Characteristics of Klezmer Music

Below are the most important characteristics of this musical genre:

- Melody: As will be noted later, it is the most predominant element in this genre,
from which the accompaniment is developed (a chord could be used in 8, 16 or 24
measures, depending on the section. On the other hand, all the chords used in klezmer are
triadic; very exceptionally, sounds outside the triad may appear to give a different color, or
within a chromatic passage, but never chords with a seventh.). The richness of this music
lies in the improvisatory nature of the melody and rhythm.
- Heterophony: Many instruments that play the same melody with different resources
(octaves, the search for other timbres, ornamentation, melodic, time or rhythmic variations).
- Ornamentation: (“dreydlekh” or “scheleufer”) Which is not written in the score, but
depends on the performers, with their style and “klezmerian” language.
- Time: This will depend on the type of audience and the environment that is created, which,
unlike the Western conception, moves naturally, which gives instability and tension to the
piece to be performed (Miguélez, 2008).

Scales and modes

In Klezmer music, “shteygerim” chromatic modes are mainly used , used in religious prayer; related
to the modes of the Ashkenazi liturgy of Eastern Europe and the Arab “maqamat”. Furthermore,
they can be altered differently, depending on the octave in which they are found (Rodríguz, 2014)
(Miguélez, 2008).

The most used modes in klezmer music are:

1. Major Mode

The most used mode in Yiddish music is the equivalent of the Western major scale. Scales in
Yiddish are called gustn. The most important thing about this scale are the semitones that are
created between the III and IV degrees and between the VII and the VIII degrees of the scale (the
sensitive), especially this last interval (the semitone between the sensitive and the tonic) is
especially important in Western music. There is a tendency in Klezmer to vary this distance, going
up half a tone in that VII degree, and converting the semitone interval that exists between the VII
and the I degree of the scale into tone.

In this scale, it is also important that the dominant creates a major chord (between the V and the
sensitive), which define the key. The main chords of this key, tonic (I), subdominant (IV) and
dominant (V), are major chords, and are the most used in this scale in Klezmer music. The
secondary chords of II and VI are minor chords, they will be used, in this case, as variants of the
main chords, and in a special or characteristic way in internal sections of a piece. That is, within a
Klezmer piece, which is in a major scale, the characteristic thing is that the melodies or main
sections move in a harmony of major chords (I, IV or V), and in the variations of that melody, or in
secondary sections, use the minor chords (II, VI):
 Figure 1: Gustn scale, major scale (Rodriguez, 2014: 31)

2. Minor Mode

The difference between the major mode and the minor mode is in the position of the third degree of
the scale. In the minor scale, the semitone is between II and III. Furthermore, the minor scale has its
three variants: natural, melodic and harmonic, which are used both in Western music and also in
Klezmer music. The difference between these three types of variants lies in the alteration of an
ascending semitone in the VI and VII degrees of the scale. Of the three types, the harmonic minor
scale is the most used in Yiddish music, and due to the distance of 2º Augmented between the VI
and VII degrees of the scale.

As for the chords that are formed, both the tonic chord and the subdominant chord are minor
chords, but the dominant chord would be a major chord, if we use the altered VII degree (the
sensitive):

Figure 2: Gustn scale, minor scale (Rodriguez, 2014: 31)

3. AHAVA RABA mode

Currently known as freygish , this mode is characterized by the intervals that are formed between
the I and III of the scale (semitone, Major 2nd between I and II, and tone and a half or Augmented
2nd between II and III), the VII goes to be major or minor, always depending on the melody. For
reasons of convenience, pieces that are written in this mode are usually composed in the key of the
minor subdominant, since most of the notes coincide with the key signature of the key.

As for the chords, we will have a tonic chord that is major, and the subdominant chord, which
would be minor. In the cadences, instead of using the dominant chord, it is normally replaced by the
minor VII chord:
 Figure 3 and 4: Ahava raba , also called freygish ( in Yiddish), altered Phrygian , hijaz (like the
Arabic maqam mode) and hedjaz-kar5 (Miguélez, 2008)

4. MY SHEBERAKH mode

Also called Av Harakhamin, this mode or shteyger is very similar to the Ahava Raba because it is
also characterized by having an augmented 2nd, but this time between the III and IV degrees of the
scale. The sixth degree is natural, it is not flat as was the case in the Ahava Raba. The configuration
between the I and III of the minor third and the natural VI (major), bring it closer to the medieval
Doric mode. Beregovski referred to this mode as an “altered Doric”, while Idelsohn, as it was a very
popular mode in Ukraine, called it “Ukrainian Doric”.

