PG AMTC7 CW1 [D]

Rationale

Klezmer Arrangement for Wind Band

Turkische: Yalle Vey Uve (Naftule Brandwein King of Klezmer Clarinet)

Notes on the Arrangement

The Tune
This arrangement has come into being following a recent discovery I made of
the wonderful Jewish Folk music known as Klezmer.1 Already an avid fan of various
genres of Eastern European folk I was immediately captivated by this mesmerising
music with its paradoxical combination of simplicity and mystery. Klezmer, as well as
being great party music - fantastic to dance to - has delicate and expressive qualities
and possesses the unique property of being able to simultaneously laugh and cry.2
The tune I have chosen to arrange is a Turkische (one of the klezmer dance
forms popularised in New York during the 1920s) entitled Yalle Vey Uve.3 4The
tune is traditional but was recorded by klezmer clarinet virtuoso, Naftule Brandwein
and his orchestra and can be found on the album King of the Klezmer Klarinet.5 Since I
was unable to find a pre-existing transcription of this particular tune I have provided a
lead sheet based on my own transcription. The melody is supplied without any
ornamentation and with no rhythmic embellishment except approaching cadence
points as is traditional in klezmer music. The arrangement itself uses similar rhythmic
embellishment and ornamentation to the Brandwein orchestra arrangement and this
is discussed in more detail below under Ornamentation.6 The melody is transcribed
from Naftules recording and the chords are derived from listening to the recording
and also through jamming the tune with the SOAS Klezmer Ensemble (SKE).7

See Appendix I: A brief introduction to Klezmer and history of the evolution of

klezmer music in the 20th century.
2
The whining-yet-laughing, self-deprecating melodies of the clarinets (Seth
Rogovoy, The Essential Klezmer. (Algonquin Books of Chapel Hill, 2000). Rogovoy also
describes klezmer as Yiddish language in music or the language of the Neshama
(soul).
3

See Appendix II for klezmer modes and rhythms

See Appendix V for a glossary of Yiddish terminology.
5
The tune is available here:
http://www.klezmershack.com/bands/brandwein/king/brandwein.king.html
(last accessed 9/3/11)
6
Brandweins orchestra consisted of a small brass section and one percussionist
with Naftule on solo clarinet.
7
A klezmer band of which I am now a member. Some recordings of our practices in
which we discuss arrangement and style are supplied as supplementary files as
counterparts to Appendix VI (Listening List).
4

The Text
The principal support text used for this arrangement is Peter Sokolows Guide to
Klezmer Arranging and Orchestration.8 References to this text will be in the form of page
numbers or chapters for passages that are too long or inappropriate to quote.
The Score
The first page of the score provided shows the full instrumentation of the
ensemble excepting every percussion instrument (3 players are required). These are
shown in boxed text on the score as they enter. The score is transposing.
Structure and Detail
The structure of Yalle Vey Uve as recorded by Brandweins orchestra is quite
complex compared to many simpler forms of klezmer dance music.9 The outline of
this structure is as follows:
A B C B D E A B D E
where each section is repeated and E represents a modified version of the final
section with a cadential formula specifically used for ending this type of klezmer dance
tune (shown on the lead sheet).10
The modes used in the sections are as follows11:
A
B
C
D
E

Mishebeyrekh (Altered Dorian on D)

Moloch (on D)
Mishebeyrekh (Altered Dorian on D)
Freygish/Avah Rabbah (Phrygian Dominant on D)
Freygish/Avah Rabbah (Phrygian Dominant on D)
Instrumentation and Orchestration

Introduction
Chapter 3A of Sokolows Guide outlines the fundamental stylistic features of
klezmer arrangement. Sokolow notes that originally klezmer arrangements would
have consisted of everyone playing the melody all at once, with drone
underpinnings. He proceeds to list some of the pioneering artists of 20th Century
klezmer arrangements who brought in new levels of musical sophistication
incorporating new instruments, harmonies and counterpoints. I have used the
8

Peter Sokolow, Guide To Klezmer Arranging and Orchestration. Tara Publications

(1991, Peter Sokolow).
9
Classic klezmer dance structures include AABB (binary), ABA (ternary) and ABCB
always making some sort of triangular shape. This is a result of the musics derivation
from Chassidic prayer melodies whose structures represent a spiritual ascension (to
come near to G-d) and descent (coming back down to earth).
10
See Lead Sheet. The cadential figure I use in my arrangement is closely based on
Brandweins but is not identical to it.
11
See Appendix II for an introduction to the klezmer modes.

guidelines outlined in this chapter as a basis for the style of my arrangement. By

basis, I mean the building blocks of the arrangement draw heavily on Sokolows
guidance but these blocks are used to construct my own edifice which presents an
interpretation of the klezmer style which is intended to be my own without to any
extent subverting the genre. With a wealth of diverse klezmer arrangements to draw
on (see Listening List Appendix VI) and a variety of standard techniques recorded by
Sokolow, the arrangement that I present here values authenticity as a grounds for a
post-modern approach. Post-modern meaning here: a contemporarily constructed
montage of traditionally accepted devices and idioms. The specifics are discussed in
detail in the following sub-sections.
Five Functions
Since the Klezmer Revival which began in the 1960s, the genre has been
embraced by a huge variety of different instrumentalists and vocalists from a range of
different musical backgrounds.12 This has had the effect of greatly extending the
instrumentation of klezmer arrangements beyond the early Kapelyes and
Orchestras.13
One of the notable features of the development of klezmer arrangements is
what I refer to as their organised chaos. Solo instruments often share or compete for
the principal melodies over raucous accompaniments that push and pull at the tempi
challenging them to keep with the beat. Accompanying instruments can also join in
with the melody either playing in unison, doubling at the octave, playing parallel
motion or harmonising in homorhythmic unison. In most klezmer arrangements,
notably those for larger forces, it can often sound incredibly free as though
instruments are switching functions almost whimsically but it all takes place with
respect to the guidelines of the structure.14 Evidently, when dealing with a large
ensemble such as wind band, these effects must be handled with care. The table
(Appendix III) at the end of this section charts the functional use of different
instruments (or instrumental groups) providing a clear guide to my arrangement.
For the purposes of explaining the approach to this arrangement I outline five
fundamental functions (of which any number greater than 1 will be in use on the
score) and provide a table which outlines the instrumentation with respect to these
throughout the score.15
1. Principal Melody Line (Including instruments playing in unison or doubling at
the octave).
2. Homorhythmic combinations. (E.g. Parallel motion to the principal melody or
homorhythmic harmonisation of the melody in parallel motion or otherwise).
This is what Sokolow refers to as harmony in chapter 1 of his Guide.
12

