The Sabbath morning service begins with Elohai Neshamah on page 2, but the congregation begins responding to the Psalms of the Zemirot from page 14 (following the responses to the Kaddish Derabbanan on that page), at the end of each Psalm or scriptural passage. Here is an example of the style of the responses, from the middle of page 17:
Barechu Adonai bechol ma’asav
On page 17, the congregation rises and repeats Adonai Melech twice, following the Hazan each time:
Then the Zemirot reponses continue as before. The response at the end of Psalm 136 (page 97) is a more ornate version than usual. Here is a recording of the entire Psalm – but note that, although on this recording (made by the congregational choir and the late Rev. Eliezer Abinun in 1960) the choir sings the entire Psalm, in the synagogue the Psalm is read by the Hazan alone, with the congregation only coming in for the final verse “Hodu le’el hashamayim”:
On Shabbat Beshalach and the 7th day of Passover only, immediately upon the conclusion of the Shirah, the congregation sings the passage “Ki ba sus Par’oh”, at the foot of page 24, sung here by Rev. Abinun:
On regular Shabbatot, at the conclusion of the Shirah, the Hazan repeats the final verse and then continues with the short paragraph in the middle of page 25. After that, the congregation immediately begins to sing Nishmat on page 99, to the following traditional melody:
After Bemakhelot, the Hazan repeats the last few words, and then begins the Kaddish Le’ela, to which the congregation responds as usual. Then follows Barechu. There are two possible musical versions of the response Baruch Adonai Hameborach.
This response follows the standard Hazan’s chant for the Kaddish Le’ela, sung on regular Shabbatot:
The Hazan then says the first words of the blessing at the top of page 101, and the congregation immediately begins singing the Yotser, beginning with the words “Hakol yoducha” and continuing right down to the foot of the page:
Sung by Rev. Abinun and the choir in 1956 at a special service in Bevis Marks Synagogue. This particular special melody is based on the Lecha Dodi for Shabbat Bereshit, but there are other special melodies.
Standard responses then continue throughout the ‘Amidah. The Modim Derabbanan response is sung as follows: