Re: klezmer melodic contours

[Velaires <Velaires...>]

In a message dated 12/4/99 9:55:32 AM, you wrote:

<<My question is: What are the overlapping melodic contours in klezmer?  I
understand the fact the each mode has its own existance based on
idiomatic
melodic lines and motifs (I have yet to read Harold Power's article in
Grove's in its entirety.  have you?).  I'm having trouble locating the
"overlapping melodic contours."  Are "contours" motifs or more like
outlines in the Schenkerian sense, where the structural downbeats of the
melody are connected through passing notes? Do you think you can provide
me with any examples?>>

I don't know if you play an instrument, but I assume you have some 
theoretical knowledge, so I'll speak in music terms.  But I will by-pass 
anything that implies that you've been performing klezmer music.

First off all, the scalar implication of klezmer music is usually harmonic or 
melodic minor, which means a minor chord scale with a non-flatted sixth and a 
non-flatted seventh.  These two elements are stressed heavily.  They give the 
stuff that "Eastern" vibe.  Because they're such dominating harmonic 
components, they are a big trademark in this music.  Call this "recurring 
motive element #1"

Element #2 is the use of the triplet.  Use of the triplet -- quite often but 
by no means always -- usually runs towards adjacent notes.  This is a 
sure-fire way to get the flatted-fifth, natural sixth, and major seventh into 
your minor mode.  The triplet itself (rhythmic-value-wise) is usually an 
eigth or sixteenth note triplet, and is most often at the end or in the 
middle of the phrase.  This would comprise "recurring motive element #2".

With such form-dictated music, it is not hard to see recuurances.

These aren't iron-clad laws, they're just general impressions of things that 
may be considered hallmarks of the style.

Skip Heller

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