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MIDI Files:
| Piece | |
| Melody | |
| Soprano | |
| Alto 1 | |
| Alto 2 | |
| Tenor |
Sheet Music:
  Score |
 Lead |
In singing this song, we are grateful for all the innumerable wonderful things G‑d has done for us, any one of which would be enough for us (דַּיֵּֽנוּ)! The song is sung during the מַגִּיד Magid (Storytelling) portion of the Passover ceremony, immediately after Pharaoh's charioteers have been swallowed by the Reed Sea. The Israelites, who moments before appeared certain to be slaughtered, have nothing but their newly won freedom from slavery, and Miryam leads them in celebratory song and dance. Thus the mood of the song is of exuberant happiness and gratitude in the face of new uncertainty. דַּיֵּֽנוּ Dayénu is also sung on any other occasion when we have reason to be grateful to G‑d.
The text of the song consists of a varying number of verses praising G‑d for the things G‑d did for us during our Exodus from slavery. The three verses given here are the ones most commonly included in the Passover Haggadah, and lend themselves best to singing with the traditional melody.
In this choral arrangement, the traditional melody is in a pitch range comfortable to most singers, carried by the second alto for the verses, and by the first alto in the chorus. In the first section, the first alto imitates the melody in dizzyingly close succession to the second alto, whilte the soprano dances in tightening circles. In a chromatic variation on the second theme, the bass gradually steps up the tension, only to tumble back down and start over. In the second section, the first alto switches dizzying tactics to a boldly syncopated rhythm, while the soprano reinforces the bass's renewed ascent by striking up a chromatically ascending variation on the first theme.
The joke of the traditional chorus is that דַּיֵּֽנוּ Dai “enough” is ironically repeated rather more often than enough — at least for some of us. In this arrangement, the syncopated second alto drives the joke home by starting its dayénus a beat late, letting it spring its punch line after all the other voices have had enough.
For a longer arrangement, let the second alto introduce the familiar melody solo, follow with an alto duet, and finally add the soprano and bass.
When considering instrumental accompaniment, bear in mind that any musical instruments need to be able to join in as boisterously as the audience to be heard. Brass instruments are ideal for this purpose. For example, double the alto parts with trumpets, the soprano with a cornet, and the bass with a trombone or tuba. To enhance the fervor of the dance, beat out the rhythm with tambourines, and boost the second alto's syncopated beats with crashing cymbals.