See Appendix I.
See Appendix V (Glossary of Yiddish terminology).
14
The table in Appendix III provides a detailed blow-by-blow account of my
arrangement tracing my application of these stylistic features within the wind band
context.
15
To an extent this is simply an elaboration and a summary of Sokolows discussions
concerning the specifics of approaches to instrumentation, Combinations and
harmony and counterpoint in chapter 1 of his Guide.
13

3. Decorative, melodic fills (E.g. decorative runs or arpeggaic features) that

occur when the principal melodic line is temporarily at rest. This includes
countermelodies to the principal melodic line. This is what Sokolow refers to
as counterpoint in chapter 1 of his Guide.
4. Principal Accompaniment figure, in this case the Turkische rhythm. This
includes homorhythmic accompaniment support i.e. vamping the Turkische
rhythm in harmony.
5. Rhythmic fills and alternative accompaniment figures (decorative or
drones/pedal points) apart from the Turkische rhythm.
Melody
The most important feature of klezmer music is the melody. Although
improvisation is essential to the genre, the melodic patterns must be followed strictly
particularly in the dance tunes (after all, people are supposed to dance to them!). As
Sokolow recounts, The main stylistic feature of klezmer music which is of interest to
the orchestrator is melodic phrasing and ornamentation. In the opening chapter of his
Guide Sokolow lists the instruments which are best suited for taking the melodic lines
and playing solos in klezmer arrangements. The list divides the instruments into
groups according to their roles in arrangements and Sokolow continues to explain in
detail the functional use of these groups and their specific members.16
Since my arrangement is for a large wind ensemble not directly alluded to in
Sokolows book, I extend his list of winds to include additional instruments such as
double reeds which, at the time of Sokolows publication had limited use in klezmer
arrangements.17 Naturally, I have also had to find my own way of using wind-band
instruments to fill the roles of standard klezmer instruments from other families that
do not feature in this ensemble. This has been helped by listening to more recent
klezmer arrangements featuring more expansive instrumentation such as Frank
Londons Klezmer Brass All-stars (Listening List, Appendix VI). The table in Appendix
III discusses this in more detail.

Ornamentation (Droidlach/Dreydlekh)
The ornaments used in Klezmer are intrinsically linked to its origins in
cantorial and prayer music and are mainly derived from imitating the human voice,
laughing, crying, sighing and wailing (all essential parts of Chassidic prayer). It is no
coincidence that the violin and the clarinet have traditionally led klezmer ensembles
given their natural ability to imitate these sounds with their trills, portamenti,
glissandi, squeaks and chirps and their capacity for many varieties of vibrato. 18
Different instruments specialise in different types of ornaments but this imitation of
the voice is the common thread linking them all. In klezmer collectives,
ornamentation is essentially free and left to the discretion of the individual player. As
Seth Rogovoy remarks, The emotional spirit of the soloist is the identifying
characteristic of klezmer at its best.19
16

Sokolow (ch.1, pp.7-9)

Sokolow (ch.3, p15)
18
See Appendix IV for a Notation Key explaining the various klezmer ornaments.
19
The Essential Klezmer, Seth Rogovoy 2001
17

The ornamentation of melodies is thus of optimum importance to klezmer

arranging. This presents what is arguably the biggest challenge for the klezmer
arranger. How can we write in ornamentation without encroaching on the rights of
the performer to bring his/her own interpretation to the melody? Sokolows advice on
the matter is practical: Try NOT to over-decorate the partthe orchestrator should
be familiar with a few basic licks (i.e. clichs) prevalent in melodic phrasing(these)
include mordants, appogiaturas, trills, scalar connecting passages, chirps (for clarinet),
glissandos (for trombone or violin etc). One ornament not mentioned by Sokolow in
this chapter is perhaps the most fundamental klezmer ornament, the krekhts. This
sigh or sob is directly linked to the cantorial, prayer tradition imitating breaks in
the voice that punctuate Chassidic (Hassidic) religious chants.20
Taking on board Sokolows words of wisdom I formulate my own approach to
ornamentation in this arrangement. The score presents an ornamented version of the
melody with most of the ornamentation written into the melodic lines and traditional
symbols used to denote additional decoration. There is a range of possible
interpretations for these symbols. In recent years contemporary musicologists and
klezmer musicians such as Kurt Bjrling and Joel Rubin have carried out wonderfully
detailed analyses of klezmer ornamentation for specific instruments. Included as a
supplementary hard-copy-Appendix (Appendix IX) to this rational is a photocopy of
a notation key from a rare transcription of flute doinas made by Bjrling which I have
used as a basis (not a bible) for the specific notation of ornaments such as the krekhts.21
Harmony and Chord Voicings:
As explained in Sokolow (ch.3A), klezmer music uses a simple, proscribed
harmonic loshn (language) with no more than 3 voices to most chords except
dominant 7ths and the occasional diminished 7th. In short, to overload the harmonies
with 9ths 13ths or chromaticisms, would obscure the effect of the oriental scales used in
the melodies and thus utterly subvert the genre. I have therefore adhered to this
principal in my arrangement which uses functional, triadic harmony as a basis for the
accompaniment. The accompaniment figure is passed around different groups of
instruments, predominantly in accordance with Sokolows guidelines for
instrumentation.
Combinations
As explained in my Five Functions (above) a common device used in klezmer
arrangements is the combination of instruments playing either in unison, doubling at
the octave or parallel motion (in 3rds or 6ths). Possibilities for these combinations are
discussed in detail in Sokolows Guide (ch.1 p8) and, as the table demonstrates, I have
taken on board many of his suggestions. My own use of combinations extends
Sokolows list to incorporate other possibilities within a wind-band context (such as
the floboe) as shown in the table.

20

See Appendix IV.

