Klezmer Music Theory and Information Links
The following essay is a brief description of some distinctive elements of klezmer music theory. While the world of klezmer music is vast, there are several important features common to much of that joyous music.

The evocative sound of klezmer music is achieved through the use of the 1st, 4th and 5th modes of the harmonic minor scale.

The most distinctively Jewish-sounding use is the 4th mode. This key can be signed by using the key signature of the relative major of the 4th mode tonic and sharping every second and naturalizing every fourth throughout the piece.
For example, one may use the 4th mode of A-harmonic minor as a D-minor mode. This version of D-minor is called "Misheberekh". Its scale is (D,E,F,G#,A,B,C). It can be signed by using the key signature of F (its relative major) and sharping every G and naturalizing every Bb throughout the piece. The "Odessa Bulgar" and "Lebedig un Freylekh" are just two examples of tunes which use this pervasive mode.

The 5th mode of the harmonic minor is also very important in klezmer music. It is also very similar to the "Hejaz" maqam found in middle eastern music. Some tunes using this mode, called "Ahava Raba", are "The Wedding Dance" and, of course, "Hava Nagila". This mode can be signed by using the key signature of the 5th mode tonic and flatting every second, sixth and seventh throughout the piece. Another option is to use the key signature of the relative major of the 1st mode tonic and sharping every fifth throughout.
For example, the 5th mode of G-harmonic minor is D-"Ahava Raba". Its scale is (D,Eb,F#,G,A,Bb,C). It can be signed by using the key of D with every E,B and C# changed to Eb,Bb and C throughout the piece. The chord progressions in this mode typically would involve D-major, C-minor and G-minor. Ocassionally, the sixth note may revert back to its home-key value when it is used over the flatted-seven chord. So, when in the key of D-Ahava Raba, a B natural may be used in the melody or improvisation over the C-minor chord which would usually show up.

A remarkable device characteristic of Klezmer is the use of the harmonic minor of the fifth over that fifth's dominant-7th chord. For example, consider a tune in F-harmonic minor. As expected, the fifth's dominant-7th chord, C7, is used extensively. However, the melody or the improvisation may use C-harmonic minor over that dominant chord! The contrasts are glaring - B as opposed to the expected Bb and Eb as opposed to the expected E, but it works and is very schmaltzy. Another example is found in "Odessa Bulgar" where the notes (E,F,G#,A) from A-harmonic minor are used over the A-7 chord which consists of (A-C#-E-G).

Go here for information about the Berkeley Klezmer Orchestra.

Click here for Ari Davidow's Klezmer Page.

Click here to see a picture of my previous group, Simchah! (the Virginia Klezmer Band).

Go here for information about my alma mater klezmer group, the Yale Klezmer Band.



Click here to visit the Space of Michael Scott Armel.