Re: ¿origins of klezmer tonality?

[Solidarity Foundation <svzandt...>]

Sehr geehrter Herr Horowitz!!!!

Thanks for your VERY interesting posting on some of the less understood
aspects of the Ashkenazic modal system. I presume to do no more than
summarize the ground covered: distinction between true melodic modes
(shteyger) and scales OF the modes; sub-modal variants of the modes;
melodic and harmonic interrelationships of various modes, in other words,
how one mode can go into another; and, in general, the fact that klezmer
and chazones-theory has one foot in the maqam (melodic) systems and the
other in Western harmony. I would only point out two practical corollaries:
One -- in traditional klezmer style, chord changes tend to be fewer and
farther between than in western music; it has been pointed out that too
closely underlining the melodic line with chord changes seems to drain
energy from the melodic line. Two - on the other hand, chord changes in the
right place can be astonishingly beautiful, and as dictated by the logic
of the modes they result in a harmonic system that is quite different
from the western. Again, I know you know this, but I thought it might be
of interest to others on the list less familiar with this branch of
Jewish music.
Itzik-Leyb