Editing Klezmer (section)

===Historical repertoire===
The repertoire of klezmer musicians was very diverse and tied to specific social functions and dances, especially of the traditional wedding.<ref name="OJFM 530-48" /><ref name="Feldman 2022" /> These melodies might have a non-Jewish origin, or have been composed by a klezmer, but only rarely are they attributed to a specific composer.<ref name="Beregovski 1941" /> Generally klezmer music can be divided into two broad categories: music for specific dances, and music for listening (at the table, in processions, ceremonial, etc.).<ref name="Beregovski 1941" />

====Dances====
* Freylekhs.<!--redirect here--> The simplest and most widespread type of klezmer dance tunes are those played in {{music|time|2|4}} and intended for group circle dances. Depending on the location this basic dance may also have been called a {{transliteration|yi|Redl}} (circle), {{transliteration|yi|Hopke}}, {{transliteration|yi|Karahod}} (round dance, literally the Belarusian translation of the Russian ''[[khorovod]]''), {{transliteration|yi|Dreydl}}, {{transliteration|yi|Rikudl}}, etc.<ref name="OJFM 530-48" /><ref name="Feldman 2016 275-98">{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=275–298}}</ref><ref name="Avenary 1960" /><ref name="Hasidic lexicon" />
* [[Bulgar (dance)|Bulgar]], or {{Transliteration|yi|Bolgar}}, became the most popular klezmer dance form in the United States. Its origin is thought to be in Moldavia and with a deep connection to the [[Sârbă]] genre there.<ref name="Feldman 2022" />
* [[Sher (dance)|Sher]] is a [[contra dance]] in {{music|time|2|4}}. Beregovsky, writing in the 1930s, noted that despite the dance being very commonly played across a wide area, he suspected that it had its roots in an older German dance.<ref name="OJFM 530-48" /> This dance continued to be known in the United States even after other complex European klezmer dances had been forgotten.<ref name="Feldman 2016 261-73">{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=261–273}}</ref> In some regions the music of a Sher could be interchangeable with a Freylekhs.<ref name="Feldman 2022" />
* {{Transliteration|yi|Khosidl}}, or {{Transliteration|yi|Khosid}}, named after [[Hasidic]] Jews, is a more dignified embellished dance in {{music|time|2|4}} or {{music|time|4|4}}. The dance steps can be performed in a circle or in a line.
* [[Hora (dance)|Hora]] or {{Transliteration|yi|Zhok}} (from the Romanian [[wikt:joc|Joc]]) is a circle dance in {{music|time|3|8}}. In the United States, it came to be one of the main dance types after the Bulgar.<ref name="Feldman 2022" />
* {{transliteration|yi|Broygez-tants}}<ref name="Beregovski 1941" />
* [[kolomyjka|Kolomeike]] is a fast and catchy dance in {{music|time|2|4}} time, which originated in Ukraine, and is prominent in the folk music of that country.
* ''Skotshne'' is generally thought to be a more elaborate {{transliteration|yi|Freylekhs}} which could be played either for dancing or listening.<ref name="OJFM 530-48" />
* ''[[Nigun]]'', a very broad term which can refer to melodies for listening, singing or dancing.<ref name="Hasidic lexicon" /> Usually a mid-paced song in {{music|time|2|4}}.
* [[Waltz]]es were very popular, whether classical, Russian, or Polish. A ''padespan'' was a sort of Russian/Spanish waltz known to klezmers.
* [[Mazurka]] and [[polka]], Polish and Czech dances, respectively, were often played for both Jews and Gentiles.
* [[Sârbă|Sirba]]&nbsp;– a Romanian dance in {{music|time|2|2}} or {{music|time|2|4}} (Romanian ''[[sârbă]]''). It features hopping steps and short bursts of running, accompanied by triplets in the [[melody]].

====Non-dance repertoire====
* The {{transliteration|yi|Doyne}} is a freeform instrumental form borrowed from the [[Romanian music|Romanian]] shepherd's [[doina]]. Although there are many regional types of doina in Romania and Moldova, the Jewish form is typically simpler, with a minor key theme which is then repeated in a major key, followed by a {{transliteration|yi|Freylekhs}}.<ref name="Beregovski 1941" /> A {{transliteration|yi|Volekhl}} is a related genre.<ref name="Hasidic lexicon" />
* {{transliteration|yi|Tish-nign}} (table tune)<ref name="Hasidic lexicon" />
* {{transliteration|yi|Moralish}}, a type of [[Nigun]], called [[Devekut]] in [[Hebrew language|Hebrew]], which inspires spiritual arousal or a pious mood.<ref name="Hasidic lexicon" /><ref name="Avenary 1960" />
* A {{transliteration|yi|Vals}} ([[Waltz]]), pieces in {{music|time|3|4}} especially in the [[Hasidic Judaism|Hasidic]] context, may be slower than non-Jewish waltzes and intended for listening while the wedding parties are seated at their tables.<ref name="Hasidic lexicon" />
* Forms centering on bridal rituals, including {{transliteration|yi|Kale-bazetsn}} (seating of the bride)
* A {{transliteration|yi|Marsh}} ([[March (music)|March]]) can be non-Jewish march melodies adapted into joyful singing or playing contexts.<ref name="Hasidic lexicon" />
* Processional melodies, including {{transliteration|yi|Gas-nigunim}} (street tunes), {{transliteration|yi|Tsum tish}} (to the table). According to Beregovski the {{transliteration|yi|Gas-nign}} was always in {{music|time|3|4}} time.<ref name="Beregovski 1941" />
* The {{transliteration|yi|Taksim}}, whose name is borrowed from the Ottoman/Arab [[Taqsim]] is a freeform fantasy on a particular motif, ornamented with trills, [[Roulade (music)|roulades]] and so on; it usually ends with a {{transliteration|yi|Freylekhs}}.<ref name="Beregovski 1941" /> By the twentieth century it had mostly become obsolete and was replaced by the doina.<ref name="Feldman 2016 147">{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |page=147}}</ref>
* [[Fantazi]] or fantasy is a freeform song, traditionally played at [[Jewish wedding]]s to the guests as they dined. It resembles the [[fantasia (music)|fantasia]] of "light" classical music.
* A {{transliteration|yi|Terkisher}} is a type of virtuosic solo piece in {{music|time|4|4}} performed by leading klezmorim such as [[Dave Tarras]] and [[Naftule Brandwein]]. There is no dance for this type of melody, rather it references an [[Ottoman music|Ottoman]] or "oriental" style, and melodies may incorporate references to Greek [[Hasapiko]] into an Ashkenazic musical aesthetic.
* Parting melodies played at the beginning or end of a wedding day, such as the {{transliteration|yi|Zay gezunt}} (be healthy), {{transliteration|yi|Gas-nign}}, {{transliteration|yi|Dobriden}} (good day), {{transliteration|yi|Dobranotsh}} or {{transliteration|yi|A gute nakht}} (good night) etc.<ref name="Beregovski 1941" /><ref name="Feldman 2016 220-7">{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=220–227}}</ref> These types of pieces were sometimes in {{music|time|3|4}} which may have given an air of dignity and seriousness.<ref name="Feldman 2016 232-3">{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=232–233}}</ref>