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.

Klezmer Music: Pitch, Texture and Expressive Techniques.

The style of Jewish music and Klezmer music in particular, is often characterised and defined by the analysis of its pitch. This includes the melody, harmony, tonality and range/register of the music played.

Tonality

Firstly, the tonality of the music has already been discussed as modal. This means that the behaviour of the music is neither major nor minor; instead, it is fusion of both whilst incorporating various other intervals to stimulate moods and effects.


Melody and Expressive Techniques

The melodies of Klezmer music are intended to imitate the human voice and include various attempts to emulate cries, laughter and weeping. This is achieved by using ornamentation such as glissandi, grace notes, chirps, squeaks and other techniques. These embellishments give character to the melodies and add life to the music. Many of the Klezmer melodies are disjunct and contain a range of leaps, arpeggiated passages, scalic motifs, stepwise contours and chromatic leads into cadence points. However, the contour is not nearly as important as the shape given by the use of ornamentation.

The performer decides the ornamentation that he/she will use given the melody, and hence there is no founding law that dictates the use of specific techniques. However, there are several that are common to the style of Klezmer music. For example, long held notes are generally bent and shaped by the performer and trills are added. Glissandi are commonly used by violinists to add a sweeping effect; and vibrato is used for emotional effect. Overall, the melodies are shaped and sculpted by the use of ornamentation. The contour of the melody itself is not of great significance, but rather, the animation and energy that shapes it is of upmost worth. The melody itself is decided upon by the mode, as each mode possesses three forms, one of which is a motif. Therefore, it is up to the performer to give the modal motif its shape and character.  Listen to the first 45 seconds of this clip and recognise the laughing sound on the clarinet, which is a common technique used in Klezmer music.

Harmony and Texture:

The harmonies of Klezmer music are determined by the modal transitions and progressions. First of all, it is important to understand the alternating texture of this genre of Jewish Music. Klezmer oscillates between heterophonic, polyphonic, antiphonic and homophonic textures.

When the music is homophonic, the harmonies are carried by the accompanying line and are determined by the mode used. These harmonies can include chordal progressions and/or repetition of the same chord that is the founding note of the mode. Dissonance is generated between the friction of the melody that is carried over the accompanying line. 

When the music is heterophonic, tension is established as the same melody is performed, however, across different instruments with different ranges. In addition, each performer shapes the melody with different ornamentation, and it is expected that the melody will be diminished and augmented by various instruments. This all generates a dense harmony and dissonant sound, which adds tension and excitement to the music.

Over the course of each section of Klezmer music, the lead instrument is expected to utilise a large range in order to provoke emotion by filling and expanding the depth of the melody. As Klezmer music varies in tempo, it is important to include fast melodies bursting with notes to achieve the desired effect of exhilaration and excitement; this is then contrasted with slower movements that include less movement across the instrument to release the tension and pressure that were built up in the explosive, fast-paced sections.

Overall, the notes of the harmony and melody are important, however, the shape of the melody is determined by the use of ornamentation and this is deemed more significant.

Klezmer Music: Duration

Another key feature of Klezmer music includes the tempo, metre and rhythm; after all, it is these three aspects that help to drive the music.

Klezmer music is often performed at festivals and ceremonies that involve dancing. Thus, the tempo of a piece is set by the Klezmorim upon perceiving how the dancers and people are reacting to the music. Faster dance pieces involve a strident beat, and the performers aim to be on the edge of the beat to drive the music forwards. As the music is often improvised, the tempo can evolve to be rather jerky and bouncy. The following video is a montage of various dances performed to Klezmer music (only listen to a snippet of it): 

Various time signatures are used throughout Klezmer music. The type of dance that accompanies the music heavily influences the time signature that is used.

For example:

Freyekhs: is a Romanian dance piece that utilises the ahava-rabboh mode. This piece is written in 8/8 and is felt as 3+3+2. It is a very popular piece to accompany various dances with. Briefly listen to part of this recording and gain a feel of the asymmetrical metre. https://www.youtube.com/watch?v=PeTXqFy5oUY

Sher: is a Yiddish word meaning “tailor” and is named after the style of folk dance that accompanies it. This particular dance music is in a simple duple meter of 2/4, and the dynamic feel can be heard if you listen to part of this recording:

The Hora: is another example of a folk dance accompanied by Klezmer music. This particular dance is felt in a strident 3/8 with emphasis placed on the 1^st and 3^rd beats, as felt in the following recording:

A common theme across all Klezmer music is the repetition of certain sections so that they are faster and louder than previously presented. In order to give the dancers notice of the change in tempo, a common motif is used. The motif includes strong accents on the beat in the current tempo, before subdividing to create a faster feel: 

It is possible to elaborate on the rhythms, tempos and metres used in Klezmer music for paragraphs, however, this brief overview should suffice.

Closing Entry

Jewish music is a genre full of both flavour and life. It cannot be easily defined as its roots are in the religion of Judaism, however, it has continued to evolve and absorb influences from all over the world. It can be deconstructed into music of either Western influence, Eastern influences and a mix of both. It possesses certain qualities such as tonality, instrumentation, expressive techniques and structure that are unique to only this genre. This blog only brushes the surface of understanding what Jewish music is and how it can be defined. Specific emphasis was placed on analysing Klezmer music as it is indeed the most recognizable form of Jewish music, and I personally want to appreciate why that is. I hope to gain a greater understanding of the true essence of Jewish music by studying it in more depth. However, for the purposes of this assignment, I hope this blog serves as a sufficient introduction.