Why Many Traditional Jewish Songs Aren't in Minor Keys

It is often a misconception that the majority of traditional Jewish songs are in minor keys. In reality, a significant number of these songs are actually in major keys. To understand this peculiar tradition, we need to delve into the rich history and unique characteristics of Jewish music.

The Context of Jewish Music in the Early 20th Century

When most Americans think of "Jewish music," they often bring to mind the music popularized in the early 20th century by European Jewish immigrants who came to America in search of better opportunities. Despite the positive undertones of these songs, much of this music reflected the challenging experiences faced by these immigrants, including the tragic events of pogroms and massacres in Europe and the difficulties of starting a new life in the United States.

Musical Theories Behind the Sad Sound of Jewish Music

There is a bit of musical theory that explains why liturgical and older Jewish music often sounds sad to contemporary ears. The modern major "happy" scale is based on the Ionian mode, which has intervals of W-W-H-W-W-W-H. In contrast, older Jewish music is typically based on the Phrygian mode, with intervals of H-W-W-W-H-W-W. Although this mode sounds somewhat melancholic to modern listeners, it is not considered a true minor key. Instead, it is often perceived as a different emotional tone.

Origins of Traditional Jewish Music

also dedicates some space to discuss the origins of very old liturgical Jewish music, which predates the 12-note Greek musical scale and sounds more Middle-Eastern or Indian in character. However, this is not the type of music that most Americans typically associate with Jewish music.

The Modes in Traditional Jewish Music

The most common modes in Jewish music are not precisely comparable to the Greek modes that form the basis of Western music. The three primary modes are Magein Avot, Ahavah Rabbah, and Adonai Malach, each named after the essential prayer for which it is used or the way it is chanted.

Magein Avot Mode: This mode is similar to what we would call "minor." Ahavah Rabbah (A-R) Mode: Known as "freigish" in Yiddish, this mode was popular for wedding music and often associated with joyous celebrations. Although it can sound melancholic, it was not necessarily linked to sadness. Adonai Malach (A-M) Mode: This mode is close to the major key with a flattened seventh note. It could be considered a mixolydian mode based on a major fifth starting tone.

Other modes, such as the selicha and Ukrainian Dorian, have specific uses and unique characteristics. These modes are not simply a collection of tones but are defined by the order in which they are used and the motifs they employ.

Regional Differences in Jewish Music

Music from Eastern Europe is often considered to have a minor quality, particularly the A-R mode, known as "freigish." In contrast, music from Western Europe, especially Sephardic and Ashkenazi traditions, often sounds more major. This regional variation highlights the rich diversity within the tradition of Jewish music.