In response to many requests for a simplified version of his highly acclaimed Klezmer Collection, Stacy Phillips has compiled a selection of pieces for beginning instrumentalists from that classic book. Klezmer music originally came from the Jewish ghettoes of Eastern Europe of the 19th and early 20th Centuries. the style reflects its mix of heritages from Europe, Near East and Gypsy. These arrangements are based on some of the earliest classic recordings in Europe and America. As such, they are a great introduction to this music which is now a world-wide phenomenon. Each number is arranged for C, Bb, Eb and bass clef instruments. Brass, reed, piano, flute, and string players can receive instant gratification from these entry level arrangements. the accompanying CD demonstrates ensemble versions of all the music, performed at slow tempos, by world class Klezmer artists on clarinet, violin, guitar and bass.

Another great addition to the Avrahm Galper Clarinet Series, here Avrahm presents 42 fantastic Klezmer tunes to add to your repertoire. All arranged for clarinet and B-Flat instruments in easy to read notation, all on single pages to avoid awkward page turns. Intermediate in difficulty.

A collection of 120 melodies meticulously transcribed from recordings by the masters of the klezmer style, including Dave Tarras, Naftule Brandwine, Abe Schwartz and many more. Written in standard notation for C instruments, this book includes chordal accompaniment, program notes for each piece, and interviews with master klezmer musician Andy Statman and ethnomusicologist Dr. Walter Zev Feldman.

Originally published in hardcover in 2002.

Vahid Matejko's Klezmer Play-Alongs for Clarinet is perfect for the player who wishes to study Klezmer music more intensively. The book covers the complete emotional spectrum of the Klezmer style, and it will be a pleasure for all clarinetists to get more familiar with the nuances of this unique musical language. Where some passages appear technically challenging due to the high octave range, the composer recommends that performers feel free to transpose and play those passages one octave lower precisely as an "authentic" player might. The chord changes shown above the engraving can be played as an accompaniment by pianists, keyboardists, accordionists, or guitarists, and the included play-along CD gives you ready access to your own Klezmer band. Also available for violin (00-20138US)

Shpil offers an expansive history of klezmer, from its medieval origins through the present era. Individual chapters concentrate on the most common instruments found in a typical klezmer ensemble: violin, clarinet, accordion, bass, percussion, and even voice. Contributors incl...

Klezmer: Music, History, and Memory is the first comprehensive study of the musical structure and social history of klezmer music, the music of the Jewish musicians' guild of Eastern Europe. Emerging in 16th century Prague, the klezmer became a central cultural feature of the largest transnational Jewish community of modern times - the Ashkenazim of Eastern Europe. Much of the musical and choreographic history of the Ashkenazim is embedded in the klezmer repertoire, which functioned as a kind of non-verbal communal memory. The complex of speech, dance, and musical gesture is deeply rooted in Jewish expressive culture, and reached its highest development in Eastern Europe. Klezmer: Music, History, and Memory reveals the artistic transformations of the liturgy of the Ashkenazic synagogue in klezmer wedding melodies, and presents the most extended study available in any language of the relationship of Jewish dance to the rich and varied klezmer music of Eastern Europe. Author Walter Zev Feldman expertly examines the major written sources--principally in Russian, Yiddish, Hebrew, and Romanian--from the 16th to the 20th centuries. He draws upon the foundational notated collections of the late Tsarist and early Soviet periods, as well as rare cantorial and klezmer manuscripts from the late 18th to the early 20th centuries. He has conducted interviews with authoritative European-born klezmorim over a period of more than thirty years, in America, Europe, and Israel. Thus, his analysis reveals both the musical and cultural systems underlying the klezmer music of Eastern Europe.