Klezmer Workshops & Jams

IOpen to those who are intermediate and above on their instruments.  Registration is $25/sliding scale (whatever you can pay) in cash or check, at-the-door only, for participants. Listeners and dancers are welcome too; a donation requested. Light snacks are provided. 

To help our planning, please RSVP to [email protected] and include date/location of session, your name, county where you live, your instrument, and any questions.  

We add attendees to our workshops & jams mailing list for relevant notices. If you cannot attend but want to join this limited mailing list, please write to [email protected]

Bring a recording device or a music stand if you want. Brass players should bring a mute.

For general information, please read About (below). 

For information about playing klezmer music in general and specific instruments, see Klezmer Style (separate page).

While we recommend learning and playing by ear, session leaders may make sheet music and/or recordings available in our Tune Archive. This Archive also includes popular klezmer tunes at full speed and at half-speed, to make learning by ear as convenient as possible.


Sunday, August 18, 3:30-6:30pm, with special guest teacher Yoshie Fruchter (from New York)
Kehilla Community Synagogue, 1300 Grand Ave. (at Fairview, just S of Oakland Ave.), Piedmont

DOWNTOWN KLEZ KOOPERATIVE: While we study and experience the amazing history and heritage that we have in klezmer, Jewish music and culture, this ensemble is an opportunity to begin writing the future. With Tzadik recording artist Yoshie Fruchter, we will explore some new compositional directions that have been taken in Jewish music by risk takers, boundary crashers, and adventurers like John Zorn, Frank London, Uri Caine, and Marc Ribot. This ensemble will try its hand at using some of the traditional themes and nuances of Jewish folk music and incorporating whatever new elements we can come up with, including but not limited to rock, jazz, metal and the avant-garde. Join us as we run Yidl's Fidl through a sonic blender!

Yoshie Fruchter is a guitar, bass, oud player and composer whose band, Pitom (Tzadik Records) has received critical acclaim from Jazz Times magazine, The Wall Street Journal, Guitar Player Magazine and many more. The unique blend of rock, jazz, experimental and Jewish styles in his playing and composing is a defining characteristic of his music. He has toured the U.S. and Europe with Pitom and other groups, playing the Atlantique Jazz Festival in France, the Krakow Jewish Culture Festival, Sarajevo Jazz Festival and others. Following the Pitom releases, Fruchter put together a supergroup called Schizophonia and recorded an album of post-rock arrangements of cantorial recordings inspired by his grandfather, a Rabbi and Chazan. His latest project, Sandcatchers, with a frontline of oud and lap steel guitar, explores the sounds of the Middle East combined with the American South.  They released their debut on Chant records in 2017 with special guest cellist Erik Friedlander and are currently at work on their sophomore recording.Yoshie is also a sought-after freelance musician in New York City in bands ranging in style from acoustic world music to noise rock and has performed with John Zorn, Cyro Baptista, and Frank London, among many others.

Sunday, September 8, 12:30-3:30pm, Jewish Community Library, SF, teacher Cookie Segelstein

Sunday, September 22, 2-5pm, Chochmat HaLev, Berkeley, teacher Jeanette Lewicki

Sunday, October 27, 12noon - 3pm, Private home, Palo Alto, teacher Rob Reich

Sunday, November 10, 2-5pm, St. Albans Episcopal Church, Albany, teacher Dan Cantrell


Sunday, June 23, 2019, 3:30-6:30pm, with Cookie Segelstein and special guest co-teacher Stefan Puchalski (from Poland)
Kehilla Community Synagogue, 1300 Grand Ave. (at Fairview, just S of Oakland Ave.), Piedmont

Obereks, Mazurkas, and Polkas, Oh My!Klezmer music has elements of many national and regional styles and klezmer musicians had to be able to play in the styles of their customers, both Jewish and non-Jewish. We will examine some Polish folk tunes and compare Jewish and Polish styles of playing them.

After 50 years of obsession with instrumental music and musical instruments, Stefan Puchalski has developed a wide-ranging, highly idiosyncratic knowledge of theoretical and practical music-making. After early (and short) theoretical studies he dove into the ongoing traditional music revival in the western U.S., exploring dance music of various and randomly-chosen cultures, including the music of his heritage, Polish instrumental folk music. In 1986, he released a limited recording of the Sowa family, a family of musicians from Rzeszow. He also builds the bowed, plucked, struck, and wheel-driven, stringed instruments typical of the styles and locales in which he’s worked, and repairs and restores all kinds of instruments. Stefan and his wife live in Egg, Switzerland. Stefan was one of the sources for Veretski Pass' project, "Poyln: A Gilgul."

