The Art of Chazanut

Once a week I find myself teaching chazanut in Har Nof which is a long way from Kfar Saba, where I live. It’s a most enjoyable experience. My students there are not professional singers, but they all daven in their respective communities and want to learn more about the art of singing more effectively.

But do chazanim really need lessons in pituach kol? It’s an old, old story. The chazan is not an opera singer; he’s not there to entertain, but to pray for forgiveness. His role is to plead with and praise the Almighty on behalf of his congregants.

There is no argument that a chazan does require a good voice and there is little debate that a powerful tenor is usually preferable to a good baritone in the synagogue, but the effectiveness of a good chazan is most certainly based on his vocal ability. Other attributes follow vocal prowess. 

Following this line of thought, it then stands to reason that a good chazan should learn how to use his voice correctly. How to project the sound without stress and strain and how to preserve the vocal chords for a long stint on the bimah.

Just for the record, I’m not Shomer Shabbat. Teaching pituach kol to chazanim is not a religious practice, but a worthwhile project to enhance the beauty and sincerity of a synagogue service.