This photocopy is produced by permission of the JMI (Jewish Music Institute) who
kindly allowed me to photocopy the pages from Kurts book strictly for the purposes
of this rational.
21

Rhythm and Tempi

The Turkische (see Appendix II) is a dance-form and is thus, unsurprisingly,
intended to accompany a dance. It is therefore essential to feel a pulse at all times
once the dance begins even if there is a certain level of liberty taken with the tunes
(rubato) within the confines of this pulse. I have provided metronome markings to
indicate the pulse as well as performance instructions relating to the mood (Tempo
instructions), rhythmic character and style. The sections of the dance vary in
character (as is reflected in the use of different modes) and I have extended this to
include rhythmic juxtapositions such as swung versus hooked rhythms (both
previously explored in 20th Century klezmer arrangements) as shown in the table. I
have also mainly used the double-dotted form of the Turkische rhythm for the sake of
clear definition within the large ensemble and as a stylistic feature to provide further
contrast with the swung sections.
Introduction: Doina (Voloch)
By way of an introduction in the arrangement, I have included some original
composition. This takes the form of a notated Doina which is based on the melodic
contours and structure of the tune. This is scored for a solo Clarinet and uses drone
accompaniments with some counter melodies. Included with this rationale are
recordings of the SKE playing and discussing Doinas (Appendix VIII) and much of
my introduction is based on these discussions with some notable differences for
practical reasons, such as the metrical notation using time-signatures despite the
Doinas origins as an un-metered tune. The counter-melodies and accompaniments are
passed around the ensemble switching registers and responding to the Clarinet line
before the Doina gives way to a 4-bar vamp which begins the Turkische.
Other Points for Consideration
It is important to note that Sokolows book was written for klezmer arrangers
working with a wide range of musicians from all sorts of different backgrounds, both
musical and cultural and as such, he mentions the necessity of a scores flexibility
(see Sokolow, Foreword) based on the genres history of collaborative efforts from
different groups and ensembles, music-readers and non-music-readers alike. The
arrangement of Yalle Vey Uve presented here is intended for an advanced level wind
band (amateur or professional) and it is assumed that all the players in such an
ensemble will be able to read music. I note also that I have chosen to use French
Horns (in F) in lieu of Tenor Horns. The aim for this arrangement is that the score be
interpreted by the bands conductor following the instructions given on the score as
closely as possible.
Table
The table in Appendix III charts the instrumentation of the arrangement
section by section with accompanying explanations of the choices made. Much of the
Instrumentation and Orchestration, Harmony and Counterpoint draw on Peter
Sokolows Guide. It is important to note that Sokolows Guide does not include
specific arrangements for an ensemble as large as the wind band I have used and
where I deviate from or elaborate on his suggestions I provide my reasons for so
doing.

Outcomes
This arrangement has been an educational experience for me as both an
arranger and a composer. As a first study string player, I have had little experience
writing for wind ensembles and prior to this project I had never even contemplated
writing for forces of this magnitude. Much of my research apart from the research into
Klezmer music and its arrangement/orchestration has been into writing for wind and
brass and I have pooled many resources in order to learn a lot in a short space of time.
Alfred Blatters book, Instrumentation and Orchestration has been a valuable reference
point for wind and brass writing but my main source of learning has been from
primary sources talking to wind and brass players themselves and Ive even been lucky
enough to have bits of my score tried out by players among my friends and family.
This project has also deepened my own experience of music making. Early this
year I joined the SOAS Klezmer Ensemble (SKE) and now play with them regularly.
The tune I chose to arrange was one that we played together in my second ever
session playing with them and since then, I have been involved in playing the fidl
(violin) on our own arrangements of it.22
Evaluation
Embarking on this project I was aware that there was to be little guidance on
the specifics of wind band klezmer arranging (the Klezmer Karnival by Philip Sparke (see
Listening List Appendix VI) is the only exception). The ensemble uses many
instruments which are unfamiliar to the klezmer genre. In this respect, the work is
original and has required some purely compositional decisions to be made. With the
plethora of interpretations of klezmer music - particularly from the latter half of the
20th century to draw on, it occurred to me that it would be possible to stick to things
that had been done before without maintaining any true sense of authenticity. It was
essential to listen to many recordings to gain knowledge and ideas for the
instrumentation and orchestration side of the arrangement but I made sure to listen to
as much of the early recordings as possible and for my arrangement I treated Naftule
Brandweins version of the tune as the primary interpretation deviating from it only
where strictly necessary within the logic of the context (noting, of course, that
Brandwein himself was already deviating from the earlier traditional eastern
European way of playing after all he played the clarinet not the violin). In this
respect I hope to have maintained a level of authenticity as well as presenting an
exciting arrangement that utilises the broad palette of wind-band colours and textures.
So is my arrangement a success? Ultimately, the tune is meant to be danced to
(or at least listened to with a dance in mind) so if you can imagine dancing to it and
having a good time at a party when listening to it then in my eyes its succeeded on a
fundamental level.

22

One version of our arrangement of the tune can be heard on this podcast from
SOAS Radio: http://soasradio.org/content/listen-local-episode-2-soas-klezmerensemble (last accessed 9/3/11)

Appendix I
A Brief Introduction to Klezmer and its evolution through the 20th
Century

The term klezmer is a Yiddish contraction of two Hebrew words: kley,

meaning vessel, and zemer, meaning song. Thus combined, klezmer came to mean
instrument or musician, as in vessel of song and was first used to describe the
itinerant folk musicians of Eastern Europe. It is not clear at what point the word came
to signify a musical style or genre but one of the first instances of its use to describe
repertoire came in the 1930s from the pen of the Soviet-Jewish ethnomusicologist
Moshe Beregovski who applied the term to the music played by the klezmorim (a
collective noun (plural) for Jewish folk musicians). Even so, the word did not really
become commonplace until the American revival period of the late 1970s. Prior to
this one simply referred to playing Jewish or playing the bulgars, a reference to a
popular Jewish dance genre.23

Since the 1970s the beginning of a movement known as the Klezmer

Revival - the genre has grown exponentially in popularity and is now played in
various forms (fusion and traditional) by a wide range of musicians of diverse cultural
backgrounds. The mysterious secret of its newfound success lies in the unique stylistic
features, notably the ornamentation derived from a historic connection with the
Hasidic nigunim, wordless prayer melodies chanted to induce states of
transcendent consciousness. This ornamentation comes from the vocal tradition of
khazones, where notes are bent and moulded according to vocal inflections allowing
the music to sing, laugh or cry or sometimes all three at once. Summarised in
five words, klezmer is just this, laughter and crying in music.

