Editing Klezmer (section)

===Style===
The traditional style of playing klezmer music, including tone, typical [[Cadence (music)|cadences]], and [[ornamentation (music)|ornamentation]], sets it apart from other genres.<ref name="Rubin 2020 175-214">{{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=176}}</ref> Although klezmer music emerged from a larger Eastern European Jewish musical culture that included [[hazzanut|Jewish cantorial music]], [[Hasidic Judaism|Hasidic]] [[Nigun]]s, and later [[Yiddish theatre]] music, it also borrowed from the surrounding folk musics of Central and Eastern Europe and from cosmopolitan European musical forms.<ref name="Slobin 2000 7" /><ref name="Feldman 2022">{{cite journal |last=Feldman |first=Zev |title=Musical Fusion and Allusion in the Core and the Transitional Klezmer Repertoires |journal=Shofar: An Interdisciplinary Journal of Jewish Studies |date=2022 |volume=40 |issue=2 |pages=143–166 |doi=10.1353/sho.2022.0026 |s2cid=253206627 |url=https://doi.org/10.1353/sho.2022.0026|issn=1534-5165}}</ref> Therefore it evolved into an overall style which has recognizable elements from all of those other genres.

Few klezmer musicians before the late nineteenth century had formal musical training, but they inherited a rich tradition with its own advanced musical techniques. Each musician had their understanding of how the style should be "correctly" performed.<ref name="Rubin 2009">{{cite book |last=Rubin |first=Joel |editor-last=Weiner |editor-first=Howard T. |title=Early Twentieth-Century Brass Idioms |date=2009 |publisher=The Scarecrow Press |location=Lanham, MD |isbn=978-0810862456 |pages=77–102 |chapter='Like a String of Pearls': Reflections on the Role of Brass Instrumentalists in Jewish Instrumental Klezmer Music and the Trope of 'Jewish Jazz'}}</ref><ref name="Rubin 2020 175-214" /> The usage of these ornaments was not random; the matters of "taste", self-expression, [[Variation (music)|variation]] and restraint were and remain important elements of how to interpret the music.<ref name="Rubin 2020 175-214" />

Klezmer musicians apply the overall style to available specific techniques on each melodic instrument. They incorporate and elaborate the vocal melodies of Jewish religious practice, including ''[[Hazzan|khazones]]'', ''[[Davening|davenen]]'', and paraliturgical song, extending the range of human voice into the musical expression possible on instruments.<ref name="Feldman 2016 39">{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |page=39}}</ref> Among those stylistic elements that are considered typically "Jewish" in klezmer music are those which are shared with cantorial or [[Hasidic Judaism|Hasidic]] vocal ornaments, including imitations of sighing or laughing.<ref name="Slobin 2000 98-122">{{cite book |last=Slobin |first=Mark |title=Fiddler on the move : exploring the klezmer world |date=2000 |publisher=Oxford University Press |location=Oxford |isbn=9780195161809 |pages=98–122}}</ref> Various Yiddish terms were used for these vocal-like ornaments such as {{lang|yi|קרעכץ}} (''[[Krekhts]]'', "groan" or "moan"), {{lang|yi|קנײטש}} ({{transliteration|yi|kneytsh}}, "wrinkle" or "fold"), and {{lang|yi|קװעטש}} ({{transliteration|yi|kvetsh}}, "pressure" or "stress").<ref name="Hasidic lexicon" /> Other ornaments such as [[Trill (music)|trills]], [[grace note]]s, [[appoggiatura]]s, ''glitshn'' ([[glissando]]s), ''tshoks'' (a kind of [[bent note]]s of cackle-like sound),  flageolets ([[string harmonic]]s),<ref name=strom2006>[[Yale Strom]], "The absolutely complete klezmer songbook", 2006, {{ISBN|0-8074-0947-2}}, [https://books.google.com/books?id=nIo2hCQEJGoC&dq=dreydlekh&pg=PR27 Introduction]</ref><ref>Strom 2012, [https://books.google.com/books?id=MeUxtaGGtMkC&dq=kneytshn&pg=PA102, pp. 101, 102]</ref> [[Pedal point|pedal notes]], [[Mordent (music)|mordents]], [[Slide (musical ornament)|slides]] and typical klezmer cadences are also important to the style.<ref name="Rubin 2020 175-214" /> In particular, the cadences which draw on religious Jewish music identify a piece more strongly as a klezmer tune, even if its broader structure was borrowed from a non-Jewish source.<ref name="Feldman 2016 375-85" /><ref name="Feldman 2022" /> Sometimes the term ''dreydlekh'' is used only for trills, while other use it for all klezmer ornaments.<ref>Chris Haigh, ''The Fiddle Handbook'', 2009, [https://books.google.com/books?id=aba8o2tYD1IC&dq=%22dreydlekh%22&pg=PA113 Example 4.9]</ref> Unlike in Classical music, [[vibrato]] is used sparingly, and is treated as another type of ornament.<ref name="Slobin 2000 98-122" /><ref name="Rubin 2020 175-214" />

In an article about Jewish music in Romania, Bob Cohen of [[Di Naye Kapelye]] describes krekhts as "a sort of weeping or hiccoughing combination of backwards slide and flick of the little finger high above the base note, while the bow does, well, something – which aptly imitates Jewish liturgical singing style."  He also noted that the only other place he has heard this particular ornamentation is in [[Turkish music]] on the violin.<ref>Cohen.</ref> [[Yale Strom]] wrote that the use of ''dreydlekh'' by American violinists gradually diminished since the 1940s, but with the [[klezmer revival]] in 1970, dreydlekh had become prominent again.<ref name=strom2012>Yale Strom, ''Shpil: The Art of Playing Klezmer'', 2012, [https://books.google.com/books?id=MeUxtaGGtMkC&pg=PA94 p. 94]</ref>

The accompaniment style of the accompanist or orchestra could be fairly impromptu, called {{lang|yi|צוהאַלטן}} ({{transliteration|yi|tsuhaltn}}, holding onto).<ref name="Avenary 1960" />