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This page will feature the varying traditions within the Orthodox world regarding the liturgy used to welcome שבת, consisting of a varied collection of hymns, תהלים and liturgical texts
Some congregations sing ידיד נפש at the opening of the service
In the Spanish and Portuguese tradition, the קבלת שבת service is opened with the second chapter of משניות שבת, which discusses the rules of הדלקת נר שבת. (This portion of the service, unique in its musical complexity - as well as its tongue-twisting verbiage - is rumored to often be used to audition potential candidates for cantorial positions in S&P synagogues {the equivalent, perhaps, in this regard of כל נדרי in an Ashkenazi synagogue}, so, if you plan to try for such a job, then be sure to pay close attention to this section!)
במה מדליקין 1 [DH]
במה מדליקין 2 [JC]
In the Ashkenazi tradition, קבלת שבת is begun with a series of תהלים (in some congregations preceded by congregation singing of ידיד נפש). In the Eastern Minhag thereof they are begun and finished aloud by the חזן, with all saying the תהלים individually in between.
מזמור לדוד
In the Western Ashkenaz, as well as the Spanish-Portuguese, Minhag (coincidence, anyone?) לכה דודי is set in its entirety to one (choral) melody specially purpose-composed therefor. An important difference to be noted is that in the Western Ashkenaz Minhag a חזן has the freedom to choose between a variety of choral melodies, whereas a Spanish-Portuguese congregation will typically (though not always) have one specific melody (and even one specific variation of said melody) that is used throughout the year (with the possible exception of a few special occasions)
לכה דודי 1 [composed IMJ; MF]
לכה דודי 2 [composed IMJ; MF]
לכה דודי 3 [composed LL; MF]
לכה דודי 4 [composed LL; MF]
לכה דודי 5 [composed LL; MF]
לכה דודי 6 [LSC]
לכה דודי 7 [HB]
לכה דודי 8 [HB]
לכה דודי 9 [HB]
לכה דודי 10 [KAJC; DK]
לכה דודי 11 [KAJC; RF]
לכה דודי 12 [LB]
לכה דודי 13 [MM]
In the Eastern Minhag, לכה דודי is set to a contrafactum (meaning, a borrowed melody with which the congregation is familiar). The convention in many congregations is that the beginning of לכה דודי is set to a devotional melody, whereas the end (from לא תבושי on) is typically set to a joyful one; though this is not an ironclad rule.
Some congregations may have all singing the entirety of לכה דודי in unison, while others may have it sung responsively; each according to its custom.
לכה דודי 1 - ברעסלוב [ES]
לכה דודי 2 [ES]
לכה דודי 3 [ES]
לכה דודי 5 - אליך [composed SC; ES]
לא תבושי 1 [ES]
לא תבושי 2 [ES]
לא תבושי 3 - ברעסלוב [ES]
An Orientalized version of what is commonly sung in Young Israels (!)
There are also special melodies (particularly in the Western traditions - again a coincidence? I think not) used for specific occasions throughout the year:
לכה דודי - חנוכה - Frankfurt [MF]
The remainder of the תהלים are chanted as above, with the Western Minhag (of both traditions - need I say more?) differing only in that צדיק כתמר (and sometimes the entire Psalm) is sung to a choral composition rather than chanted, and that ה מלך is chanted aloud by the חזן in its entirety.
מזמור שיר ליום השבת [KAJC]
[LSC] מזמור שיר ליום השבת
צדיק כתמר 1 [ES]
צדיק כתמר 2 [composed IMJ; MF]
צדיק כתמר 3 [MF]
ה מלך [composed LL; MF]
מקולות מים רבים [ES]
ה מלך 1 [LSC]
ה מלך 2 [EA]
The second chapter of משניות שבת is said at the conclusion of the קבלת שבת in the Eastern Minhag of the Ashkenazi tradition. (In the Western Minhag it is said at the end of מעריב; in the Spanish and Portuguese Minhag it is said at the opening of קבלת שבת.)
במה מדליקין [ES]
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