a The Klezmer Repertoire Mike Curtis = N _/ advance musicTable of Contents 4 Preface 7 Lebedik un Freylach & Shatser Chusidl 7 Shver un Shviger Tanz Escorting the In-Laws Home u Papirosn 2 Galician Sher & Yikhes 14 Freylachs fun der Khupe 5 Silver Wedding 1 Rebn’s Tanz 7 Noch Havdole 8 Russian SherPreface With a traditionally aurally-transmitted music like klezmer, written notation can only provide so much. The melodic/rhythmic lines, tempo markings, and chord symbols found in "The Klezmer Repertoire, Vols, 1 and 2", may reveal the skeleton of this music, but some fleshing out is desirable. ‘Assembling a klezmer ensemble behooves a few suggestions. Klezmer music is the folk music of the East European Jews, They lived in significant numbers for hun- dreds of years co-territorially within nations extending from the Black Sea to the Baltic, Klezmer tune titles often evoke the exact locales ~ hence we have Odessa Bulgar and Bessarabian Chusid! from Vol. and Galician Sher from Vol. 2. Klezmer music surely contains influences from gentile sources (espe-~ cially from SE Europe) but its emotional core extends back to ancient roots in cantorial modes. The product of a spirited but oppressed people, the music is simultaneously celebratory and mournful. In this way it speaks in a directly profound way to all humanity ‘As music primarily used for weddings, bar mitzvahs, and special occasions, klezmer music is made up ‘of many dance forms. Some of these derived from the contact the klezmorim made in playing gentile functions. Volume 1 particularly highlights Jewish adaptation of borrowed forms: the Romanian sirba, the Ukrainian kolomeyka, the American charleston, and the ubiquitous German waltz. Volume 2 emphasizes the three most basic klezmer dances: the freylach or bulgar, the chusidl, and the hora, although the tune titles do not always correlate. The quick, lively, and happy (in a minor key!) freylachs or bulgars (a later term) contain a vivacious underlying rhythm: 64: If drums are used, this characteristic rhythm is heard among military-style rudiments. later section may feature the use of the woodblock or rims. The bass line (played by double bass, tuba, piano left hand, etc.) consists of a folksy 2-beat pattern using | and V of the chord, with some double-time ‘motion leading to the cadence: Do) oe we te ‘The chording instrument (accordion, piano right hand, mandolin, etc.) takes care of the off beats except, in these volumes, where NC indicates No Chord: Kolyn eS Melodic instruments (clarinet, violin, sax, trumpet, lute, trombone, etc.) handle the tune, often with varied rhythms and tonal alterations. With two melody instruments it is customary to harmonize opty ——— — Silver WeddingIn small ensembles the chording instrument can help with these harmonies or present the main melody for variety, with the melody instrument trying out some accompaniment. Sax and trombone are particularly adept at lines like: ae ee Melody instruments will also take the lead in presenting special effects: extended trills, chirps, laughs, and cries. Examples of freylachs in these volumes include: Vol. 1 — Kayln, Bessarabian Chusidl, Freylacher Bulgar, Bay a Glezele Mashke, Odessa Bulgar; Vol. 2 — Lebedie un Freylach, Papirosn, Silver Wedding. Chusidls (and some shers) are dances in a moderate tempo. These are often introduced by short rhythm section vamps. They have a solid 2-beat bass line again using the | and V of each chord with an occasional scalar motion occuring: Galician Sher c- oo Oa The drums will often back this up with a typical languid pattern: CChording instruments follow a simple on-and-off beat format, much like that of the freylach: Mazi Tov Shver un Shviger Examples of the medium-paced dances in Vol. 2 are Shatser Chusidl, Galician Sher, Freylachs fun der Khupe, Rebn’s Tanz, and Noch Havdole. In Vol. 1 there is Maz! Tov Shver un Shviger. ‘The hora, of Romanian origin and not to be confused with the more modern Israeli hora (of which Hava Nagila is the prime example) is a slow dance in 3/8, All the rhythm section collaborates in affirming a simple long-short accompaniment: J dil The melodic instrument is thereby free to reveal daring personal insights into the melodic line. Pitch bends, falls, rubato, and technical flights of fancy are encouraged. An example of the hora is found in Vol. 2, Escorting the In-Laws Home, which binds four 3/8 bars together into 12/8 meter. Other examn- ples of the hora can be found in my "10 Klezmer Duos”.Finally, most klezmer music adheres to additive form (A BB CC, etc. and this form may be repeat- ed as many times as necessary for dancing. Occuring at the conclusion of any handy section is the typical klezmer ending pt o This appreciation for additive form (one new thing after another) also leads to the creation of sometimes spontaneous medleys, a process known as “running the bulgars". This represents the apex of klezmer playing (Mike Curtis) This volume is dedicated to my bandmates in the Mike Curtis Klezmer Trio, keyboardist Dave Leslie and drummer Dave Storrs.Lebedik un Freylach trad, arr. Mike Curtis Be A < oS et ~ DS.al CodaShatser Chusidl trad, arr. Mike Curtis Cea oe Z - Sofie paneer SS —_ ISS SSSSSSs=Shver un Shviger Tanz 8 Dna x trad. /arr. Mike Curtis 8 & 8b FE ob & ab pete por ee ee] =e aEscorting the In-Laws Home * Brandwein/arr. Mike Curtis iS D. eG a eo” 2 othe ae tte Bogs n> Zhe! be By eieg.Papirosn x Trad. /arr. Mike Curtis s- « eV SN es A] ete ey Ona A= = Ste ° —— cp7 oo DS. al CodaGalician Sher Trad. /art. Mike Curtis, ce D D tr > & pte t lf oP ears ye | Se — == = ——| ‘Opt. Segue to Yikhes D b, arg aeon72-140 Trad. /arr. Mike Curtis 2nd X accel. al fine co b epee hee ite *Freylachs fun der Khupe Trad. /arr. Mike Curtis d-76 # Nc d DAA ptpreceteestp. Heetiee teetrense ecleept tos eEER e if ie te pe § Gesticettepres ftee pfeettee a 6 SS ears pe » THT} ~~ ry) ty By) i) He ree: :Silver Wedding Trad. /arr. Mike Curtis % c- ~ D on156 ad - DS. al Coda b io pe | (©1997 by ADVANCE MUSIC. Al Rights Reserved.Rebn’s Tanz dugg 80a 2nd time Trad. /arr. Mike Curtis 4 = & ft Ce E tty A fasterertrepsfiecerier rete Ore, i Sa = & ft 4 pasty - = == = a - s 6 ree fale Sees ae SS SSSNoch Havdole Trad. /arr, Mike Curtis, es eer ee eel pee & tat eee 4 —= = * a ritard. 2nd time (©1997 by ADVANCE MUSIC, Al RightsReservedRussian Sher Trad, /arr, Mike Curtis oe fo s2aee = seaeees erstRussian Sher sl ote we oe CPt te tee tore | i 8 and X in i a a é —. FZ 2 [ete ae! os —— a — Geter tte? =e SS