Re: ¿origins of klezmer tonality?

[Cantor Neil & Katie Schwartz <schwartz...>]

>>
>> Also, your concept of using the lowered seventh as a "dominant" is OK,
>>but the chord would be in Major; to use your above example of D Freygish,
>>the "dominant" would be C Major, not c minor.  Isador Freed wrote a book
>>many years ago called "Harmonizing the Jewish Modes" which deals with
>>the very difficult task of harmonizing Ahava Rabba.
>>
>
>I'm not a cantor and I'm not familiar with Isador Freed's book, but I
>think if you listen to just about any klezmer in D Freygish that uses
>the lowered seventh as a dominant, you will hear a c minor, not a C Major.
>This is true in just about every case I can think of, and should not be
>>surprising given that starting a Freygish scale on the minor seventh gives
>you a Mi Sheberach scale, which is, as Cantor Schwartz correctly noted
>>elsewhere in his posting, minor.
>

Maybe this is a difference between Hazzanut and Klezmor.
                                                          Cantor Schwartz