Klezmer Ensembles
Originally, klezmer music was played by small groups called Kapelyes.
Violinists who would often also assume managerial and directorial roles invariably led
these groups: organising gigs, sorting out finances and conducting rehearsals. The
23

Mark Slobin. American Klezmer: Its Roots and Offshoots (University of California Press,
2002)
Seth Rogovoy: The Essential Klezmer: A /music Lovers Guide to Jewish Roots and Soul Music,
from the Old World to the Jazz Age to the Downtown Avant-Garde. (Algonquin Books of
Chapel Hill, 2000)

precise, instrumental line-up of these ensembles depended on where in Eastern

Europe they came from but would generally consist of a bass instrument - either
contrabass or the Polish, three-stringed folk cello a rhythm section often a role
fulfilled by a second violinist or a viola with no chin-rest held against the body known
as a bratch.
One notable development of the 19th century Kapelye-based klezmer music in
the early 20th century was the dominance of the clarinet in klezmer ensembles. Two
pioneers (and renown klezmer heroes) of the Klezmer Klarinet were the Podolian Dave
Tarras (Dovid Tarraschuk) and the Galician Naftule Brandwein who are often
regarded as rivals and polar opposites in terms of style.24 Brandwein played for a time
in Abe Schwartz's ensemble, notably on popular songs like Brandwein's own "Firn Di
Mekhutonim Aheym" (Leading the In-Laws Home).25 They also performed
Schwartz's famous number "Di Grine Kuzine" (The Greenhorn Cousin), still played
today by klezmer revivalists.26
During the course of the twentieth Century, Klezmer music evolved alongside
many other forms of popular music and consequently the instrumentation expanded
dramatically. The plethora of popular musical styles all developing together in
twentieth century America meant that different styles and genres had to nurture
instantly recognisable identities and the klezmer the repertoire was naturally
streamlined according to popular demand. The expression playing the bulgars is a
clear indication of this fact. The bulgar is just one of many dance forms in the original
klezmer canon and the dance forms in turn are just one of the sub-genres within the
repertoire.

24

Old-world regions of Eastern Europe, Podolia was a region in the heart of the
modern-day Ukraine, Galicia bordered Poland and the Ukraine.
25
Abe Schwartz (1881-1963) was a well-known klezmer musician of the 1920s.
Abe was born outside of Bucharest, Romania, and moved to the United States in
1899. He soon distinguished himself as a talented arranger and composer of music, as
well as a violinist, pianist, and bandleader.
26
Strom, Yale. The Book of Klezmer: The History, The Music, The Folklore 1st ed. p.157

Appendix II
Klezmer Modes & Rhythms
Klezmer, like many musical genres, is based on rigorous, highly stylised forms with
rules regarding tempo, rhythm, metre and mode and the sequential use of scales
within songs which lie at the musics structural core.
Some of the most recognisable characteristics of klezmer music are the modes used in
addition to the standard major and minor scales. Some of the modes are original
scales peculiar to klezmer music and others are klezmer variations of existing modes
and scales.
Details of the klezmer modes and scales can be found here:
http://www.manchesterklezmer.org/pages_history_musicology/what_is_klezmer_sca
les.html (last accessed 9/3/11)
The modes used in Yalle Vey Uve can all be found on this page. Note that the D
Moloch scale used in the tune is a simpler form of the Hashem Moloch shown on this
page and does not contain a G-sharp in the descending version. The D Moloch used is
simply what Western Music calls D-Mixolydian.

Dance Rhythms and the Turkische

The dance-tunes comprised much of the surviving klezmer repertoire that was
popularised in 20th century America. The name Turkische alludes to one particular
subgenre in this category. The Turkische Rhythms can be viewed here:
http://www.manchesterklezmer.org/pages_history_musicology/what_is_klezmer_rh
ythms_1.html (last accessed 9/3/11)
Note that on the web page the spelling of Turkische is different to this rationale. The
Germanic Terkisher replaces the Yiddish version (Turkische) that I have used
throughout this document. This is because Naftule Brandwein spoke Yiddish and this
was his spelling of the word.
The Rhythm is omnipresent as an accompaniment throughout the whole
arrangement. This is the same as in the original recording by Naftule Brandwein
where the rhythm is vamped throughout.

Appendix III
Table
The sections of the arrangement are labelled with letters in alphabetical order with
subscript numbers used to denote repeats and recapitulations. For example, A1
denotes the A section the first time it is heard with A2 denoting the immediate repeat.
For the recapitulation which begins with a restatement of the A section A21 is used
with A22 denoting the subsequent repeat. For clarity, I include the corresponding
rehearsal figure used in the score in brackets complete with the appropriate bar
numbers:
E.g. A21 (Part 1) (Rehearsal fig. F bars 124-127).

Section
(Where on
the score.)

Introduction
(Bars 1-27)

Instrumentation
(Listed with bold numbers
according to the 5 Functions.
Detailed above)

Discussion/Commentar
y
(In light of Sokolows Guide
and/or my own
developments of his
techniques)

Solo B-flat Clarinet.

This introduction is purely

my own invention. It takes
the form of a Clarinet solo
in the style of a Doina although it is metered for
the sake of compatibility
with the ensemble - and it is
based on the contours of the
original tunes melodies.
The passage works as a
Quasi-Recitative where the
soloist is allowed total
freedom and the conductors
role is to cue the chord
changes in the
accompanying lines. I aim to
create a sense of total
freedom within the metric
system of time-signatures.

Atmospheric (Doina) DroneAccompaniment Figures:

Dove-tailed drones in lower-brass.
Bars 1-7 include: Soft-stick rolls on
Susp. Cymbal. One bar introducing
the Turkische rhythm on the Timps.
Tremolando Mallets. Cass Clarinet
decorative trill.

