Klezmer Music: Structure

There is no strict structure for Klezmer music and hence it varies for each piece. Modal transitions are what determine the structure of the piece and the use of this technique provides a basis for unity and contrast between sections of music.

Firstly, each piece consists of a governing mode. The idea of this mode can be compared to the Western idea of the main key of a piece. Using this concept, if section A of a piece is in G major, then it is expected that a contrasting section such as B or C is potentially in a different key such as D major (the dominate key of G major). When section A returns, the main key of G major is expected to appear again. This relates exactly to the Jewish Prayer modes. For example, each mode has a sub-mode, much like each key has a related key that is used for contrast. 

So, What is a Sub-Mode?

A sub-mode is a mode that is used to provide contrast in a piece. It is featured as frequently or infrequently as desired, however, it never detracts from the significance and presence of the governing mode. So in other words, it’s not as important as the main mode but is still necessary.

There are three main criteria aspects that determine what a sub-mode is:

1)  The sub-mode seizes less space in the piece than the governing mode. So it is featured as a “taster” rather than a meal, to put it simply. This adds contrast and interest to the piece as the mood of the piece changes according to the mode. This leads to the second aspect,

2) The sub-mode serves as contrast to the governing mode and functions as a diversion whilst potentially using similar motifs and chordal structures as the governing mode. Then again, the sub-mode may utilise entirely different motifs, expressive techniques, texture and dynamics in order to generate emotional contrast and a change in atmosphere.  And thirdly,

3) The sub-mode appears after the governing mode has been established, however, it does not strictly appear in an entirely different section either. Small hints of the sub-mode may be thrown into the governing mode section to add some flavour and interest. It also allows the ear to adjust to the music that is approaching, which is beneficial for those who dance to Klezmer music.

The movement between the governing mode and the sub-mode is known as modal transitioning or modal progression. This concept directly relates to the idea of modulation in Western music. Each mode consists of more than 7 notes, this purpose for this is to assist in smooth and seamless transitions between each mode, much like the adjustment of the intervals used in a scale before reaching a contrasting key of a piece.

An example of a simple modal progression would be Ahava-Rabboh to Adonoy Moloch back to Ahava-Rabboh. This structure is akin to an ABA arrangement in Western music. In this picture, note the use of the B natural in the Ahava-Rabboh mode. This is used to soften the transition into the Adonoy Moloch mode, before returning into Ahave Rabboh and utilising the B flat after the transition has occurred. 

More complex modal progressions can occur, involving multiple diversions into various sub-modes before returning to the governing mode.

As each sub-mode has a choice between using inspiration from the governing mode or sounding entirely different, there is no definite way of describing the structure of Klezmer music. Some pieces may appear in binary, ternary or rondo form; and others possess a structure akin to a theme and variations. It is impossible to give a definite example of the structure; instead, it is best to outline the way in which the structure is determined using the concept of the governing and sub-modal system.