Klezmer clarinet is the clarinet playing style central to klezmer music originating in Eastern European Jewish communities between the 15th and 20th centuries. It is defined by modes such as Freygish/Ahava Rabba, expressive ornamentation like krekht, bends, slides, and trills, and a vocal, speech-like tone heard in players such as Naftule Brandwein and Dave Tarras.

What is Klezmer Music? Origins, Places, and Cultural Context

Klezmer music is the traditional instrumental music of Ashkenazi Jewish communities from regions including Poland, Ukraine, Belarus, Lithuania, and Moldova. The word comes from the Hebrew roots “kley” (vessel) and “zemer” (song). Historically, klezmorim were professional musicians who played for weddings, community celebrations, and religiously linked festive events.

Early klezmer ensembles in the 16th to 18th centuries centered on violin, tsimbl (hammered dulcimer), and sometimes flute. The music imitated the inflections of cantorial singing and Yiddish speech. Melodies often followed synagogue modes and liturgical chants, but the performance context was secular: processions, dances, and ritual moments within Jewish weddings.

By the 19th century, klezmer bands expanded in urban centers like Warsaw, Lviv, and Odessa. Brass, clarinet, and later accordion joined the core string instruments. Musicians absorbed surrounding folk styles from Ukrainian, Romanian, and Roma bands, creating a hybrid sound. This mix of Jewish modes with regional dance rhythms is the sonic world where the clarinet eventually flourished.

Klezmer clarinet grew as musicians sought an instrument that could cry, laugh, and wail like the human voice. The clarinet could slide between notes, bend pitch, and produce sob-like ornaments. That vocal quality matched the emotional range of Yiddish song and liturgical chant, making the clarinet a natural successor to the lead violin in many ensembles.

In North America, klezmer music traveled with Jewish immigrants arriving in New York and other cities around 1880 to 1924. Recordings on labels like Victor and Columbia captured clarinet-led klezmer bands for the first time. These 78 rpm discs documented a living tradition and shaped how later generations understood klezmer clarinet style.

Timeline: Key Dates and the Clarinet's Rise (15th-20th centuries + 1970s revival)

From the 15th to 17th centuries, written references to Jewish wedding musicians appear in Polish and Ukrainian records, but clarinets did not yet exist in their modern form. Klezmer bands relied on violin, tsimbl, and local folk instruments, already imitating synagogue chant and Yiddish song contours.

By the late 18th and early 19th centuries, early clarinets and chalumeau-type instruments began to appear in Eastern and Central Europe. As clarinet design improved, especially with the 13-key and later Boehm-system instruments, klezmorim gradually adopted the clarinet for its range and expressive capacity.

In the mid to late 19th century, the clarinet rose to prominence in urban klezmer bands in cities like Odessa, Czernowitz, and Warsaw. Written accounts and early notations show clarinet sharing or taking over the lead melodic role from violin, especially in Romanian-influenced dance forms like sirba and bulgar.

Between roughly 1905 and 1930, the golden age of early klezmer recording unfolded in the United States. Clarinetists such as Naftule Brandwein and Dave Tarras recorded dozens of sides that defined the sound of klezmer clarinet: fast ornamentation, soulful krekhts, and flexible pitch within modal frameworks.

After World War II, klezmer performance declined in mainstream Jewish life, with many musicians shifting toward American popular music. By the 1960s, only a handful of traditional clarinetists like Dave Tarras were still active, and the style risked fading from common practice.

From the 1970s onward, a klezmer revival emerged in the United States, Israel, and Europe. Groups like the Klezmer Conservatory Band, the Klezmatics, and Brave Old World studied archival recordings and revived clarinet-centered klezmer. Clarinetists such as Giora Feidman, Andy Statman, and Michael Winograd helped reestablish the instrument as a central voice in contemporary klezmer.

Signature Modes and Theory: Freygish / Ahava Rabba and Related Scales

The core sound of klezmer clarinet comes from its modal language. The most iconic mode is often called Freygish in Yiddish or Ahava Rabba in synagogue contexts. On C, this mode is spelled: C, Db, E, F, G, Ab, Bb, C. It resembles a Phrygian dominant scale with a raised third.

Compared with a classical harmonic minor scale, Freygish has a lowered second and a raised third. That combination creates strong tension between Db and E, a key expressive interval in klezmer melodies. Clarinetists use that half-step clash for sighs, bends, and ornamental turns that sound distinctly Jewish to many listeners.

To internalize the mode, practice Freygish on several tonics: D Freygish (D, Eb, F#, G, A, Bb, C, D) and G Freygish (G, Ab, B, C, D, Eb, F, G) are especially common on B-flat clarinet. Many classic tunes, including synagogue-derived pieces, use these tonal centers.

