rosh Hashanah (Shulchan Aruch 585:3)

16. Practicing
•During the second week, the Ba'al T'kiyah should practice the three phrases. For
the T'kiyah, there is a slurring of three notes. The middle note is the most
important to reach, as a miscue will not be noticed if the first and third notes are
missed.
•The Sh'varim is probably the most difficult because there is a slurring beginning
with the distinct low note. Make sure that this low note is sufficiently prominent
by extending this note as long as possible.
•T'ru'ah 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.
•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, R.H. 3:3, which indicates that the
duty of the day (Rosh ha-Shanah) falls on the shofar. Therefore, Rosh ha-Shanah is
associated with the shofar. Thus, the more emphasis on the shofar, the better.
Consequently, the longer the blast, the better. (One of my pupils has achieved 65
seconds!)
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17. THE ATTACK
• Another frequently asked question is how to make the note clear in the
beginning. In music, we must "attack" the note to accent the clarity of the note. A
good technique is to silently say "tu" when the tongue touches the top of the
mouthpiece and the upper lip in order to sound the note.
• If your lips get tired, allow your lips to relax, and then vibrate them, which allows
blood to circulate to the overextended lip. It also helps to support the bottom lip
with your fingers. But the best remedy is to practice sufficiently so that your lips
will be able to withstand the muscular effort of vibrating.
• If your shofar "gurgles," you have spittle in the horn. The best remedy is to use a
coffeepot brush to remove the spittle. In fact, after each section of the service in
which the shofar is sounded, you should clean out the shofar to avoid this
problem. Before you sound the shofar at all, you should clean the shofar with
ethyl alcohol.
• You should also keep in mind what to do when your note comes out incorrectly.
It is better to know what to do before you err rather than panic when the error
occurs (and believe me, everybody has erred on the shofar). If your notes are not
exact, ignore the mistake and go on to the next note. If you blow and nothing
comes out, stop the attempt, and place the mouthpiece on a different place on
the lips. If you still persist, aim for the fundamental note and just sound it with no
other notes. When the lips are used to the vibrations, you can sound the other
notes.
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18. Shofar Protocol
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Only play one shofar,
because each shofar
At times, you will find that the
keratin will crack, causing the notes
to vary. If so, the Mishnah allows you
to use the shofar by plugging up the
hole. If the hole is horizontal and if
there is an unbroken space of two
fingers from the beginning of the
mouthpiece and the space of two
fingers from the break to the end of
the shofar, you may repair it by
putting some tape over it.
Better yet, heat the shofar
to make its plasticity form a
new horn.
Once I used a clarinet filler (resin),
but the tone was never the same.
And if the sound is not the same,
then it is unkosher (R.H. 3:6). If the
horn is not kosher, you may feel
comfortable with a new shofar.

19. ALWAYS
PROTECT THE
MOUTHPIECE
•Put a cushion around it so that if the shofar falls, the
mouthpiece will not chip. If it does, the chances are that it will
not be repairable.
•If it is possible, one-half hour before playing, you should
practice for five minutes to warm up.
•HOW TO IMPROVE TONE WHEN PLAYING A BRASS
INSTRUMENT
•Playing with the proper tone can mean the difference
between a good job and a great job.
•To achieve a great tine requires some exercises and
techniques taken from the repertoire of brass Instrument lists.
•VISUALIZE the sound you want to make
•Understand That your breath comes from the functioning of
your diaphragm, the muscle on the lower end of your lings. To
produce longer sounds, use and strengthen your diaphragm.
•Proper breathing – the lungs; the back support; and the
diaphragm
•Experiment with tongue placement. Your tongue should
lightly press the Shofar mouthpiece to attack the note. If, for
some reason, you cannot tongue the note, then use your
breath to start; hold your breath to stop.
•Fell comfortable with your lip vibration and placement. If your
lips are too loose or too tight, the tone suffers.
•Practice just blowing the dominant note a few minutes each
day.
•

20. BREATHING EXERCISES
• The idea is to build up your endurance to
ensure a sure tone and long notes without
UNNECESSARY strain.
• Use a metronome:
• Inhale for 8 counts, exhale for 8 counts Inhale
for 4 counts, exhale for 4 counts Inhale for 2
counts, exhale for 2 counts Variation:
• Inhale for 4, exhale for 4 Inhale for 3, exhale
for 4 Inhale for 2, exhale for 4 Inhale for 1,
exhale for 4
• Make sure your back is straight, your buttocks
squeezed and your feet “planted.”
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21. TONE
PRODUCTION
and ATTACK
• TONE PRODUCTION
• Practice, practice, practice the dominant NOTE; THEN THE NOTE
ONE THIRD Above and one note below. You will find the note
become more mellow with better timbre.
• ATTACK: (tongue)
• Duration: (open throat, breath support, steady tone)
• Release: (stop note by stopping air flow, NOT with tongue)
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22. TONE QUALITY
• Develop a strong mental image of good
tone quality
• Practice the long notes.
• Open throat when playing; blow air as if
they were fogging a glass (ask student to
blow warm air at their hand). The syllable
“hoe” will often create this effect
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23. PROJECTING THE SOUND
• Pick a spot on the wall across the room or a person in
the back row at a concert, and “aim” your sound
there.
• Always aim to produce the most beautiful sound you
can.
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24. ARTICULATION
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Don’t “attack" any notes.
Think instead of
"pronouncing" the notes by
saying the word "too“ or
“Toe”.
Lower jaw functions in
slurring precisely as it does
in strict articulation. It will
open or close depending on
the register and the pattern
of the slur group.

25. For more information about Shofar in the Holy
Temple, see websites
•https://goo.gl/KCYYrO
•http://ShofarCorps.com
•http://hearingshofar.blogspot.com/
•Arthur L. Finkle, Shofar: History,
Technique and Jewish Law,
(Saarbrücken, Germany: Hadassah
Word Press, 2015)
•http://goo.gl/Y3PrKK
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