Cookie Segelstein received her Masters degree in Viola from The Yale School of Music in 1984.She is the founder and director of Veretski Pass, a founding member of The Youngers of Zion with Henry Sapoznik, and plays in Budowitz. She has also performed with Kapelye, Klezmer Conservatory Band, and The Klezmatics. She presents lecture demonstrations and workshops on klezmer fiddling all over the world, including Living Traditions’ KlezKamp, KlezCalifornia Yiddish Culture Festivals, KlezKanada, Klezfest London,Yale University, University of Wisconsin in Madison, Albuquerque Academy, University of Oregon in Eugene, Pacific University, Marshall University, and University of Illinois-Urbana Champaign. She has been on many recordings with mostly wonderful musicians, and lives in Berkeley, California with her husband Josh Horowitz, a dog and her occasionally visiting adult children.

Sunday, May 19, 2019, 12:30-3:30pm, with Rob Reich
Jewish Community Library1835 Ellis St. (near Pierce St.), San Francisco

TELLING A STORY: BRINGING KLEZMER TO LIFE THROUGH CREATIVE ARRANGEMENT: Every klezmer melody has its own particular character, and it's our job as musicians to bring these characters to life with our instruments. We can do this on the small scale, through our expressive playing. But the larger "story" of the tune comes to life through our arrangement and structure of a tune. In this class, we will examine various methods for arranging and orchestrating a klezmer tune, discovering how a creative arrangement can help tell the tune's story.

Multi-instrumentalist and composer Rob Reich has been performing and teaching in the Bay Area for nearly two decades. Reich started on piano at age three. He graduated with a degree in Music Composition from Oberlin Conservatory of Music and subsequently moved to the Bay Area, where he discovered the accordion, now his primary instrument. Reich has played in many Bay Area klezmer groups, as well as deep forays into traditional jazz and circus music. He has taught workshops at Django in June, Accordion Apocalypse, and the Brooklyn Accordion Club.

Sunday, May 19, 2019, afternoon, 2-5pm, with Dan Cantrell
Private home, Sebastopol, Sonoma County

MUSIC OF THE CROSSROADS: The intersection of village music, Romany roots, and Sephardic sounds in klezmer music. Through playing and comparing sections of klezmer songs, folk dance music, and Romany tunes, we will explore commonalities in the beautiful musical tapestry woven across Europe and the Mediterranean.

Dan Cantrell is an Emmy award winning composer and multi-instrumentalist known for his innovative film scoring approach, and his virtuosic abilities on the accordion, piano and musical saw. His orchestral music was recently featured by the Oakland Symphony, and his chamber music was performed at San Francisco’s Yerba Buena Center for the Arts, and in Washington DC’s Kennedy Center. Dan also recently composed a suite of choral music performed by the Oakland interfaith Gospel Choir as part of their yearly concert series. Dan received the Gerbode grant to create “The Rootabaga Opera” as well as the MAP grant to create “Musical Fortunes,” informed by Klezmer and Romani music, and performed by Kitka Women’s vocal ensemble. More about him at bellowhead.com.

Sunday, May 5, 2019, 2-5pm, with Joshua Horowitz
UC Santa Cruz Hillel222 Cardiff Pl, Santa Cruz

THE ART OF IMPROVISATION MADE EASY!: Josh Horowitz will provide an easy way through the core genres of klezmer music, beginning with the kale bazetsn and doina (both are pieces to make the bride cry), joining it to a lilting hora, a jumping freylekhs, and a hopping bulgar. The emphasis will be on fine-tuning how to play in the klezmer style, so Josh will feed simple and easy ideas to each person as we go along, making the suite more and more exciting. These sessions are fun and creative. All intermediate and advanced players welcome, young and old.                      

Sunday, April 14, 2019, 3:30-6:30pm, with Josh Horowitz
Kehilla Community Synagogue, 1300 Grand Ave. (at Fairview, S of Oakland Ave.), Piedmont

THE GRIZZLY BEAR KLEZMER BAND: For the first time we will learn new klezmer tunes and traditional style as a whole group. Participants will be sent sheet music beforehand to learn as much as they can ahead of time. We’ll learn a short doina (slow intro), a lilting hora, a jumping freylekhs, and a hopping bulgar, then put it together into a whole suite. The emphasis will be on fine-tuning how to play in a klezmer orchestra, so Josh will feed simple and easy ideas to each person as we go along, making the suite more and more exciting. These sessions are fun, exciting and creative and will probably burst with energy. 