Other important klezmer modes include Misheberakh (similar to harmonic minor with characteristic augmented seconds), Ukrainian Dorian (Dorian with a raised fourth), and altered major scales with sharpened or flattened degrees. Each mode carries a distinct emotional color, often tied to specific dance types or ritual functions.

For practical playing, think in terms of characteristic scale fragments rather than full scales. In Freygish, the Db-E-F and E-F-G clusters are especially important. Many klezmer clarinet phrases pivot around these notes, using trills, mordents, and slides to highlight the tension and release built into the mode.

When you practice these modes, sing them first using syllables or Yiddish lyrics if available. Klezmer phrasing grows from vocal inflection. Hearing the half-steps and augmented intervals as sung gestures will help your fingers and embouchure follow more naturally on the clarinet.

Important Klezmer Clarinet Techniques (krekht, trills, bends, slides, slurs)

Klezmer clarinet style depends on a toolkit of ornaments that imitate crying, laughing, and speech. The most iconic is the krekht, a sob-like catch in the sound. A krekht usually occurs on or just before a stressed note, adding a brief, choking fall in pitch and color that resembles a vocal sob.

To produce a basic krekht, finger the target note, then momentarily relax the embouchure and slightly reduce air support while quickly lowering a neighboring key (often a lower auxiliary or side key) to create a tiny downward pitch dip. Immediately re-engage normal support. The effect should be brief, almost like a consonant in speech.

Trills and mordents in klezmer differ from classical execution. They are often faster, more irregular, and tightly connected to the rhythm of the phrase. Clarinetists like Naftule Brandwein use extremely rapid, almost buzzing trills on scale degrees 2 to 3 or 3 to 4 in Freygish, especially around the Db-E-F cluster in C Freygish.

Pitch bends and slides (glissandi) help create the vocal quality of klezmer clarinet. Use a combination of gradual finger motion, half-holing, and embouchure flexibility to move between notes. Unlike a smooth classical glissando, klezmer slides often have a slightly gritty, speech-like character, with micro-pauses or small bumps.

Slurring patterns also differ from classical phrasing. Klezmer lines often connect several notes under one breath with subtle internal accents, then break suddenly with a breathy attack or krekht. Experiment with long slurs across scalar runs, then insert brief, accented tongued notes to mimic Yiddish speech rhythms.

Grace notes and turns are frequent. Add quick lower or upper neighbor notes before main tones, especially on strong beats. In a Freygish melody, a quick Db before E or an Ab before G can add stylistic flavor. Listen closely to recordings to match timing: these ornaments are usually very fast but precisely placed.

Practice Routines and Exercises – From Scales to Ornamentation

Start with a daily modal warmup. Choose one key, such as D Freygish on B-flat clarinet, and play the scale slowly in quarter notes at 60 bpm. Focus on even tone and intonation. Then play the same scale in thirds, broken triads, and short four-note patterns ascending and descending.

Next, add rhythmic patterns that match common klezmer dances. For example, practice your Freygish scale in a 3+3+2 grouping to echo bulgar rhythms, or in a steady 3/8 for freylekhs. Use a metronome and clap or tap the underlying beat while you play to internalize the dance feel.

For ornaments, isolate one technique at a time. Take a single note, such as E in C Freygish, and practice krekhts on it in slow quarter notes. Record yourself to check that each krekht is short, controlled, and returns to a centered tone. Gradually add krekhts into simple two- and three-note motives.

Trill exercises help build speed and clarity. Choose key pairs that appear frequently in klezmer, such as Db-E, E-F, and Ab-G in C Freygish. Start with eight slow alternations per beat at 60 bpm, then increase tempo. Keep fingers close to the keys and maintain steady air so the sound does not break.

For slides and bends, practice moving between notes a step or minor third apart, such as E to F or Db to E. Begin with a clear start and end note, then experiment with different slide speeds and shapes. Aim for a vocal glide rather than a mechanical smear, and keep the air stream constant.

Finally, apply these skills to short melodic phrases. Transcribe two-bar segments from recordings by Naftule Brandwein or Dave Tarras. Write them out, mark where each ornament occurs, and practice slowly with a metronome. Gradually increase tempo until you can match the recording's speed and nuance.

Signature Repertoire and Players (Bei Mir Bistu Shein, Naftule Brandwein, recordings to study)

Several tunes form the core listening and playing repertoire for klezmer clarinet. While “Bei Mir Bistu Shein” became famous as an American swing hit in the 1930s, its roots lie in Yiddish theater and klezmer tradition. Clarinet arrangements of this song often highlight Freygish-inflected phrases and expressive slides.

