Editing Klezmer (section)

===Orchestration===
Klezmer music is an instrumental tradition, without much of a history of songs or singing. In Eastern Europe, Klezmers did traditionally accompany the vocal stylings of the [[Badchen]] (wedding entertainer), although their performances were typically improvised couplets and the calling of ceremonies rather than songs.<ref name="Pietruszka 1932">{{cite book |last=Pietruszka |first=Symcha |title=Yudishe entsiḳlopedye far Yudishe geshikhṭe, ḳulṭur, religye, filozofye, liṭeraṭur, biografye, bibliografye un andere Yudishe inyonim |date=1932 |publisher=Yehudiyah |location=Warsaw |pages=163–166 |url=https://www.yiddishbookcenter.org/collections/yiddish-books/spb-nybc201734 |language=yi}}</ref><ref name="Feldman 2016 146-56">{{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=146–156}}</ref> (The importance of the Badchen gradually decreased by the twentieth century, although they still continued in some traditions.<ref name="Rubin 1973 251">{{cite book |last=Rubin |first=Ruth |title=Voices of a people : the story of Yiddish folksong |date=1973 |publisher=McGraw-Hill |location=New York |isbn=0070541949 |page=251 |edition=2nd}}</ref>)

As for the klezmer orchestra, its size and composition varied by time and place. The klezmer bands of the eighteenth and early nineteenth century were small, with roughly three to five musicians playing woodwind or [[string instrument]]s.<ref name="Rubin 2009" /> Another common configuration in that era was similar to [[Music of Hungary|Hungarian bands]] today, typically a lead violinist, second violin, cello, and [[cimbalom]].<ref name="Feldman 2016 100-111">{{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=100–111}}</ref><ref>{{cite book |last=Gifford |first=Paul M. |title=The hammered dulcimer: a history |date=2001 |publisher=Scarecrow Press |location=Lanham, Md. |isbn=9781461672906 |pages=106–107}}</ref> In the mid-nineteenth century, the Clarinet started to appear in those small Klezmer ensembles as well.<ref name="Feldman 2016 111-3">{{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=111–113}}</ref> By the last decades of the century, in Ukraine, the orchestras had grown larger, averaging seven to twelve members, and incorporating [[brass instrument]]s and up to twenty for a prestigious occasion.<ref name="Feldman 2016 93-6">{{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=93–96}}</ref><ref name="Levik memoir">{{cite book |last=Левик |first=Сергей Юрьевич |title=Записки оперного певца |date=1962 |publisher=Искусство |pages=18–19 |language=ru}}</ref> (However, for poor weddings a large klezmer ensemble might only send three or four of its junior members.<ref name="Feldman 2016 93-6" />) In these larger orchestras, on top of the core instrumentation of strings and woodwinds, ensembles often featured [[cornet]]s, [[Clarinet|C clarinets]], [[trombone]]s, a [[contrabass]], a large Turkish drum, and several extra violins.<ref name="Beregovski 1941" /> The inclusion of Jews in tsarist army bands during the 19th century may also have led to the introduction of typical military band instruments into klezmer. With such large orchestras, the music was arranged so that the bandleader soloist could still be heard at key moments.<ref name="Feldman 2016 115">{{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=115}}</ref> In [[Galicia (Eastern Europe)|Galicia]], and [[Belarus]], the smaller string ensemble with cimbalom remained the norm into the twentieth century.<ref name="Feldman 2016 100-16">{{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=100–116}}</ref><ref name="Beregovski 1941" /> American klezmer as it developed in dancehalls and wedding banquets of the early twentieth century had a more complete orchestration not unlike those used in popular orchestras of the time. They use a clarinet, saxophone, or trumpet for the melody, and make great use of the trombone for slides and other flourishes.
[[File:Jewish musicians of Rohatyn (west Ukraine).jpg|thumb|Jewish musicians of Rohatyn (west Ukraine)]]

The melody in klezmer music is generally assigned to the lead violin, although occasionally the flute and eventually clarinet.<ref name="Beregovski 1941" /> The other instrumentalists provide harmony, rhythm, and some counterpoint (the latter usually coming from the second violin or viola). The clarinet now often plays the melody. Brass instruments—such as the French valved [[cornet]] and keyed German trumpet—eventually inherited a counter-voice role.<ref>{{cite web|url=http://borzykowski.users.ch/EnglMCKlezmer.htm|title=KLEZMER MUSIC|publisher=users.ch|access-date=19 January 2016}}</ref> Modern klezmer instrumentation is more commonly influenced by the instruments of the 19th-century military bands than the earlier orchestras.

Percussion in early 20th-century klezmer recordings was generally minimal—no more than a [[Woodblock (instrument)|wood block]] or [[snare drum]]. In Eastern Europe, percussion was often provided by a drummer who played a [[frame drum]], or ''poyk'', sometimes called [[baraban (drum)|baraban]]. A poyk is similar to a [[bass drum]] and often has a cymbal or piece of metal mounted on top, which is struck by a beater or a small cymbal strapped to the hand.