The ‘Arbit service for Friday evening begins with the Hazan announcing the Mitsvot for the coming Sabbath. Immediately after this, the congregation begins singing Mizmor LeDavid (Psalm 29) on page 79, to the following traditional melody (sung here – like several recordings on this page – by the congregational choir in 1960, under Abraham Lopez-Dias):

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After the Hazan has sung through the long section “Bameh Madlikin”, the congregation sings Lechah Dodi on page 81:

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Following “Amar Ribi El’azar” and the Mourners’ Kaddish, the congregation sings the two Sabbath Psalms one after the other, with no break between them – Mizmor Shir Leyom HaShabbat and Adonai Malach (Psalms 92-93) on page 82.

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Mizmor Shir Leyom HaShabbat is always sung to the following traditional melody:

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Adonai Malach may be sung to one of two melodies.

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The first is the traditional one – the continuation of the traditional Psalmody rendition as per the previous Psalm. Nowadays it is sung only infrequently, and is usually only heard during the Three Weeks (between the Fasts of Tammuz and Ab), when we do not sing any special or ornate melodies in the Sabbath services:

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The alternative melody is the one that is heard on the vast majority of weeks these days. It is based on a theme from Mendelssohn’s Elijah, adapted by Charles Salaman, organist of the West London Synagogue in the late 19th century:

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After the responses to the Kaddish Le’ela, the next congregational response is to Barechu, on page 83. There are two possible musical versions of the response Baruch Adonai Hameborach.

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This response follows the standard Hazan’s chant for the Kaddish Le’ela, sung on regular Shabbatot:

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The alternative version is sung when the Hazan introduces any special melody for the Kaddish Le’ela, usually on special Shabbatot such as Shabbat Mebarachin, Rosh Hodesh, Chol Hamo’ed, and so forth:

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After the blessings following the Shema’, the Hazan recites “Veshameru” on page 85. The congregation comes in with the final few words of the paragraph, which are then repeated by the Hazan:

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The congregation then responds to the Kaddish Le’ela, and then follows the silent ‘Amidah. After this the Hazan recites the paragraph “Vayechulu” on page 89, and once again the congregation comes in with the last few words, which are then repeated by the Hazan:

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Then follow the responses to the Beracha Me’en Sheba, and the Kaddish Titkabal. The Hazan then recites Psalm 23 at the foot of page 89. The congregation sings the final verse of this Psalm, which is then repeated by the Hazan:

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Ach tob vachesed

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After the Kaddish Yehe Shelama (recited by the Hazan with the congregation responding), the Hazan then recites Barechu once again, on page 90. The congregational reponse this time is different from the previous recitation:

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After ‘Alenu, the hymn Yigdal is sung by the congregation to end the service, at the foot of page 90. There are several different melodies which may be used.

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The most commonly-heard tune is the so-called “Old Melody”, common to many Sephardi communities:

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Sung by the congregational choir under Jacob Hadida in 1951

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The next melody is the so-called “Traditional” rendering, which is one of the oldest chants in the S&P tradition, and may also be sung to En Kelohenu and Adon Olam in the Sabbath morning service:

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Finally there is the “Amsterdam” melody, introduced to London from that community during the course of the 20th century:

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