Yitzhak Yedid CONTEMPORARY MUSIC COMPOSER
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Jewish Modal Systems
by Dr. Yitzhak Yedid
Jewish Modal Systems
I have explored ways of integrating aspects of two different ancient styles of Jewish music, the one from the east, Sephardi-Mizrahi that is associated with Arabic music, and the one from the west, Ashkenazi that is associated with Western music. I have composed melodies that resemble Piyyutim, and merged modal systems and musical elements of both of these ancient Jewish styles.
The modal system of the Sephardi-Mizrahi (the Middle Eastern Jewish communities) is Maqamat. As mentioned previously, Maqamat have gradually claimed an important place in Piyyutim. From the time after Rabbi Israel Najara, Maqamat have been recognized as the modal system of Piyyutim. In books of Piyyutim the name of the corresponding Maqam of each Piyyut appears next to the title.
The modal system of the Ashkenazim consists of three main modes, as well as a number of combined and compound modes. These modes are identified with the different types of prayers. The first of the three main Ashkenazi modes is Ahavah Rabbah (Abounding Love), (Figure 4.6.). Ahavah Rabbah is associated with the blessing of the Jewish morning prayer. It is considered to be the most Ashkenazi-sounding of all the prayer modes. Its identifying feature is the interval of an augmented second between its second and third degrees. Ahavah Rabbah uses similar pitches to the Hijaz-Nahawand Maqam (Figure 4.9.) but differs greatly in the way it is performed. Ahavah Rabbah has its own vocal articulation patterns characteristic of Hebrew prayers. However, in term of intonation and tone quality, it is normally performed in the context of Western music practice. The Hijaz-Nahawand Maqam is normally performed in the context of Arabic music practice, and pitches often varied (including quarter-tone inflections that depend on the phrasing) and musical ornaments apply. In addition, whereas the fourth degree of Hijaz-Nahawand constitutes a stable note, Ahavah Rabbah strongly favours the third. The second of the three main Ashkenazi modes is Magein Avot (Shield of our Fathers), (Figure 4.7.). Magein Avot was named after a prayer of the Friday evening service, and resembles the minor scale of Western classical music. The third of the three mainAshkenazi modes is Adonai Malach (God Reigns), (Figure 4.8.). Adonai Malach was also named after the prayer of the Friday evening service, and consists of a major scale with a lowered seventh scale degree.
Microtonality |
Jewish Modal Systems | Sephardi-Mizrahi Music | Ashkenazi Music | Piyyutim | Maqam in Jewish Music | Ahavah Rabbah | Magein Avot | Adonai Malach | Jewish Music Traditions | Middle Eastern Jewish Music, Integration of Jewish Music Styles | Jewish Music Modal Systems | Arabic Influences in Jewish Music | Western Influences on Jewish Music | Historical Jewish Music | Jewish Prayer Modes | Vocal Articulation in Hebrew Prayers | Musical Elements of Piyyutim | Cultural Significance of Jewish Music | Hebrew Music Theory, Exploring Jewish Modal Systems in Music | Differences Between Sephardi and Ashkenazi Music | How Maqam Influences Jewish Piyyutim | Understanding Ahavah Rabbah in Jewish Prayer | The Role of Music in Jewish Culture | Characteristics of Ashkenazi Music Modes | Sephardi-Mizrahi Melodies and Modal Systems | Jewish Music and Cultural Identity | Historical Development of Jewish Modal Systems | The Impact of Arabic Music on Jewish Traditions