Editing Klezmer (section)

===Melodic modes===
====Western, Cantorial, and Ottoman music terminology====
Klezmer music is a genre that developed partly in the [[Western culture#Music|Western musical tradition]] but also in the [[Ottoman Empire]], and is primarily an oral tradition which does not have a well-established literature to explain its [[Mode (music)|modes]] and modal progression.<ref name="Horowitz 1993">{{cite web |last=Horowitz |first=Joshua |title=The Klezmer Ahava Rabboh Shteyger: Mode, Sub-mode, and Modal Progression |url=http://www.budowitz.com/Budowitz/Essays_files/Mode%20Article%20PDF%20File%20%28Merged%29.pdf |website=Budowitz.com |access-date=26 June 2021}}</ref><ref name="Rubin 2020 122-74" /> But, as with other types of Ashkenazic Jewish music, it has a complex system of modes which were used in its compositions.<ref name="Hasidic lexicon">{{cite journal |last1=Mazor |first1=Yaacov |last2=Seroussi |first2=Edwin |title=Towards a Hasidic Lexicon of Music |journal=Orbis Musicae. |year=1990 |volume=10 |pages=118–43}}</ref><ref name="Tarsi motifs">{{cite web |last=Tarsi |first=Boaz |title=Full Text: Cross-Repertoire Motifs in Liturgical Music of the Ashkenazi Tradition: An Initial Lay of the Land by Boaz Tarsi |url=https://www.jewish-music.huji.ac.il/content/full-text-cross-repertoire-motifs-liturgical-music-ashkenazi-tradition-initial-lay-land-boaz |website=Jewish Music Research Centre |access-date=27 June 2021}}</ref> Many of its melodies do not fit well in the [[Major key|major]] and [[Minor key|minor]] terminology used in Western music, nor is the music systematically [[Microtonal music|microtonal]] in the way that [[Middle Eastern music]] is.<ref name="Horowitz 1993" /> [[Nusach (Jewish music)|Nusach]] terminology, as developed for [[Hazzan|Cantorial music]] in the nineteenth century, is often used instead, and indeed many klezmer compositions draw heavily on religious music.<ref name="Feldman 2016 220-7" /> But it also incorporates elements of [[Baroque music|Baroque]] and Eastern European folk musics, making description based only on religious terminology incomplete.<ref name="Feldman 2016 375-85">{{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=375–385}}</ref><ref name="Avenary 1960" /><ref name="Frigyesi 1983" /> Still, since the [[Klezmer revival]] of the 1970s, the terms for Jewish prayer modes are the most common to describe those used in klezmer.<ref name="Rubin 2020 361">{{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=361}}</ref> The terms used in [[Yiddish language|Yiddish]] for these modes include ''nusach'' ({{lang|yi|נוסח}}); {{transliteration|yi|shteyger}} ({{lang|yi|שטײגער}}), "manner, mode of life", which describes the typical melodic character, important notes and scale; and {{transliteration|yi|gust}} ({{lang|yi|גוסט}}), a word meaning "taste" which was commonly used by [[Moisei Beregovsky]].<ref name="Avenary 1960">{{cite journal |last=Avenary |first=Hanoch |title=The Musical Vocabulary of Ashkenazic Hazanim |journal=Studies in Biblical and Jewish Folklore |year=1960 |pages=187–198 |location=Bloomington, Indiana}}</ref><ref name="Beregovski 1941" /><ref name="Rubin 2020 122-74">{{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 |pages=122–74}}</ref>

Beregovsky, who was writing in the [[Stalinist era]] and was constrained by having to downplay klezmer's religious aspects, did not use the terminology of [[Nusach (Jewish music)#Musical modes|synagogue modes]], except in some early work in 1929. Instead, he relied on German-inspired musical terminology of [[Major key|major]], minor, and "other" modes, which he described in technical terms.<ref name="Beregovski 1941" /><ref name="Feldman 2016 40">{{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=40}}</ref> In his 1940s works he noted that the majority of the klezmer repertoire seemed to be in a minor key, whether [[natural minor]] or others, that around a quarter of the material was in [[Freygish]], and that around a fifth of the repertoire was in a major key.<ref name="Beregovski 1941" />

Another set of terminology sometimes used to describe klezmer music is that of the [[Turkish makam|Makams]] used in [[Ottoman music|Ottoman]] and other [[Middle Eastern music]].<ref name="Rubin 2020 361" /><ref name="Alford-Fowler 2013">{{cite thesis |last=Alford-Fowler |first=Julia |date=May 2013 |title=Chasing Yiddishkayt: A concerto in the context of Klezmer music |type=Doctoral thesis |institution=Temple University |url=https://scholarshare.temple.edu/bitstream/handle/20.500.12613/586/Alfordfowler_temple_0225E_11450.pdf |access-date=16 June 2021}}</ref> This approach dates back to Idelsohn in the early twentieth century, who was very familiar with Middle Eastern music, and has been developed in the past decade by Joshua Horowitz.<ref name="Tarsi intersection" /><ref name="Frigyesi 1983">{{cite journal |last=Frigyesi |first=Judit Laki |title=Modulation as an Integral Part of the Modal System in Jewish Music |journal=Musica Judaica |date=1982–1983 |volume=5 |issue=1 |pages=52–71 |jstor=23687593 |url=https://www.jstor.org/stable/23687593}}</ref><ref name="Rubin 2020 361" /><ref name="Horowitz 1993" />

Finally, some Klezmer music, and especially that composed in the United States from the mid-twentieth century onwards, may not be composed with these traditional modes, but rather built around [[Chords in music|chords]].<ref name="Feldman 2016 375-85" />

====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>