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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Year of composition
Easy (Grades 1-3)
2 minutes
World 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, Homage for Brass Band (British style), Ave Maria for C Baritone, Euphonium, Trombone & Piano, Sāre Jahāṉ se Acchā - سارے جہاں سے اچھا (Indian Patriotic song) for Voices & School Band/Orchestra, Czardas for solo Trumpet & Concert/Wind Band, O Come All Ye Faithful (Adeste Fideles) for Brass Trio (2 Bb Trumpet & Euphonium/Trombone/TC Tuba, That’s A Plenty for Clarinet Quintet (2 Bb’s, 1 Alto, 1 Bass & 1 Contra Bass in Bb), Frankie & Johnny for Wind Quintet, Frankie & Johnny for Bb Bass Clarinet & Piano, Frankie & Johnny for French Horn & Piano, Tin Roof Blues for Brass Quintet ''Jazz for Just 5 Brass Series'', Für Elise Boogie Woogie for Flute & Piano (Keith Terrett Jazz for Wind Series), Largo (from Concerto in D Major for Lute, RV. 96) for Brass Quintet (Pro-version), Franzosisches Lied: Est-ce Mars? for Saxophone Quintet, O Sole Mio for Flute & Piano, Night Flight to Buenos Aires for Trombone Quartet, Arrival of the Queen of Sheba for String Orchestra, Echo for Brass Octet, Escape to the Phaeacians for Concert/Wind Band, Frankie & Johnny for Vibraphone & Piano, Kanon in D minor, but not that one!, Czardas for Solo Bb Trumpet & Symphony Orchestra, Czardas for Violin & Small Orchestra, Jubilation & Reflections for Concert/Wind Band, Pachelbel's Kanon for Brass Octet (Viennese Edition), Pachelbel’s Kanon for Brass Octet, Three Marches (Popular in Norway) for Brass Quintet & Percussion, Czardas for solo Euphonium & Symphony Orchestra, The Gypsy Balkan Band, March from ’Judas Maccabaeus’ for Flexible Band (School Junior Band Series), A Hornist Goes Ballroom Dancing for French Horn & Piano, Air from the Suite No. 3 in D for Flexible Band with Drum set, He Tadi kaka for Concert/Wind Band, Czardas for Violin & Concert Band , Paddy's Day March for British Brass Band (''If Your'e Irish Come Into The Parlour'' & ''MacNamara's Band''), March from Scipio for String Orchestra, optional KB & Percussion, March from Scipio in Bb for Flexible Band (School Band Series), A Serenade for Trumpet, Cornet or Flugelhorn & Piano, Prelude from the Te Deum for Piccolo Trumpet in A & Organ (Pro-version), Down by the Salley Gardens(Orchestra), 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 Sextet, Elegy Sentimentale for Symphony Orchestra Opus 1, 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, Islands & Mountains for Concert Band, All Through The Night for Brass Quartet & Snare Drum, It Is My Right for Concert/Wind Band, Heroes of Telemark March (The) for Concert/Wind Band (Keith Terrett Classic March Collection), Smaabarnas nasjonalsang for Brass Quartet, Czardas for Solo Euphonium & Concert Band in C minor, Hebrew Slaves Chorus from Nabucco (''Va, pensiero" ) for String Orchestra, Ancient Dances for Symphony Orchestra, Kviteseid sang for Flexible Band, A Serenade for Trombone, Baritone or Euphonium (BC) & Piano, Hula Bird Song for Concert/Wind Band, Sa To To Ka Lei for Concert Band, Sounds of the Pacific (Tagi Voli) for Concert Band, Tico-Tico no fubá for Oboe, Bassoon & Piano and A Serenade for Vibraphone, Piano & Double Bass

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