The chords normally used for harmonization are I, II, V and VII.

Figure 5 and 6: Mishebeyrekh , also called av horakhamim , Ukrainian Doric , modified Doric ,
Doric #4 , slikha and doina . (Miguélez, 2008)

5. ADONOY MOLOKH mode

The scale formed according to this Adonoy Molokh mode is very close to the medieval Mixolydian
mode. In essence it is a major scale, except for its 7th degree that functions as a subtonic.

The tonic and subdominant chords are consequently major chords, and the dominant chord is a
minor chord, although, as normally, the VII degree is used just before the tonic (as a subtonic) and
is altered, the dominant chord varies , and becomes a major chord, which is used in the cadences to
then follow the tonic chord.

Figure 7 and 8: Ahasem molokh , also called tefillah by Sephardic, Greater Romanian , Hashem
molokh and Mixolydian chanters. (Miguélez, 2008)
The characteristic dances and rhythms

In Klezmer, there are several types of dance among which we can mention the following:

1. NIGUN (from the Hebrew “lenagen” , to make music): is a simple melody, of religious
inspiration, easy to memorize and interpret collectively. Much of nigunim (plural) was
composed by a rabbi or by a member of a “hoyf” (rabbinic school). There are also other
types, such as “ tish nigun” (sung accompanying a meal), “nigun rikud” (for dancing),
“nigun simkha” (play), “Deveykus nigun” (dedicated to God, it was not rhythmic), “ Gas'n
nigun”.

2. FREYLEKHS: it is a Jewish circle dance, lively, fun and full of spirituality, which was
done in the ghettos, and which varies greatly from one to another. I was open to
improvisation.

3. BULGAR: is very similar to freylekhs , but is generally slower and more complex. This
dance comes from Moldova-Bessarabia (a region of Eastern Europe bordered to the north
and east by Ukraine and to the south and west by Romania) and not from Bulgaria (here,
the majority of Jews were Sephardim and not Ashkenazi). It is danced in a circle, in a line
or in pairs, and is similar to the serve or the cocek cigano. It is a generally slow dance,
although it could also be fast, in 8/8 with an accent: 3 3 2.

4. KHOSID'L: comes from the regions of Galice and Bukovina (Poland) and is a dance within
the Hassidic style with a highly expressive and spiritual character. Originally it was a dance
of the rabbis, only for men or in which each one danced individually. It is danced to a
religiously inspired melody in 2/4 or 4/4 time. It usually starts at a moderate tempo and
gradually accelerates until it reaches a faster, more static tempo. Here, the improvisation of
the musicians and also the dancers is important.

5. SLOW TIME: it is a slow Romanian dance in a circle with three beats (3/8 or 3/4) where
the first and third parts of the beat are accentuated. In turn, the first is short, and the last is
slow. Furthermore, the rhythm does not have to be played in a regular way, which
sometimes makes it seem like it is played in 5 beats and not 3.

6. TERKISH: it is a dance that has a great resemblance to the syrtos dance, the Greek Susta ,
the Turkish tsiftetelli or the Spanish habanera . It is written in four beats (4/4) with oriental
consonances and with the following rhythmic distribution: quarter note-silence of eighth
note and eighth note-quarter note-quarter note, or also quarter note-dotted eighth note rest-
semiquaver-quarter note-quarter note. It became very popular in the first half of the 20th
century in the United States thanks to Dave Tarras and Naftule Branwein.

7. SIRBA: is a Romanian dance (Moldova) in pairs or in line at a fairly fast tempo in 12/8
with a distribution of 3 3 3 3 and an accompaniment of triplets, in which the melody will be
a little freer in as for the rhythm.
 8. SHER: or sherele is a dance originally from Germany that is danced in pairs, and is similar
to the American square dance or the Russian quadrille ( krokadil ). The music is normally
written in 2/4 time and the tempo will be between moderate and fast (it is a dance that
would be between the bulgar and khosid'l )

9. KOLOMEYKA: comes from the region of the city of Kolomyja (in the Galice region) and
is an energetic dance of couples in 2/4 time in which various sung couplets are made. The
melody will be characteristic of sixteenth notes, and with two accents in the last measure of
each couplet.