Flutes join the Clarinet Register at

bar 13 and play inverted double
pedal notes with and above the
Clarinet register moving
independently from it until bar 20.
Oboe countermelody entwines with
Clarinet register from bar 16 19.
Bars 21-22: Horns, Alto.Clarinet,
Oboe and Cor Anglais link cadential
figure. Same at bars 23-24 plus
Flutes.
Lilting Horn in 3 anticipates the

Symbols are used in the

soloists part for additional
ornamentation. These are
mostly standard symbols
that can be found in Mike
Curtiss book (see
Bibliography) with the
exception of the crches

opening, Turkische vamp from bar

24 27. Clarinet and Flutes sustain
pedal notes during this passage with
low drones in the Trombones.

which is denoted by a
headless appoggiatura - la
Bjrling - tied to the
preceding note as explained
above.
The accompanying
instruments simply drone on
the chords with the Solo line
wringing the changes but
they are responsive to the
solo and swell with its
contours (Listening: SKE
Doina1) even playing short
melodic figures or
decorations reflecting the
solo line.

A1 (bars 2839) plus 4-bar

vamp.

1. Flutes in unison doubling

piccolo (bars 32-35). Then
Cornet 1, Horn 1 and
Euphonium in Octaves (bars
36-39).
2. N/A
3. None in first 8 bars then
Flutes, Oboe and E-flat
Clarinet play decorative,
ascending, scalic figures
when the melody is in the
lower registers (bars 36-39).
Optional (bracketed) triplet
fills for Clarinet 2 at the end
of bar 39.
4. Horns 1-4 vamp the
Turkische rhythm with the
Euphonium from bar 28-35
then with Euphonium. Low
Clarinets (plus B-flat 2-3),
Bassoon 1 and Trombones
1-2 vamp the Turkische from
bar 36-39. Tuba pinches
throughout (optional fills)
with Timps.
5. Snare Drum plays
alternative rhythmic figure
based on triplets (staring at
bar 31.4). Horns 2-4 hold
pedals with Cornet 2 (in
harmony) from bar 36-39.

The melody is introduced in

the high registers with a
military-style snare Drum
figure sticking out of the
accompaniment figures.
The answering statement to
the opening 4 bars comes
from the lower and middle
registers reflecting the
question-and-answer feel of
the melody.
The melody is scored as
written-out staccato to
emphasise a strict quasimilitary rhythmic precision.
Ornamentation is written
into the melody with the
addition of mordent symbols
for additional decoration.
Some decorative figures are
presented on the score as
optional. In these cases, the
extra notes appear
bracketed and may either be
played or treated as rests.

A2 (Part 1)
(bars 40-43)

1. Fl. 1/Ob. 1/B-flat Clt.

1&2/Bsn 1&2.
2. Fl.2/Ob.2/A.Clt. (Below
thirds and sixths below the
melody).
3. Fl.2/Ob.2/E-flat Clt. B-flat
Clt.1 (bar 43).
4. Clt. 3/B.Clt./Tuba/Timps
5. Bass Drum/ Euphonium:
pinching on the beat. Cts
(Cornets) 1&2)/S-Drum: offbeat quavers.

The conical-bore brass

instruments are used for the
accompaniment figure and
pinching here giving a
mellow sound so that the
entry of the cylindrical-bore
brass in the answering 4 bars
has even more impact on
the intensity of the sound.

A2 (Part 2)
(bars 44-47)

1. Picc/Fl.1&2/ Ob.1&2/Cor A large Tutti feel to end the

Ang./ Clt.2&3/Bsn 1&2/
first statement of Section A.
Hn 1/ E-flat Clt. (bars 46)
2. N/A
3. E-flat Clt (bar 47)/Clt.1/AClt./B-Clt
4. Cts.1&2/Tba/Timps
5. Toms/Euphonium:
pinching. S-Dr. /Tpts1&2:
offbeat quavers. Cts (bar 47
triplets). Hn 2-4: Drone (Dm
chord).

B1 (bars 4855)

1. S-Sax/A-Sax. Ct 1/Euph.
(bars 51-55).
2. T-Sax/ct 2 (bars 51-55).
3. A-Sax/Ct.1.
4. B-Sax/Tpt 1&2/B-Tbn.
5. Tbn.1: glissandi
crotchets/Euph/Tba (bars
48-51). Susp. Cymb./Timps.

This section modulates to

the major Moloch
(Mixolydian scale). To
provide a stylistic contrast
this section is swung and
features jazz-big-band- type
instrumentation with the
tune in the reeds over
glissandi Trombone
comping.
This provides an antithetical
style to the opening
military feel discussed
above.

B2 (Part 1)
(bars 56-59)

1. Clt.1,2&3/Cor Ang.
2. Ob. 1&2
3. Picc/Fl.1&2/E-flat
Clt./Mallets
4. A-Clt./B-Clt./Bsn 1&2.
5. N/A

A delicate frivolous
woodwind response to the
Gaudy reed-based
opening statement.

B2 (Part 2)
(bars 60-63)

1. Fl.1/E-flat Clt./AClt./Bsn.1

A new character, somewhat

an amalgam of the previous

2.
3.
4.
5.
C1 (bars 6473)

N/A
two finishes off the B
Ob.1
section.
Clt 2&3/B-Clt./Euph./Tba.
S-Drum (brushes)

1. Tpt.1/Picc/Cor Ang./E-flat
Clt.
2. Clt.1 (bars 68 and 71)
3. Cor Ang./A-Clt./BClt./Bsn.1
4. Picc/Flt. 1&2/Ob.1&2/
Timps (bars 64-65)/BClt/Bsn.1 (bars 69-70).
5. B-Clt./Bsn.1/Hn 1 &
3/Susp. Cymb.

This section is essentially a

Trumpet solo with
interjections from the other
instrumentations shown in
function 1. These
instruments steal snippets
of melody in a contest to
finish off one anothers
sentences. To emphasise
this, the articulation of the
Trumpet line is staccato
whereas the interjections
from the wood-wind are
more legato.
In this section Instruments
switch function more freely
than in previous sections
giving a feel of organised
chaos common in klezmer
arrangements for larger
ensembles.