Naftule Brandwein, active in New York in the 1910s and 1920s, is a foundational figure. His recordings like “Firn di Mekhutonim Aheym” and “Naftule's Bulgar” showcase dazzling ornamentation, wild trills, and a raw, vocal tone. Study his phrasing to understand how he shapes entire lines with krekhts and bends, not just isolated notes.

Dave Tarras offers a contrasting, more restrained model. His playing on tunes such as “Der Heyser Bulgar” and “Sirba Medley” features clean articulation, elegant ornaments, and a smoother tone. Many modern players consider Tarras's style a bridge between old-world klezmer and American clarinet traditions.

In the revival era, Giora Feidman brought klezmer clarinet to concert stages worldwide. His interpretations of traditional nigunim and dance tunes emphasize a deeply vocal, almost cantorial sound. Andy Statman and Michael Winograd represent later generations who combine archival study with contemporary creativity.

When you listen to these players, focus on specific elements: how they approach cadences, where they place krekhts, how they time slides, and how they shape dynamics across a phrase. Transcribing even short licks from Brandwein or Tarras can transform your sense of authentic klezmer clarinet language.

Seek out archival sources from institutions such as YIVO and the Library of Congress, which hold early klezmer recordings and field tapes. These documents capture regional variants from Poland, Ukraine, and Moldova, revealing how different communities shaped their own clarinet styles within the broader klezmer tradition.

Instrument Setup & Maintenance Notes for Klezmer Tone (reeds, mouthpiece, basic upkeep)

Your clarinet setup strongly affects your ability to bend notes, produce krekhts, and sustain a vocal tone. Many klezmer clarinetists prefer a medium to medium-soft reed, typically in the 2.5 to 3 strength range on common reed brands. Slightly softer reeds can make bends and slides easier, especially for players coming from classical setups.

Mouthpiece choice matters as well. A mouthpiece with a moderate tip opening and a facing that allows flexibility without losing control is ideal. Avoid extremely closed classical mouthpieces that lock you into a rigid, centered tone. Test several models and record yourself playing Freygish scales and ornaments to hear which setup responds most naturally.

The bore and bell of the clarinet influence projection and color. Wider bores often produce a broader, more open sound that some klezmer players favor, while narrower bores can offer more focus. Regardless of design, prioritize an instrument that speaks easily in the chalumeau and clarion registers where most klezmer melodies sit.

Daily maintenance supports reliable tone. After each session, swab the bore thoroughly to remove moisture, paying special attention to the upper joint where condensation collects. Wipe the mouthpiece, remove the reed, and store reeds in a ventilated case so they can dry flat and avoid warping.

Rotate at least 3 to 4 reeds, especially if you play frequently. Soak each reed briefly before playing, then let it dry completely afterward. Inspect tips for chips or soft spots that can cause unstable response, especially when attempting delicate ornaments like krekhts and micro-bends.

Use cork grease sparingly on tenon corks to maintain smooth assembly. Periodically check pads for leaks by playing long tones at soft dynamics; if notes gurgle or refuse to speak, a pad or key height may need adjustment. Plan for a professional checkup once a year if you play regularly, or every 18 to 24 months for lighter use.

Troubleshooting Common Performance Problems (intonation, producing a krekht, ornament clarity)

Many clarinetists struggle with intonation in Freygish mode. The lowered second and raised third can feel unstable. Use a tuner to map where Db and E sit in C Freygish, then practice slow scales while watching the display. Aim for consistent intonation first, then add expressive micro-bends without losing the basic pitch center.

If your krekhts sound like uncontrolled squeaks, the issue is usually embouchure tension or air support. Practice krekhts at very soft dynamics, focusing on a tiny, controlled dip in pitch. Think of saying a brief “uh” in the sound rather than collapsing the entire embouchure. Gradually increase volume while keeping the gesture compact.

Unclear ornamentation often comes from trying to add too many effects at once. Strip a phrase down to its basic notes, then add a single ornament, such as a trill or grace note, and practice with a metronome. Only when that feels secure should you layer in additional krekhts or slides.

Mechanical issues can also interfere with ornaments. A small pad leak near the throat or upper joint can make half-holing and bends unreliable. If certain notes consistently crack or refuse to respond during slides, test them in simple long tones. If the problem persists, consult a technician to check for leaks or misaligned keys.

Reed problems often show up most clearly in klezmer playing because the style relies on flexibility. If bends feel stiff or the sound dies during soft krekhts, try a slightly softer reed or adjust the reed's position on the mouthpiece. Even a fraction of a millimeter shift can change response and ease of inflection.

