az nidberu yir'ee YHWH ish el re'eehu va-yaqshev YHWH va-yishma'

Then those who see Ha-Shem, will talk among each other, and he listens and he hears

yatakaalamuna allathina yarau'na-hu , va-yusri va-yasma'

Dann die IHN schauen, werden reden miteinander, und er lauscht und er hoert

Puis ceux qu'ils voient Ha-Shem, se parlent l'un a l'autre - il entends, il ecoute


See and hear the recording of my singing in the edition of June 15, below

Chromaticism
Ever since the Baroque Period, almost all music had been written in one of two kinds of scales: major or minor. By the end of the Romantic Period, however, these scale systems were growing tired. The increasingly intense emotions of the time could not be captured by using just the seven availible tones of a given key. Increasingly, composers began to use notes from the chromatic scale to create a greater sense of emotion and tension.

The chromatic scale includes all 12 tones of the octave, whereas the major and minor scales only use seven of the twelve. By using the tones that are not "supposed" to be in a certain key, composers were able to create stronger and more effective dissonances. In turn, the exaggered dissonance created more tension, which gave a greater sense of relief when the music arrived at a moment of release. Alternatively, the moment of release could be delayed using chromatic harmonies, so that the listener is constantly pulled forward, waiting for the resolution. ..

I learnt this song from a CD of Mika.
She wanted to hear "Rita" again and again.


my own singing.

Rita herself: youtube

A song by Ehud Manor

[see more of his songs on Healing-K.i.s.s.],
discovered for Independence Day 63,
performed for the first time on its Eve,
on May 9, 2011
[see Nourishment>May 9-10 and end of page]
touched me immediately so deeply
that I ran to record it from the TV screen.
But later there flew in a flaw into my joy...
My daughter-in-love saw a "talk-back",
which revealed, that this song was not "new",
but composed and sung by Achinoam Nini,
already many years ago. [see more below]

See how I sing the version of Keren Peles
which she sung - together with Amir Dadon,
the Symphonette Orchestra of Ra'anana,
the childrens' Choir Bne-Atarot
and the Gospel-Choir : "Flames of Jerusalem"
i.e. The Black Hebrews of Dimona.
see the first video,
already in the air on the Day of Independence ,
with the choirs in the foreground,
and later see the video of the Ceremony itself
which made an impression on "people",
because Keren slipped on the stage,
when she sang "Yes in the heart within"

[my translation]
(1)
This evening knows things,
which the morning guessed,
this evening touches,
what the heart already requested,
we discovered the mystery of the connection .
and through the feeling we choose.
We stand on the bridge
between today and tomorrow
Tomorrow will come at midnight,
new and beautiful and pure
will it entrust itself in our hands,
Tomorrow will come at midnight
through all the streets it will pass
and - while passing - light up our eyes;
Tomorrow - in the hope
that we've learnt something from yesterday,
in the hope .
that we'll know to love and have compassion

(2)
Always from time immemorial
one dreams this country,
one knows, yes, "in the heart within"
[an allusion to Israel's National Anthem]
that we are brothers and sisters,
we discovered the mystery .......

that we'll know to love
and be compassionate
photographed from my TV screen:

Achinoam Nini's song 1997
not on the Internet,
but sent to me by her,
after I had asked her,
if the claim of that
talkback was correct.

My own singing

It was starchild Gal Mor, who first found this image of Achinoam's performance
for the 37th Zionist Congress in 1997 (100 years of Zionism 1897-1997),
but she couldn't find any video, so she didn't tell me about it.
She had to be content with informing me about Ehud's poem in Keren's composition,
which - one day after the Day of Independence - was available only in "Good News",
[and NOT "by the way"-a wondrous chance for me to learn about thegoodnews.co.il !]

But then came a new scene, which I depicted in a letter to Achinoam Nini:

Shalom Achinoam,
first - thank you for the two additional reports about China.
Since my main interest is to "celebrate what is right with the World",
I most enjoyed the passage about the people in the the Chinese parks,
who do both: activate their body (and through that their spirit and soul)
and enjoy the company with others....

But now the reason for my letter:

The song "Tomorrow arrives at midnight",
which was song during the Independence Ceremony,
was meant to emphasize the "proverb",
which was chosen as the center of the Ceremony:
"kol Yisrael arevim zae la-zae" = "All Israel vouchsafe for each other"

This very proverb is the title of my book, based on my PH.D.

I told my daughter-in-love, Efrat, enthusiastically about the song,
which was - or so we are told -
retrieved from Ehud Manor's "hundreds or thousands of papers",
Just now she showed me a talkback under that youtube, which claims,
that YOU gave a tune to this song and sang it already years ago.
Is this true?
I've created a sculpture about this song and its performance on my website,
and therefore would need to know if and when and how you discovered that song
and why it "did not succeed" then.
Rachel

May 22, 2011

The quality is hardly damaged and since I want to learn and sing this song myself,
this doesn't matter.
My big question is, why don't you take care, that the song appears on youtube?
You should have done this as soon as there appeared this wonderful program Youtube,
but at least take care NOW! or better: initiate a new performance and then put it on Youtube!
If Miri would agree to join you - despite the line: "one always dreams this country"
- it would be fantastic!

That young friend , Gal Mor, now told me,
that she had sent me the link to the goodnews only,
after she had to give up finding YOUR song,
of which she knew from
http://www.eshelstudios.co.il/cds/target49.html
She is happy now, to have received your song directly from you through me!

The person of the talk-back, which I mentinioned, said,
that s/he likes your music in general, but in this case she like's Keren's song more.
I myself like both very much, but after having learnt both, I'm a bit angry at Keren.
I don't know, if you - when composing a song - ever had the perspective,
that an ordinary, single person could sing your song    a-capella!
I've enormous difficulty to learn new songs, even my own.
That's why I had to postpone sending this letter for a week.
Compared to learning Keren's song, it was ""easy...."" to learn yours.
What I'm a bit angry about, is,
that a song chosen for such a central national event,
has been turned into a really great performance,
but is almost unsingable for people like me,
despite my long experience in music and singing.
The tune spreads over two octaves (minus half a tone),
and even Keren and her co-singer could perform this only,
by playing with the male and female voices and exchanging octaves.
If you take the time to hear what I'm sending you,
you'll hear the screeches, when it comes to the highest tones.
If I would be more skilled in using my sound-program - they could have been deleted,
but the point is,
that a singer "for all Israel"
should help "all Israel"
to sing the song with her!