C2 (bars 7483)

1. Fl.1&2/Ob.1&2/Cor
Ang./E-flat Clt./Clts.
1,2&3/ A-Clt. Cts 1&2. Trb
1&2.
2. N/A
3. Picc/Fl.1&2/Cor Ang./BClt/S-Sax
4. Saxes/B.Trb/Euph./Tba/
Toms.
5. Bsn 1&2/Tpt 2&3/Hn 14/Timps/S-Drum/Susp.
Cymb. Vocals

A tutti reprisal of the C

theme. This section could be
considered the apex of the
piece. This section is the
only one that occurs just
once. It is very common in
Chassidic cantorial prayer
melodies to have a
triangular structure which
goes up and comes back
down as though the prayer
were bringing those singing
them close to G-d and back
to the mortal plane during
its course.
To emphasise the
importance of this C section
I include the only point of
vocal punctuation in the
arrangement, a final Oi!
before the restatement of
section B.

B21
(Rehearsal
fig. D) (Part
1) (bars 8487)

1.
2.
3.
4.

Fl. 1
N/A
Picc./A-Sax/Mallets
Wood blocks

A delicately textured highregister antithesis to the full

orchestration of the last ten
bars.

B21 (Part 2)
(bars 88-91)

1.
2.
3.
4.
5.

Picc/Sop-Sax/A-Sax
T-Sax
N/A
B-Sax
S-Drum

Swung reeds with Tenor

Sax Counterpoint and the
Piccolo floating above on
the melody. Here the
military snare-drum triplets
are unrecognisable as such
framed in the opposite
context.

B22 (Part 1)
(bars 92-95)

1.
2.
3.
4.
5.

Solo Trb
N/A
B-Sax
Tpt 2&3/Euph/Timps
Tpt 1/Hn 1&3/C-Cymb.
B.Trb

A continuation of the swung

big-band feel. A solo
Trombone takes the melody
adding some gaudy trills
over tenor register drones
with brassy punctuation
built on a sliding glissando
bass-line. The Turkische has
temporarily been hijacked
by a raucous jig.

B22 (Part 2)
(bars 96-99)

1.
2.
3.
4.

Cnt 1&2/Trb 1&2

Hn 1
N/A
Muted Tpt 1,2&3/Hn
3&4/B-Trb
5. Timps/Toms/SDrum/Susp. Cymb.

The tutti response.

D1
(Rehearsal
fig E)(bars
100-103)

1. Ob 1/Cor Ang./Clt.
2/Bsn/A-Sax
2. N/A
3. Fl. 1&2/E-flat Clt/Clt. 1/AClt./T-Sax/Mallets
4. Euph.
5. Hn 1-4/Tba

From raucous jigs to

Tango in the freygish
mode!. The flexibility of the
Turkische leads to yet
another giant leap in stylistic
imitation (hopefully
maintaining its own identity
along the way).

D2 bars 104107)

1. E-flat Clt./Clt.1/Clt 2&3/A

Sax/T-Sax/Hn3-4
2. N/A

The melody is now given

more weight in the alto and
tenor registers and the

A little dialogue based on

imitation emerges between
the snare drum and the
Toms.
These types of dialogue are
common features of klezmer
arrangements (see Sokolow
Klezmer Style) although
rarely with these
instruments.

3. Ob.1/Cor Ang./A-Clt./BClt./Bsn1
4. Euph/Tba
5. Muted Tpt 2&3/Cnt 1/BTrb

counter melodies take over.

Muted trumpet arpeggios
maintain the Latin flavour.

E1
(Rehearsal
fig. F)(bars
108-115)

1.
Cnt. 1/Hn 1/
2.
Clt 2&3/A-Clt/B-Clt
(bar 111). Picc/Fl
1&2/Ob.1&2 (bar 113)
3.
Tpt. 1 (muted)
4.
Hn 3&4/Trb1&2/BTrb/Tba
5.
B.Clt.

A low register, brass

introduction to the new
section with the tango
rhythm having a last say
through the Bass Clarinet.

E2 (bars 116123)

1. Fl.1/E-flat Clt./T-Sax/Euph
2. Picc/Clt1/Clt.2/A-Sax
3. B-Sax/A-Sax/Bsn 1
(optional)
4. Ob.1&2/ Cor Ang./Bsn 1&2
5. N/A

An extension of Sokolow
combinations for the
melody instrumentation
with interjections stealing
snippets of melody.

A21 (Part 1)
(Rehearsal
fig. G) (bars
124-127)

1. Fl.1/Ob.1/Clt.1/Bsn.
1/Hn.1
2. N/A
3. N/A
4. Hn 3/Trb 1&2
5. B-Trb

Another extension of
Sokolow combinations for
the melody instrumentation
in a simple recapitulation of
the A section with no
excessive decoration or fills.

A21 (Part 2)
(bars 128131)

1. Cnt. 1/Hn 1 &3/Euph.

2. N/A
3. Cnt. 1/Hn 1 &3/Euph.
(Decorative rhythm in bar
131)
4. Trb 1&2/Tba
5. B-Trb/Timps

The Cornet and 3rd Horn

join the last bar of the
opening 4 bar phrase
heralding a lower registerbased brass hijacking of the
melody just reintroduced by
the woodwind. The smallgroup textures of this
restatement anticipate the
large, tutti orchestration of
the repeat.

A22 (bars
132-139)

1. Picc/Fl.2/Ob.1/Cor
Ang./E-flat Clt/Clt.1&2/AClt/B-Clt/Bsn 1&2
2. Fl.1/Ob.2/Clt.3
3. E-flat Clt/Cnt.1(optional)
4. Hn 1-4/Timps
5. Tpt. 2&3/Trb 1&2/BTrb/Euph/Tba

Tutti Woodwind playing

melody and homorhythmic
harmonies with full brass
accompaniment figures
including the Turkische and
pinching.
This section uses parallel
thirds for some extended
harmonic interest giving an

oriental feel to the melody.

Keeping the dancers on
their toes: the tempo is
increased for this repeat of
the A section, the brass
motor driving the melody on
to its limits. Accompaniment
instruments pushing melody
instruments by modifying
tempi is a common device
used in small, intimate
Klezmer ensembles. It is not
one which is immediately
adaptable to a large
ensemble such as a wind
band but this is where the
conductors role comes into
play.
B31 (Part 1)
(bars 140143)

1.
2.
3.
4.
5.

