Re: Masters thesis klez analysis

[HNetsky <HNetsky...>]

In a message dated 1/16/00 10:46:29 PM, horowitz (at) styria(dot)com writes:

<< Problem: You have a trad melody played with jazz harmonies.
Solution: Split up melody and harmony and treat them separately
 >>

Good advice.  I do this in my klezmer harmony presentations with the last 
strain of a Brandwein recording that he calls "Oy Tate S'iz Gut" ("Hit Me 
With That Klezmer Jive, Big Voodoo Daddy," is a translation we could probably 
all agree on) which sits on a minor chord.  The phrase gets a 40's style 
big-band-style harmonization from Sammy Musiker (who uses rhythmic 
punctuation and chromatic and diatonic bass movement) in "Freylekhs, Trad." 
(w. Dave Tarras), and a more Lisztian chromatic treatment from Abe Ellstein 
in "Khassene Tantz," (where the pedal point is preserved).  Contemporary 
Moldavans have their own way of dealing with such passages, as do klezmer 
harmonic innovators like Frank London and Dave Harris.  It's all a matter of 
your own repertoire, and how you feel about applying what you know 
(personally, I'd just as soon sit on the minor chord if I'm playing a 
wedding, but if I have the good fortune (as I have ocaisionally) of jamming 
with Burton Greene, we'll call in Bud Powell and Cecil Taylor for some 
advice.  --Hankus

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