Rhythmic instability in dance tunes like horas or bulgars can undermine otherwise good ornamentation. Practice with a metronome set to the main beats and count subdivisions aloud. Record yourself playing a simple freylekhs at a moderate tempo, then listen back to check if ornaments line up with the groove or drag ahead or behind.

Learning Outcomes and Practical Performance Tips (dances, ensemble playing, phrasing)

With focused practice, you can set clear goals for your klezmer clarinet development. Aim to play the Freygish/Ahava Rabba mode fluently in at least three keys, with reliable intonation and a consistent tone. You should be able to sing and then play these modes, linking your inner ear directly to your fingers.

Set a target of performing at least three core ornaments at dance tempos: a controlled krekht, a rapid trill or mordent, and a stylistic slide between neighboring notes. Start by executing each ornament cleanly at 60 bpm, then gradually increase to 100 to 120 bpm, matching typical freylekhs and bulgar speeds.

For dance performance, learn the basic feel of common forms. A hora often has a slow, swaying 3/8 or 3/4 pulse, while a freylekhs typically moves in a lively 2/4. Practice playing simple melodies while walking or lightly stepping the beat to internalize how your clarinet line should support dancers.

In ensemble settings, the clarinet usually leads but must still blend with violin, accordion, and rhythm instruments. Shape phrases so that cadences leave space for drum or bass accents. Use dynamics to cue transitions: grow into climactic repeats, then pull back slightly before a final, ornamented cadence.

Phrasing in klezmer often mirrors Yiddish song. Think in sentences rather than bars. Breathe at natural linguistic breaks, not only at measure lines. Study vocal recordings of cantors and Yiddish singers, then imitate their inflection on the clarinet, adding krekhts and slides where a singer might add sobs or scoops.

Finally, maintain your instrument so it supports your musical goals. A well-regulated clarinet with responsive reeds allows you to focus on expression instead of fighting mechanical issues. With consistent practice and listening, you can bring authentic klezmer color to community gigs, weddings, and personal music-making.

Key Takeaways

• Klezmer clarinet grows from Eastern European Jewish wedding traditions, with the clarinet becoming a lead voice by the late 19th and early 20th centuries.
• Mastering Freygish/Ahava Rabba and related modes is important for authentic klezmer sound, especially the expressive Db-E tension in C Freygish.
• Core ornaments such as krekhts, trills, bends, and slides require targeted slow practice, flexible embouchure, and a responsive reed and mouthpiece setup.
• Listening to and transcribing players like Naftule Brandwein, Dave Tarras, and Giora Feidman provides a living model of phrasing, rhythm, and tone.
• Regular maintenance and thoughtful equipment choices help you produce a vocal, expressive tone suitable for klezmer dances and ensemble playing.

FAQ

What is klezmer clarinet?

Klezmer clarinet is the expressive clarinet style used in klezmer music, the traditional instrumental music of Ashkenazi Jews from Eastern Europe. It features modal scales such as Freygish/Ahava Rabba, vocal-like tone, and ornaments like krekhts, trills, bends, and slides that imitate Yiddish song and cantorial chant.

How do you play a krekht on the clarinet?

To play a krekht, finger the target note and briefly relax your embouchure while slightly reducing air support and momentarily lowering a neighboring key to dip the pitch. The gesture should be very short, like a sob or catch in the voice, returning immediately to a centered tone without cracking.

What is the Freygish (Ahava Rabba) scale and how is it used in klezmer?

The Freygish or Ahava Rabba scale is a mode similar to Phrygian dominant, with a lowered second and raised third. On C it is C, Db, E, F, G, Ab, Bb, C. Klezmer melodies use this mode for its intense half-step tensions and characteristic emotional color, especially in wedding and ritual-associated tunes.

Which clarinetists should I study to learn authentic klezmer style?

Study early 20th century players like Naftule Brandwein and Dave Tarras for foundational style. Then explore revival and contemporary clarinetists such as Giora Feidman, Andy Statman, and Michael Winograd. Transcribing short phrases from their recordings will help you internalize ornaments, rhythm, and phrasing.

How should I set up my clarinet for an authentic klezmer tone?

Use a mouthpiece that offers flexibility and a medium to medium-soft reed, typically around 2.5 to 3 strength, to ease bends and krekhts. Choose a clarinet that responds easily in the chalumeau and clarion registers, maintain it with regular swabbing and yearly checkups, and test setups by playing Freygish scales and ornaments to find a vocal, responsive sound.