Sunday, March 31, 2019, 3:30-6:30pm, with Jeanette Lewicki 
Kehilla Community Synagogue, 1300 Grand Ave. (at Fairview, S of Oakland Ave.), Piedmont

CHASING THE CHANGES Session II: How can you jump in on a klezmer jam session? What do you do when you're not playing melody? What if you forgot the tune? Based on the popularity of her last workshop on klezmer harmony, Jeanette offers more tips on how to hear chord changes coming, make an educated guess what they will be, reinforce melody, and keep up with other musicians even if you've never heard the tune before. We'll look at typical rhythm/harmony patterns, explore possible variations, consider a bit of klezmer music theory, and as a bonus expand our repertoire for the upcoming wedding season. This class will combine ear training and written music, suitable for players of any age at an intermediate level or above. If you came to Jeanette's last workshop on harmony, rest assured we'll cover new material. If you didn't, don't worry, this is a freestanding class with no prerequisite other than love for the music, and an ability to listen.

Sunday February 24, 2019, 12:30-3:30pm,
Klezmer Workshop with Cookie Segelstein 
Jewish Community Library1835 Ellis St. (near Pierce St.), San Francisco
MIXED GRILL SPECIAL: Polish, Ukrainian, Turkish, Moldavian music all in one set? How about in one tune? In this workshop, we combine co-territorial music the way it was done by traditional klezmer musicians, to facilitate wedding dances. This is both a reading and by ear class, with concentration on merging traditional styles of music throughout and beyond the Pale of Settlement. Class material will be emailed with advance sign-up!

Sunday, December 9, 2018, 3:30-6:30 pm
KlezCalifornia Klezmer Workshop, with Cookie Segelstein
Kehilla Community Synagogue, 1300 Grand Ave. (at Fairview, S of Oakland Ave.), Piedmont

Whether or not you are in a band, the skills we need to play with other people enrich our musical experience. This class is for any instrumentalist who is intermediate level (on your instrument), or ensembles that come together. We will cover on the spot arrangement, and dealing with musical emergencies on the band stand. I will provide music at least four weeks before the date that must be learned ahead of time by ear, and we will “field test” common issues and breakdowns. It’s fun, like learning to put out Freygish Fires, Mishebeyrakh Mass wrecks with Minor miracles.

Sunday, November 11, 2018, 3:30-6:30 pm
Chasing the Changes, with Jeanette Lewicki
Kehilla Community Synagogue, 1300 Grand Ave. (
at Fairview, S of Oakland Ave.), Piedmont
More info

Each klezmer mode has some typical chord progressions that usually "work." We'll explore chord changes for the klezmer modes called freygish and misheberakh. How can you hear chord changes coming and make an educated guess about what they will be? Does every tune have just one set of "right" changes or are there alternatives? Who decides? How do we solve disagreements? We'll also survey some klezmer forms and rhythm patterns, see how the chords support the melody, and learn ways to switch between melody and rhythm. People who "usually" play melody will get more comfortable with the underlying structure of the tune, and rhythm players will learn to support and join in melodies. Everybody will get more comfortable playing by ear and feel more ready to jump into a jam session, march around on the dance floor, or tackle new tunes.

This will be primarily an "ear" class. That is, we will be playing by ear, listening to tunes, and trying to catch the chord changes. We will analyze some written music, and you will go home with some written music as well. If you'd like to break free from little dots on a page...if you're not sure how to jump in and out of the tune...if you want to keep up with the changes...this may be the class for you!

Sunday, October 21, 2018, 1-4 pm
Cracking The Code: The Fun Way to Practice, with Josh Horowitz
Congregation Sha’ar Zahav, 290 Dolores (at 16th St.), San Francisco

If you’ve ever wondered how your favorite musicians got really good at what they do, the answer is: Creative and Fun Practicing. Yes, Practicing can be as creative and exciting as playing polished versions of tunes!
This workshop deals with super creative ways to develop skills that emerge directly from the tunes you’re playing, so the application is already there. Forget Scales and Arpeggios (unless they occur in the tunes you're playing of course). Each tune presents its own set of characteristics that can be spun into exercises that not only solve technical problems, but can also be used within the tunes right away. The main thing Josh will show is how to develop your own practicing tools that can be applied in each circumstance you encounter, including:
1. Creating patterns and sequences that come from the melodies you are playing
2. Isolating fragments that repeat in the tune and spinning them round and round
3. Strategizing how to navigate the most difficult parts of the piece
4. Developing emergency exits from parts of the tune where you might stumble
And much, much more. This may be the most useful workshop you’ll ever attend, with dividends paid out for years to come.