10. HONGA: is a popular line dance of the gypsies and Jews of the Bessarabia region, and
most likely derives from a Turkish dance called hangui , which means "line." It is written in
moderate time and in 2/4 time and would consist of repetitions of motifs of 4 to 8 measures
in eighth notes. Musicians and dancers normally use it to pretend that they can play and
dance much faster than it really is, accelerando are largely used.

11. TAKSIM: it is a small improvised part about a mode and it will be based on some motifs of
the piece that follows it. Like a prelude that serves as an introduction.

12. DOINA: originally from Romania, but with Greek influences ( skaros or kleftika ). It is an
improvised piece, often with a very free rhythm, which is characterized by having short
melodic figures that are repeated, and with a regular beat. The soloist (almost always violin
or clarinet) plays a modal melody on a discreet harmonic background. The changes in the
chords are indicated at the end of the measure, according to the music or by a sign, by the
soloist to the other musicians (it is an improvisatory piece, in which the soloist always
commands). This style is particularly conducive to expressing feelings of alternating
sadness and joy, and the melismas and intonations of the “ Khazanut ” (synagogue songs)
are used. If there were a klezmer dance suite, the doina would serve perfectly as a prelude
to the main piece or to a klezmer piece suite with a faster rhythm ( hora, khosidl, serve,
freylekhs or bulgar ), called nokhshpil

Musical instruments

The use, handling and interpretation of instruments will be marked, in the case of Jews, by different
elements such as: living conditions, social status, economic, political and religious context; Thus,
during the 18th and 19th centuries, Jews were only allowed to play sweet instruments. 12 .
(Rodriguez, 2014).
On the other hand, the choice of instruments used by the Klezmorim was determined by criteria
such as the cost of the instrument, inheritance or transmission, as well as easy transportation and
quality.

1
These sweet instruments, also called treble, because they can only make a single voice, were intended to
perform the melody, from which the harmony is developed. Before the 20th century, they fulfilled a
function of volume and rhythm, more than harmonious camping per se (Miguélez, 2008).
2
In Ukraine, during the 18th and 19th centuries, musical instruments were divided into two types: “strong”
brass and percussion, and the so-called “soft” strings and flutes.
The instruments found in the first klezmer music groups are detailed below (Rodríguez, 2014):

- Fiddle: (in Yiddish it is called “fidl” or “verfl”) was the most used instrument in the
16th century in all musical fields due to the large number of ornamentations and variations.
This is why the violin became the main instrument for the Jews, and in Klezmer music, due
to the sound possibilities and technical resources of the instrument to imitate liturgical
songs, declamations, etc.
- Flute: (in Yiddish “fleyt” or “sholper”) instrument that was used by the klezmorim
from the 17th century onwards. The most used was the piccolo, due to its easy construction
and transportation, conical type (cylindrical flutes were rarely found) and tuned in C, F or
Eb.
- Clarinet: (in Yiddish “clarnet”, “foyal” or “forst”) was incorporated in the second
half of the 19th century by Jewish musicians from German and Russian military bands. The
“moaning” sound of the clarinet was perfectly adapted to the Jewish style and acquired a
higher status than the violin, allowing them to express a wide range of feelings.
- Accordion: (in Yiddish “harmoshke”), was highly appreciated at the end of the 19th
century for its warm sound and great expressiveness; it was made of bronze, which gave it a
sound closer to the human voice (Miguélez, 2008).
- Cymbal: (in Yiddish “tsimbl”) was already popular in Galicia (Poland) and Belarus
in the 16th century. It was introduced to Romania through Jewish musicians. This
instrument was very important for the klezmorim and for Klezmer music.
- Violoncello and Double Bass: (in Yiddish “tshelo” or “barok”) (Yiddish “bas” or “verbl”)
of 4 or 3 strings, used for their melodic flexibility. These instruments were used as
percussion, although they were later given the bass line.

Now, regarding the piano, it was rarely used by the klezmorim before the 19th century, as it was
considered expensive, difficult to use and corresponding to high society; However, it gained
importance among American immigrants at the end of the 19th century. Thus, Klezmer music was
nourished more, not only with the piano, but with other instruments such as: brass, guitars, piano,
saxophones (which were considered by the Nazis as black-Jewish instruments), xylophones, banjo,
harmonica. , Indian sitar or the didjeridoo (Rodríguez, 2014).