Hava Nagila (Let us Rejoice) for Flexible Band

By: Trad
For: Large mixed ensemble
page one of Hava Nagila (Let us Rejoice) for Flexible Band

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Hava Nagila (Let us Rejoice) for Flexible Band

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Composer
Trad
Year of composition
1918
Arranger
Difficulty
Easy (Grades 1-3)
Duration
2 minutes
Genre
World music and Folk music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

Hava Nagila arranged for Flexible Band.

"Hava Nagila" (Let us rejoice) is a Hebrew folk song that has become a staple of band performers at Jewish weddings and Bar/Bat Mitzvahs.

The melody was taken from a Ukrainian folk song from Bukovina. The commonly used text was probably composed by Abraham Zevi (Zvi) Idelsohn in 1918 to celebrate the British victory in Palestine during World War I as well as the Balfour Declaration.

With its sinuous Phrygian Dominant tonality, it makes a great chart with opportunities for improvisation.

Without even knowing it millions of people are acquainted with Abraham Zvi Idelsohn. He is the father of the most emblematic and best known Israeli folksong: "Hava Nagila". This song has long ago crossed the frontier of Israel and entered the world music hall of fame. Hava Nagila was recorded maybe thousands of times by artists of all horizons in countless versions, it became a standard for Jewish and non-Jewish as well.

The melody is based on a Sadigorer hassidic nigun from Bukovina. In 1915, while serving as a bandmaster in the Ottoman army,Idelsohn transcribed the melody and added simple Hebrew lyrics:

In 1918, The Turks were defeated and the British were in Palestine. Idelsohn needed a tune to celebrate the Balfour declaration and the luck or the hazard of life made him choose among all the melodies this particular one. It became an immediate hit, it spread enthusiastically throughout the Jewish settlement and in the next years the song was included in the Jewish repertoire in Europe and in the United States.

With the creation of the State of Israel Hava Nagila became a kind of alternative popular anthem. Danced as an Israeli hora (quick tempo) it is assimilated to the image of the sabra (native of Israel), the builder of a young nation.

From the fifties until now the popularity of Hava Nagila had never failed, from the Barry Sisters to Harry Belafonte, from Afro-Cuban orchestra to Gypsy band, hundreds of artists have added this song to their repertoire .

Hava Nagila is a song of joy, hope and brotherhood, it is catchy and buoyant, from Hassidic Bukovina to disco clubs, LET’S DANCE and thank you, Maestro Abraham Zvi Idelsohn.

Hava Nagila may symbolize the blending of styles, of cultures, of musical genres all over the world. There are hundreds of different version and arrangement of the tune.

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Tico-Tico no fubá for Bb Trumpet, C Trombone & Piano, Ave Maria for C Baritone, Euphonium, Trombone & Piano, Czardas for solo Trumpet & Concert/Wind Band, Tin Roof Blues for Brass Quintet ''Jazz for Just 5 Brass Series'', O Sole Mio for Flute & Piano, Night Flight to Barcelona for Trombone Quartet, Escape to the Phaeacians for Concert/Wind Band, Frankie & Johnny for Vibraphone & Piano, Für Elise Boogie Woogie for Flute & Piano (Keith Terrett Jazz for Wind Series), Czardas for Solo Bb Trumpet & Symphony Orchestra, Czardas for Violin & Small Orchestra, Czardas for solo Euphonium & Symphony Orchestra, A Hornist Goes Ballroom Dancing for French Horn & Piano, Largo (from Concerto in D Major for Lute, RV. 96) for Brass Quintet (Pro-version), Frankie & Johnny for Wind Quintet, Czardas for Violin & Concert Band , March from ’Judas Maccabaeus’ for Flexible Band (School Junior Band Series), Frankie & Johnny for French Horn & Piano, Franzosisches Lied: Est-ce Mars? for Saxophone Quintet, Frankie & Johnny for Bb Bass Clarinet & Piano, Homage for Brass Band (British style), O Come All Ye Faithful (Adeste Fideles) for Brass Trio (2 Bb Trumpet & Euphonium/Trombone/TC Tuba, Prelude from the Te Deum (Eurovision Song Contest Theme) for Piccolo Trumpet in A & Organ (Pro-version), Three Marches for 17 mai for Brass Quintet & Percussion (Norwegian Independence Day), Pachelbel's Kanon for Brass Octet (Viennese Edition), That’s A Plenty for Clarinet Quintet (2 Bb’s, 1 Alto, 1 Bass & 1 Contra Bass in Bb) (Jazz for Just 5 Series), La Danse de Puck for Symphonic Wind Band (Keith Terrett Classic Band Series), That’s A Plenty for Trombone Quintet (Jazz for 5 Series), Norwegian Summer Rain for Jazz Quintet (Tpt, A.Sax, Piano, DB & Drumset), A Serenade for Trumpet, Cornet or Flugelhorn & Piano, Paddy's Day March for British Brass Band (''If Your'e Irish Come Into The Parlour'' & ''MacNamara's Band''), Echo for Brass Octet, Pachelbel’s Kanon for Brass Octet, Kanon in D minor, but not that one!, Kokoda Campaign for Concert /Wind Band (Keith Terrett Classic March Series), Down by the Salley Gardens for Young Symphonic Band, Londonderry Air for Concert/Wind Band, The Gypsy Balkan Band, All Through The Night for Brass Quartet & Snare Drum, Air from the Suite No. 3 in D for small Jazz Combo, It Is My Right for Concert/Wind Band, Smaabarnas nasjonalsang for Brass Quintet, Heroes of Telemark March (The) for Concert/Wind Band (Keith Terrett Classic March Collection), An Old London Town Postcard for Concert/Wind Band, He Tadi kaka for Concert/Wind Band, Czardas for Solo Euphonium & Concert Band in C minor, Elegy Sentimentale for Symphony Orchestra Opus 1, March from Scipio for String Orchestra with optional Keyboard & Percussion, Hebrew Slaves Chorus from Nabucco (''Va, pensiero") for String Orchestra, Ancient Dances for Symphony Orchestra, Kviteseid sang for Brass/Messing Quartet & Percussion, A Serenade for Trombone, Baritone or Euphonium (BC) & Piano, Sa To To Ka Lei for Concert/Wind Band, Hula Bird Song for Concert/Wind Band, Islands & Mountains for Concert Band, Tico-Tico no fubá for Oboe, Bassoon & Piano, March from Scipio in Bb for Flexible Band (School Band Series), Sounds of the Pacific (Tagi Voli) for Concert/Wind Band and A Serenade for Vibraphone, Piano & Double Bass

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