Trope

By RABBI JOSEPH H. PROUSER

Parshat Vayera, read this Shabbat, always presents me with special challenges as a congregational Torah Reader. I am thoroughly familiar with the text of the Torah Portion. Chapters 21-22, however, are chanted on Rosh Hashanah to a Trope, a melodic system unique to the High Holy Days. When those same scriptural selections are read this Shabbat, a less elaborate, less majestic cantillation system is used. As I have long since memorized the Holiday melody (and due to my personal musical limitations!!), intense concentration is required properly to transpose the reading into the appropriate musical mode.

There are six such musical modes: the Trope used for weekday and Shabbat Torah Reading; the High Holy Days; Haftarah; Esther; Lamentations; and the cantillation shared by Ecclesiastes, Ruth, and Song of Songs. (There are also innumerable regional variations: Moroccan, Persian, Yemenite, etc.)

The Talmud (Megillah 32a) states: Scripture “should be read in public and made understood to its hearers in musical and sweet tones – and he who reads the Torah without tune, shows disregard for it and its vital values and laws” (translation, A. W. Binder).

“Trope” (derived from the Latin “tropus” – meaning “figure of speech” or “manner of singing”) was introduced to Jewish usage by Rashi in his commentary to Kiddushin 71a.

Parshat Vayera… Of Thee I sing!

Rabbi Joseph H. Prouser is the rabbi of Temple Emanuel of North Jersey and the editor of “Masorti: The New Journal of Conservative Judaism.” The latest edition of Masorti was published online in December of 2024. A subscription is $18 per annum.