Klezmer Music: Tonality

Before launching into an analysis of Klezmer music, it is vital to gain an understanding of the tonality of this style and hence discover why it is so recognizable.

A true appreciation of the modes of Klezmer music can only be obtained by attempting to disregard the typical Western diatonic scale. These modes are not just scales that are reshaped and sculpted according to the melody much like the diatonic scale; instead, each mode has a specific motif and mood that is associated with it. The modes are comprised of more than seven notes, making comparisons between diatonic scales and Klezmer modes fairly meaningless, except for when attempting to gain an understanding of how they function. (For the purpose of gaining an understanding by comparison, the additional notes will not be included in the scales that are notated below.)

The motifs used in each mode are highly similar to each other; however, the sound varies as a result of the different intervals of each scale. The use of these motifs and intervals provide a basis for the structure and tonality of Klezmer music and Cantillation. This can be understood by outlining that the scale influences the style as opposed to the style influencing the use of the scale. There are five main modes and each posses three forms: scalar form, motif form and cadence form. The Klezmer modes are the prayer modes used in synagogue, and therefore, they are named according to the religious text that is matched with the mode.

Ahava Rabboh or Freygish:

Ahava Rabboh means “Abounding Love” and is commonly referred to as the mode of supplication. This mode possesses a scalic form that is comparable to the heptatonic Phrygian mode as a result of the lowered third degree. It is believed that this mode was adopted from the Tartars, an ethnic group that lived in regions of Asia and Europe. 

Mi Sheberach

Mi Sheberach means “He who blessed” and is also referred to as Misheberach, Mi Sheberyekh and Av Horachamin. The scalar form of this mode can be described as an altered Dorian mode with a raised 4^th. For added interest, contrasting sections of Klezmer music utilise a natural fourth instead. This mode is the basis of Doina, which is a Romanian musical style that was adopted into Klezmer tunes. 

Mogon Ovos

Mogon Ovos means “Our forebears’ shield” and is one of the oldest modes used in Jewish prayer. This mode is referred to as the didactic mode of prayer. Additionally, the scalar form of this mode is exactly the same as the Aeolian mode or the natural minor of a diatonic scale of the same tonic. However, the seventh is occasionally raised for modal transitioning and for added interest/dissonance. The additional raised seventh of the Mogon Ovos mode is identical to the Western harmonic minor scale of the same tonic; and if the 6^th degree is lowered then the mode is identical to the melodic minor of the same tonic. 

Yishtabach

Yishtabach means “It shall become superb” and is very similar to the Mogon Ovos mode. In its scalar form, it is comparable with the Western Aeolian mode of the same tonic with an additional lowered 5^th. This mode can be performed with a lowered second degree as well.

Adonoy Moloch

Adonoy Moloch, meaning “The Lord reigns,” is a principal mode of Jewish prayer and is sung as the opening prayer on Friday night Shabbat services. This mode is used as the first sub-mode in the modal transition into Ahava Rabboh and Yishtabach Klezmer pieces. Cantors of other classifications, including the Sephardic order, call it Tefillah meaning “the mode of prayer”. The scalar form of this mode resembles the mixolydian scale of the same tonic, however, it often features a raised seventh.