Editing Klezmer (section)

====Description====
Because there is no agreed-upon, complete system for describing modes in Klezmer music, this list is imperfect and may conflate concepts which some scholars view as separate.<ref name="Tarsi motifs" /><ref name="Tarsi intersection">{{cite journal |last=Tarsi |first=Boaz |title=At the Intersection of Music Theory and Ideology: A. Z. Idelsohn and the Ashkenazi Prayer Mode Magen Avot |journal=Journal of Musicological Research |date=3 July 2017 |volume=36 |issue=3 |pages=208–233 |doi=10.1080/01411896.2017.1340033 |s2cid=148956696 |url=https://doi.org/10.1080/01411896.2017.1340033 |issn=0141-1896}}</ref> Another problem in listing these terms as simple eight-note ([[octatonic scale|octatonic]]) [[Scale (music)|scales]] is that it makes it harder to see how Klezmer melodic structures can work as five-note [[pentachord]]s, how parts of different modes typically interact, and what the cultural significance of a given mode might be in a traditional Klezmer context.<ref name="Horowitz 1993" /><ref name="Rubin 2020 122-74" />
[[File:C Jewish scale.PNG|thumb|Freygish mode in C]]

* {{transliteration|yi|Freygish}}, {{transliteration|yi|Ahavo Rabboh}}, or [[Phrygian dominant scale]] resembles the [[Phrygian mode]], having a flat [[Second (interval)|second]] but also a permanent raised [[Third (musical interval)|third]].<ref name="Rubin 2020 364" /> It is among the most common modes in Klezmer and is closely identified with Jewish identity; Beregovsky estimated that roughly a quarter of the Klezmer music he had collected was in Freygish.<ref name="Beregovski 1941" /><ref name="Horowitz 1993" /> Among the most well-known pieces composed in this mode are "[[Hava Nagila]]" and "{{transliteration|yi|Ma yofus}}". It is comparable to the [[Arabic maqam#Maqam families|Maqam Hijaz]] found in [[Arabic music]].<ref name="Horowitz 1993" />
[[File:Ukrainian Dorian mode on C.png|thumb|Mi Sheberakh mode in C]]

* {{transliteration|yi|Mi Sheberakh}}, ''[[Av HaRachamim]]'', "altered Dorian" or [[Ukrainian Dorian scale]] is a minor mode which has a raised [[Fourth (music)|fourth]].<ref name="Rubin 2020 364" /> It is sometimes compared to {{lang|tr|Nikriz Makamı}}. It is closely related to {{transliteration|yi|Freygish}} since they share the same pitch [[Interval (music)|intervals]].<ref name="Horowitz 1993" /> This mode is often encountered in {{transliteration|yi|Doynes}} and other Klezmer forms with connections to [[Romanian music|Romanian]] or [[Ukrainian music]].
[[File:Mixolydian mode C.png|thumb|Adonoy Molokh mode in C]]

* {{transliteration|yi|Adonoy Molokh}} or {{transliteration|yi|Adoyshem Molokh}} a [[Nusach (Jewish music)#Musical modes|synagogue mode]] with a flatted [[Seventh (interval)|seventh]].<ref name="Avenary 1960" /> It is sometimes called the "Jewish major".<ref name="Tarsi intersection" /> It has some similarities to the [[Mixolydian]] mode.<ref name="Rubin 2020 364">{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781580465984 |page=364}}</ref>

[[File:Aeolian mode C.png|thumb|Mogen Ovos mode in C]]
* {{transliteration|yi|Mogen Ovos}} is a synagogue mode which resembles the Western [[natural minor]].<ref name="Avenary 1960" /> In klezmer music, it is often found in greeting and parting pieces, as well as dance tunes.<ref name="Horowitz 1993" /> It has some similarities to the ''[[Bayati (maqam)|Bayati maqam]]'' used in Arabic and Turkish music.
* {{transliteration|yi|Yishtabakh}} resembles {{transliteration|yi|Mogen Ovos}} and {{transliteration|yi|Freygish}}. It is a [[Nusach (Jewish music)#Yishtabach mode|variant of the Mogen Ovos]] scale that frequently flattens the second and fifth degrees.<ref>{{cite web |last=Horowitz |first=Josh |title=The Main Klezmer Modes |url=https://www.klezmershack.com/articles/horowitz/horowitz.klezmodes.html |website=Ari Davidow's Klezmer Shack |access-date=24 June 2022}}</ref>