S-Sax/A-Sax
T-Sax
A-Clt
B-Sax/Tba
A-Clt/Tpt.1,2&3/Trb
1&2/S-Drum/C-Cymb.

A swung, reed take over

reminiscent of the first B
section.

B31 (Part 2)
(bars 144147)

1.
2.
3.
4.
5.

Picc/Fl 1&2/Ob.1&2/Clt.1
N/A
N/A
B-Clt/Bsn. 1/Hn1-4
Euph

B32 (Part 1)
(bars 148151)

1.
2.
3.
4.
5.

Cor Ang/Clt.1,2&3
N/A
Ob. 1&2/E-flat Clt.
A-Clt/B-Clt/A-Sax/T-Sax
Picc/Fl. 1&2/E-flat Clt.

The woodwind start a

sentence...

B32 (Part 2)
(bars 152155)

1.
2.
3.
4.
5.

Cnt. 1/Hn.3/Euph
N/A
Hn 1
Tpt 2&3/Trb 1&2/B-Trb
Tpt. 1 (bar 155-outlines
dominant 7th)

...the brass finish it.

D21 (Part 1)
(Rehearsal
fig. I) (bars
156-159)

1. Picc/Fl. 1&2/Cor Ang/BClt/Bsn.1&2/Cnt.2/Hn 4

2. Ob.1&2
3. Tba (Timps/Toms)
4. N/A
5. Tpts 1,2&3/Trb1&2/BTrb/S-Drum/Timps/Toms

D22 (Part 2)
(bars 160163)

1.
2.
3.
4.
5.

E21
(Rehearsal
fig. J) (bars
164-171)

1. Picc/Fl.1/Ob.1/SSax/Bsn.1
2. Fl.2/Ob.2/E-flat Clt./Bsn.2
3. A-Clt./Bsn 1
4. Tpts/Hn.2&4/Euph
5. A-Sax/T-Sax/Trb.1&2/BTrb/Tba/Timps

E22
(Rehearsal
fig. J) (bars
172-End)

Euph
N/A
Cor Ang/Bsn.1/Hn. 1&4
N/A
Fl.1&2/Ob.1&2/Hn3&4)/
Mallets

Tpt.1/Hn. 1
Tpt 2&3
Tutti
Bsn.1&2/Clt.2&3/AClt/Tba
5. Cnt.1&2/Hn.3&4/Trb.
1&2/B-Trb
1.
2.
3.
4.

This second version of the D

section is the only moment
in the whole piece where the
Turkische rhythm is
temporarily dropped with a
raucous, rhythmic counter
melody suddenly imposing
in its stead. This would have
been very uncharacteristic of
klezmer arrangements at the
time of Naftules orchestra
but since the klezmer revival
bands like The Klezmatics,
Frank Londons Klezmer Brass
All-stars (see Listening) have
incorporated temporary
stylistic deviations such as
this into their arrangements.
A delicate echo of the
previous tango D section.
The Euphoniums principal
melody is buried under
layers of woodwind countermelody punctuated by
Mallet arpeggios and
floboe pinches.
The floboe takes the
melody and some
syncopated accompaniment
figures in the reeds keep the
motor ticking over. Similar
interjections to the first C
section feature.

Appendix IV

Notation Key and Symbols for Optional Supplementary Ornamentation27

Krekhts: The krekhts (a sigh or moan) is perhaps the quintessential klezmer

ornament.28 They are notated as a grace note without a note head tied to the
preceding note (see fig.1)and should be played with a brief silence before the following
note. The pitch of a krekhts is indefinite or unimportant.

fig.1

Mordents: Upper-note mordents are notated as traditional mordents (see fig.2) and
should be regarded as short trills without any direct specification for rhythm. They
could either have a triplet or demisemiquaver feel depending on the instrument and
the player. On notes of shorter length than a quaver, the symbol shown in fig.3 is used
for upper-note mordents. On notes longer than a crotchet the symbol shown in fig.4 is
used. When playing these mordents the notes of the mode should be used at all times
unless otherwise specified, e.g. f-natural would go to G-sharp in the Mishebeyrekh scale.

fig.2

fig. 3
27

Mike Curtiss book, The Klezmer Repertoire (for B-flat Clarinet) was particularly useful
as a source for commonly used symbolic notation of ornamentation. In my opening
doina in particularly I made use of symbols found in Curtiss compilation.
Kurt Bjrling, Jewish Doinas: 7 transcriptions of vintage recordings with notes and comments by
Kurt Bjrling (Publication Date Unknown Bjrlings own Publication)

28

See Explanation of Ornamental Symbols (Photocopied section of Jewish Doinas,

7 transcriptions of vintage recordings with notes and comments by Kurt Bjrling)

fig.4

Pitch bending: Pitch bends (see fig.5) may be interpreted with a certain level of
freedom depending on individual instruments. Generally speaking this should be
regarded as a swerve about the notated pitch moving down and back up once or
vice-versa rather than a wide vibrato. On brass instruments this is easily achievable
with modifications of the embouchure whilst blowing whereas some woodwind
instruments will have to use fingerings for this effect. The exact techniques are left to
the discretion of the individual players.

fig.5

Chirps: This is specifically a clarinet technique where a rapid tightening of the

embouchure produces a sharp stabbing pitch-bend.29 It can be repeated many times
in succession. Exact pitches are not specified but the direction of the pitch-bend
(almost always downwards) is indicated by the symbol as shown in fig.6.

fig.6

Spoken Words: There is only one instance in the score where players are asked to
speak a syllable to punctuate the end of a phrase at a cadence point. It is notated as
shown in fig.7 with the syllable provided below the note.

fig.7

Trills: Standard trill notation is used throughout the score.