Sunday, June 3, 2018, 3:45-6:45 pm
The Nign: A Subway to Paradise, with Jeanette Lewicki
Kehilla Community Synagogue, 1300 Grand Ave. (
at Fairview, S of Oakland Ave.), Piedmont

FOR SINGERS AND INSTRUMENTALISTS! What is a nign? A catchy tune? A mystical formula? The source of klezmer music? What are nigunim? Songs without words—music without instruments—a subway system of the heart? We can ask these questions and more while learning to sing and play nigunim collected by folklorist Ruth Rubin in 1948. We will be working with the newly-released Ruth Rubin collection, now available through YIVO's online archive. Jeanette participated in digitizing these files and feels they represent some of the most beautiful Yiddish recordings she's ever heard. We’ll look at deceptively simple written transcriptions, and consider elements like ornamentation, phrasing, and tone that are easy to hear but awkward to write. This class will combine music-reading & ear-training; singers and players; sacred song & circus music. We’ll answer questions, question answers, and learn a spiritual drinking song. “In the next world, will there be vodka?” 

Sunday, May 6, 
2018, 3:45-6:45 pm
The Sheet Music is Lying: How to Interpret Written Klezmer, with Dmitri Gaskin
Kehilla Community Synagogue, 1300 Grand Ave. (at Fairview, S of Oakland Ave.), Piedmont

We've heard that using sheet music for klezmer is sacrilegious (sinful, disrespectful). But can it be done? This class will explore the ways that written klezmer sheet music can be misleading, and provide advice for what to do when faced with a piece of music that's written down (hint: we can do more than putting it in the recycling!).

Sunday, April 15, 2018, 1-4 pm Klezmer Dance Band: Adding the Lift to Klezmer Dance Tunes, with Cookie Segelstein
Jewish Community Library1835 Ellis St. (near Pierce St.), San Francisco

Playing in a band for a klezmer dance party is a fun collaboration between dance leader, dancers and musicians. Yet it’s rare when dancers, leader and musicians seem in sync. We will cover the main dance rhythms, and explore rhythmic techniques to put the necessary lift in the music to facilitate a lively dance party. Also: how to put together a medley, when to change rhythms, when to end the set, and developing signals between band leader and dance leader.

Sunday, March 4, 2018, 2-5 pm
Klezmer Kalisthenics, with Josh Horowitz
Urban Adamah, 1151 Sixth St. (at Harrison, N of Gilman St.), Berkeley

“Speed-learn" klezmer music: Josh’s new teaching method promises to open your eyes to a completely different way to approach learning a tune. By the end of the session, students will not only play, but also understand and improvise in the traditional style. Money-back guarantee anyone who got in for free.


We invite on any instrument to participate in our three-hour workshops — klezmer background not required — as well as people who want to dance or simply listen and enjoy. Participants of all ages are welcome! You should be at least intermediate level on any acoustic instrument. No klezmer experience needed, but it doesn't hurt! Participants may come for all or just part of each workshop. Audio recording devices encouraged!

  • The first two hours are a Klezmer Instrumental Workshop, with a skilled leader. This might include learning tunes by ear at a slow pace, learning with charts (at the instructor’s discretion), and getting familiar with klezmer techniques. Workshop leaders include Dmitri Gaskin, Joshua Horowitz, Jeanette Lewicki, Dave Rosenfeld, and Cookie Segelstein.
  • The final hour might have a special theme chosen by the teacher (announced in advance in the KlezCalifornia newsletter and emails to those on the workshops & jams list), such as the art of klezmer accompaniment, klezmer theory, group nigunim singing, klezmer improv for dummies, speed learning, how to practice, or a kIezmer jam session.
A musical jam is a gathering of musicians to learn tunes while they are played and to experience playing with other musicians. We provide a leader to guide the choice of tunes and tempos, keep the musicians together, and move on to another tune when ready. Once the session is moving along, other players can suggest tunes that they would like to play. Players of developing ability generally play along quietly until they gain more confidence. Ideally a jam session is a “safe,” comfortable, and fun way to exchange music, broaden the repertoire and stylistic skills of all participants, and meet fellow musicians. Jam participants might also suggest or present songs with Yiddish lyrics, adding singing and Yiddish language to the experience. Some participants might dance, reflecting the original context of klezmer music as Jewish wedding music.