I suppose you're right. Started picking it in D, and while not too different, it is a longer stretch.
And actually, I first learned Hava Nagila in D, as well as Misirlou.
I suppose you're right. Started picking it in D, and while not too different, it is a longer stretch.
And actually, I first learned Hava Nagila in D, as well as Misirlou.
Actually you should start playing the tune up an octave. It is easier up there because the frets are closer together. AND klezmer music is usually played with a high and low lead players.
If I can find the time, I'll write out the tune with rhythm parts for 'second fidl' / mandolin.
I've been working in Finale 2012 and I'm trying to get mandolin chord charts to function. Anyone have experience with Finale's weird chord library system for mandolin fingerboards?
Interesting, I'll try playing a couple tunes in the higher octave. Speaking of Misirlou, why is it associated with klezmer music when it is a Greek folk song?
Miserlou is actually a Greek song, but who can where the melody comes from ???
(see wikipedia here)
The mode is used in klezmer music (but not only), so...
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I also started learning Tantz Tantz Yidelekh in A. Not to different from D or E, depending on which octave you decide to play it in. I also started playing some klezmer tunes with Irish trad tunes....
Hmmm I have some major issues with mixing ethnic musics. So be warned my friend. Enough said.
I have authored a book of Irish tunes. PM me and I'll get you one.
I've been fussing with Tantz Tantz Yideleh as a music notation experiment in Finale. I do plan to post the result here. It will be some sort of chart that includes TAB, mandolin chords and an example of 'back up' or secund rhythm fidl part. It will probably be in D.
And I'll have to try playing it in A. Great idea.
I apologise for my 'cranky' comments. Sometimes I dont' edit and regret my impulsive short hand. There are many reasons for not mixing different musics in a set. But in this situation I had no reason to say so. As a personal set of mandolin tunes, why not play what you like?
As for klezmer music, my wife pointed out an important aspect of articulating notes that I want to share. I was showing her my opus called 'Tantz, Tantz, Yiddeleh' and she said that groups of notes, in this case sixteenth notes, are not played as written. Every two notes go long-short, long-short. The first and third notes out of four are longer than their neighboring notes. Writing this in music is rarely done because it is so subtle. BUT the easy way to remember this style occured to me in the middle of the night. It is the Biddy-Bidddy Bum Bum in the song from Fiddler on the Roof - "If I were a rich man."
As a test of this theory I have been going around the house singing all kinds of klezmer tunes in this Biddy-Bum-Bum style. The Bum-Bum's are eighth notes. Tantz, Tanz, Yiddeleh is for example, goes Biddy-Biddy-Biddy-Biddy, Bum, Biddy, Bum.
My cat looks at me like I'm nuts, but I think this is really cool.
The two note artiulation is just the other way around. Biddy = short-long
But you get the idea. If you listen closely to a recording it goes that way. It's kind of a lilting quality. esp. on descending lines.
Nah, your fine. I don't take offense to those kind of comments. But, anyway, how's Tantz, Tantz Yidelekh in A working for you? Playing on the G-string is a bit of a stretch for me, but Im sure I figure it out sooner or later!
And, as for the articulation, I'll have to try and listen for it.
Tantz, Tantz Yiddeleh for mandolins.mp3
O.K. here is a three page pdf of Tantz, Tanz, Yiddeleh arranged for fiddle, lead mandolin, back-up mandolin (or second fidl), and bass fiddle. TAB and chord charts are included for lead mandolin and back-up mandolin. Click on the image to download the pdf.
The backup mandolin stays on the bottom strings. I hardly ever play the e-string in backup stuff. Also the mandolin works closely with the string bass. The bass does the down beat and mandolin, the up beat i.e. Oom-pah - the pah is me, the mandolin player.
The chords are almost always two notes and sometimes three and there is a real art to voicing the notes to fit the melodies.
I've included a Mp3 sound file so you can hear the whole thing. What do you think?
That's awesome. I'll probably be working on this for a while. Thank you.
The mandolin in regular notation is not shown. I got lazy and did not want another staff on the page. Good observation!
The mandolin player who wants to play the upper octave can play that violin part.
Also thought that it may be a good exercise to write out the mandolin part since the TAB is right there. I can post the octave lower part if you'd like.
(And I should write out the whole thing in D....) Another day.
our current fav to play is Bulgar Ala Naftule, though maybe you purists would tell me it's not proper klezmer?... however in this case the lead is clarinet & trumpet with my on my harmonium as rhythm (plus our guitarist). We play it loads faster than any of the youtube versions.
what a tune...
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This is such a great thread! I have the Mel Bay book. I'm looking at this as a guitarist and accompanist. I play with a good mandolin player, and we want to add some klezmer to our routine. Lots here for me to look into!
I just re-read this thread.
The only thing I would add is that to make ANY of the Klezmer - or Russian, Greek, Romanian, Rom, etc. - tunes actually sound like Yiddish music is the use of ornaments, such as the dreydlekh.
Without these essential ornaments the tunes will not sound particularly Jewish. So the real trick in playing Klezmer STYLE is to remember that the tune is not really the tune without the ornamentation.
https://www.homespun.com/shop/produc...klezmer-music/
Andy Statman explains this:
"On this DVD lesson, Andy Statman discusses the background, techniques and stylistic nuances needed to perform klezmer correctly -- regardless of the instrument you play. He teaches several typical melodies, first playing each one slowly and unornamented, then demonstrating how trills, slurs, grace notes, vibrato and other variations "bring out the heart that's inside the melody." You'll learn connecting runs, classic endings, "dangerous" ornaments to avoid, and the rhythmic underpinning of this vital music."
Yes it's on clarinet, but the musical material is so important if you want to play Klezmer music, not just play the tunes in any old style.
Please read this selection about ornaments.
One final comment - it is also possible to over-ornament a tune, sometimes less is more.
Yes, when the situations and/or laws allowed for mixed groups or for bands of various ethnicities to play at the same functions. The musicians definitely swapped repertoire or already knew common material.
What was different was HOW each group played. Only the Klezmer bands used the full range of ornaments that define Yiddish music.
Get Stacy Phillips' book and/or the Streets of Gold album by the Klezmorim (or the First Recordings CD on Arhoolie). These will keep you busy for some time. My favorite is A Glezele Vayn, a true compendium of klezmer modes.
The particular sound of any ethnic music is much like an accent in language. It takes a little experience, but after a while one can recognize that the tune is klezmer and not gypsy, Israeli or whatever. And this, you don't get from sheet music. And I strongly recommend not mixing styles until you really can hear the difference.
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