29

This notation is used by both Curtis and Bjrling

Appendix V
Glossary of terms

Doina

The Doina is a Romanian musical tune style. The doina has Turkish
influences, and it is probably of Middle Eastern origin. It can be found
in Romanian music, as well as in Klezmer music.30

Loshn

Klezmer-loshn (Yiddish for Musician's Tongue) is an extinct

derivative of the Yiddish language. It was a slang or argot used
by travelling Jewish musicians, known as klezmorim (klezmers),
in Eastern Europe prior to the 20th Century.31

Nigun

Nigun (pl. nigunim, )is a Hebrew term meaning

humming tune. Usually, the term refers to religious songs
and tunes that are sung by groups. It is a form of voice
instrumental music, often without any lyrics or words, although
sounds like bim-bim-bam or Ai-ai-ai! are often used.32

Krekhts

Krekhts or krekhtsn (Yiddish for "sobs") are kind of dreydlekh

(ornamentation) in klezmer music, especially on the violin and
clarinet.33

Hassidic

Hasidic Judaism or Hasidism, from the Hebrew: Hasidus meaning "piety", is a branch of Orthodox Judaism that
promotes spirituality and joy through the popularisation of
Jewish mysticism as the fundamental aspects and of the Jewish
faith. The majority of Hasidic Jews are ultra-orthodox.34

30

en.wikipedia.org/wiki/Doina (last accessed 9/3/11) See also Recordings listed in

Appendix VIII for field recordings of the SKE discussing and practicing Doinas.
31
http://dictionary.sensagent.com/klezmer-loshn/en-en/ (last accessed 9/3/11)
32
en.wikipedia.org/wiki/Nign (last accessed 9/3/11)
33
see footnote 29
34
en.wikipedia.org/wiki/Hassidic (last accessed 9/3/11)

Appendix VI
Listening List:
Cds
Brave Old World:

Beyond the Pale

Blood Oranges

Budowitz: Budowitz Live

Dave Tarras: Yiddish-American Klezmer Music 1925-1956
Di Naye Kapelle: A Mazeldiker Yid
Zev Feldman & Andy Statman: Jewish Klezmer Music
Frank Londons Klezmer Brass Allstars: Carnival Conspiracy
Joel Rubin: Hungry Hearts
Joel Rubin Ensemble: Midnight Prayer
Naftule Brandwein: Rumenisha Doina (included in Appendix VIII)
Harry Kandel: Master of Klezmer Music-Russian Sher
Khevrisa: European Klezmer Music
The Klezmatics: Rhythm & Jews
Klezmer Conservatory Band: A Taste of Paradise
A Jumping Night in the Garden of Eden
Klezmer Pioneers: European and American Recordings 1905-1952
Naftule Brandwein: Naftule Brandwein 1922-1923 (Kurt Bjrling)
Naftule Brandwein: King of the Klezmer Klarinet
Various Artists: The Rough Guide to Klezmer
Veretski Pass: Veretski Pass
The Strauss/Warschauer Duo: Rejoicing
Yikhes (Lineage): Early Klezmer Recordings 1911-1939

Youtube:
A Klezmer Karnival (Phillip Sparke) http://www.youtube.com/watch?v=isFEMiwVaSQ
(last accessed 9/3/11

Appendix VII
Bibliography
Peter Sokolow, Peter Sokolows Guide to Klezmer Arranging and Orchestration (Tara
Publications, 1991, Peter Sokolow)
Mike Curtiss, The Klezmer Repertoire for B-flat Clarinet (ADVANCE MUSIC, 1996)
Mark Slobin. American Klezmer: Its Roots and Offshoots (University of California Press,
2002)
Seth Rogovoy: The Essential Klezmer: A /music Lovers Guide to Jewish Roots and Soul Music,
from the Old World to the Jazz Age to the Downtown Avant-Garde. (Algonquin Books of
Chapel Hill, 2000)
Strom, Yale. The Book of Klezmer: The History, The Music, The Folklore 1st ed. p.157
Alfred Blatter, Instrumentation and Orchestration
Kurt Bjrling, Jewish Doinas: 7 transcriptions of vintage recordings with notes and comments by
Kurt Bjrling (Publication Date Unknown, Bjrlings own Publication)

Journals/Lectures/Essays:
Essay: Walter Zev Feldman: Bulgareasca/Bulgarish/Bulgar: The Transformation of a
Klezmer Dance Genre (Ethnomusicology, Vol. 38 No. 1, Winter 1994).
Lecture: Joel Rubin: What A Jew Means in This Time: Naftule Brandwein, Dave Tarras and
the Shifting Aesthetics in the Contemporary Klezmer Landscape. The lecture notes and
accompanying recordings can be found here:
http://conferences.library.wisc.edu/index.php/conney2007/issue/current
(Last accessed Wednesday 9th March 2011)

Appendix VII
List of Websites (all last accessed Wednesday 9th March 2011):
http://www.clarinet-klezmer.com/Klezmer-Music-Modes.html
www.manchesterklezmer.org
http://www.manchesterklezmer.org/pages_history_musicology/what_is_klezmer_rh
ythms_1.html
http://www.jmi.org.uk/
http://www.ilanacravitz.com/music&sound.htm
http://www.franklondon.com/dsk.html
http://joelrubinklezmer.com/
en.wikipedia.org/wiki/Nign

Appendix VIII
Recordings
Here is a list of the field recordings (and one radio recording made at SOAS) that I
made whilst researching for this arrangement. These recordings are provided as aif
files on the CD-R together with this rationale.
1.

One version of our arrangement of the tune (Turkische Yalle Vey Uve) can be
heard on this podcast (approx. half way through) from SOAS Radio:
http://soasradio.org/content/listen-local-episode-2-soas-klezmer-ensemble
(last accessed 9/3/11)

2.

SKE Rehearsal: Pitch-bend wide vibrato Trills

3.

SKE Rehearsal: Krekhts Sing & Play

4.

Naftule Brandwein: Rumenishe Doina

5.

SKE Rehearsal: Doinas: Discussing, listening to and eventually trying out

Doinas.35

35

The poor quality of these recordings is due to the poor quality of my dictaphone.
For this I can only apologise.

Appendix IX

Hard Copies List

The following documents are provided as hard copies together with this rationale:

Photocopy of a Notation Sheet from: Kurt Bjrling, Jewish Doinas: 7 transcriptions of

vintage recordings with notes and comments by Kurt Bjrling (Publication Date Unknown,
Bjrlings own Publication)

Note: These photocopies are reproduced by kind permission of the JMI (Jewish
Music Institute) and are strictly for the purposes of this rationale. They must be
destroyed after this rationale has been graded.

Andrew Gorman (MMus Year1)

Trinity College of Music, 10th March 2011