Μέθοδος για Τρίχορδο Mπουζούκι και Μπαγλαμά

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AHMHTPHE I. KOYTHT

DIMTIRISJ. KOUilS

MTOOAOT

TIA TPIXOPAO MIIOYZOYKI KAI MIIAIAAMA METHOD FOR THE THREE STRING BOUZOUKI AND BAGTAMA

@lmJmmou MOYIIKOI

OIKOI

MEPO> NPOTO

PART ONE

Oeolpfo Mouorxrig

Music Theory

H

pouorxfi yp6Qerol Kol 6ro66zeror (6rq oe 6ho rov x6o1ro Kor onorehefrot on6 eQrd 00oW6onpo 6 v6rc9. Au6g efvor

Music is written and read in the same way all over the world, and it consists of seven notes. These are: DO, RE, MI, FA, SOL, IA, SI. These notes are written in five parallel lines which abstain from each other the same distance. These lines make the staff.

NTO.PE.MI.OA.ZOA.AA.ZI.. To Q0o14r6onpo ourd ro ypdQoupe p6oo oe n6vre nopdhhnhes Vpopp6g or ono(eE on6-

xouv foo peto[6 roug. Or ypopp6g our6s onoreho6v ro newdypqppo.

NENTATPAMMO

H H H H H

flp
Tpirn ypoppfi h6yetor T6ropm Vpqppf h6yetor

ll6pmn VpqUpfi h6yeror

MI ZOA ZI PE OA

called called The note which is written on the third line is called The note which is written on the fourth line is called The note which is written on the fifth line is called Thenote which

is written on the first line is

The note which is written on the second line is

MI SOL SI RE

FA

A

MI EON EI PE OA

MI SOL SI RE

FA

Av6peoo onE n6vre ypopp6g undpxouv Kol

Among the five lines, there are also four

r6ooepo 6roor6poro.

spaces.

To [Ipc0ro 8rdornpo h6yuror To Ae6repo 6rdornpo heyeror To Tpiro 6rdornpo h6yuror To T6ropro 6rdornpo heneror

OA AA NTO MI

The The The The

note note note note

which which which which

is written in the first space is

called

is written in the second space is is written in the third space is

called called

is written in the fourth space is

FA

called LA DO MI

OA /\A NTO MI

FA

Erc6S 6HcoS on6 roug rixoug rou nrvrovpdppou undpxouv xor 6hhor 6xor o(6repol Kcu xo-

pnh5tepor. I-ro vo ypdqouFe ouroriE roug rixous xpnolponoro6pe uE Bon0nux6g Vpopp6s xdro xor endvo on6 to nevtdypoppo.

=

DO

order to write these sounds we use the ledger lines above and below the staff.

BELOW THE STAFF THERE ARE

7te

=-

NTO PE MI OA ZON NA ZI NTO PE

== =u

SI

DO RE

ABOVE THE STAFF THERE ARE

-i. g

t2 NA EI NTO PE

ac

DO RE MI FA SOL I.A

ENANCI ANO TO NENTAI-"AMMO EXOYME

EON

MI

Except from the notes of the staff, there-are some other notes which sound sharper (above the staff) or softer (below the stafO. In

KATO ANO TO NENTAI-PAMMO EXOYME

T

I.A

SOL I..A SI DO RE

MI

MI

Eup6ou?tri

Advice

6vo np6xelpo rcTpd6ro rng pouorxriE vo ypor1lsre noll6g 0op6s roug Q06wous ro>v ypotrp6v, 8roornpdrcov xot endvo xor xdror rou nevroypdppou,
In a copy note book of music, please write

t'

or-r6x 6ro8ozere pfo eQnpepf6ir.

the notes of the lines, the notes of the spaces

and the notes above and below the staffstave.

Write them for many times in order to read them quickly as if you read a news-paper.

KNEIAI 6 FNOMON

CLEFS

To xlrer6i vpdQerol ornv opxti xd0e ntvtcr-

The clef fixes the pitch to the lines and spaces of the staff. The clef is written at the beginning of each staff and it gives the name to the note from which it begins. From this note all the other notes obtain their name.

'o.sopllou xor 6fver ro 6vopo oro S06yyo qn6

:r,\.' onofo apxizer An6 out6v rov $06yyo r:Epvouv Kcu ol un6hornor ro 6vopd rouE.

It-o x,),er6f nou xpnoponorofpe Vlo ro lrrouzo['rc Kor rov prnoyhopd ('i qtf undpxouv xot

l;',o

lo

x.her6rq) efvor ro

xlel6i rou EOA.

xlsrSi rou IOA opxiza on6 m 6eurepn \'-Jolipfl rou nlroypdppou Kql n ypoppf ou= i,s"srcl EOA

The clef we use for the bouzouki and the baglama (because there are other ,, )is treble

clef. The clef of SOL begins from the second line of the staff and this line is called G or treble

clef.

VALUES OF NOTES

ASIEZ OOOTTOZHMON Ee er.ro pouorx6 xoppdu 6hor or Q061ryor

6w

In a musical piece all the notes do not have the same duration. Others are longer and others are shorter. We call this duration - val-

6xouv mv i6ro 6r6pxero. Ee 6Moug eivor prxp6rcpn Kol oe 6Moug peyoiOrepn. Tn 6rdpxero qurf mv ovolrdzoupe o€io.

ue.

NINAKAE ME TIE ASIEE TON OOOITOTHMCIN

TABLE WITH THE VALUES OF NOTES.

O16rilnpo

To ol6xlnpo ro

J

half

T5ropro

)

quarter

'Oy6oo

h

eighth

N

sixteenth

)

A6xoro 6xro

/

Tproxoor6 6e6repo

a

N

thirty-second

E$nxoor6 r6ropro

,R

sixty-fourth.

xdvoupe

drogo ro xdvoupe

4 xrvfoerE

The whole note is counted

2 xrvnoerE

The half note is counted

in two beats

1x(vnon

The quarter note is counted

in one beat

in four beats:

proi xfvnon

The eigth note is counted

in half beats

1/4 rnE xfvnqnS

The sixteenth note is counted

in a quarter of beat

To rproxoor6 6e6repo ro xdvoupe 1/8 mE xivnonE

The thirty second note

is counted a

To e(nxoor6 r&opro ro rdvoupe 1/16 ms xivnonE.

One beat is something like this

H pro xfvnon e(vor 6ror = ',

movement: (down and then up)

ro 6y6oo ro xdvoupe ro 66xoro 6xro ro

xdvoupe

t

6nlo6ri xore8ozouUe xot ove8ozoupe

ro n66r Uos nou ornpfzutor om 0r6pvo

10

(

whole note

Mro6

To pro6 ro xdvoupe To

(o

*t

eigh of beat

that is our foot goes down then

up leaning on the heel

PAUSES (Rest sings)

NAYZEIE llo6oerg undpxouv r6oeg 6oes Kol or

as the values of the notes having the same duration with the colrespon-

q€ies

Rests are as many

rcov Q0o1ryoo61rcov xor 6xouv mv i6to 6rdpKelq pe ro ovr(otorxo Q0o1ry6onpo. Trg xpnor-

ding notes. We use them when we don't want another note to be heard on this mea-

ponoro6pe 6rov 06houpe o' our6 to pftpo nou undpxouv, vo pnv oxouotef xoppfo v6tq.

sure.

tl

a

lIo6on

lIo6on

lIo6on

fIo6on

fIo6on

Olonl[6pou

Mroo6

Ter6prou

Oy66ou

Aex. 6rrrou

llo6on Tprox.6eur6pou

[Io6on e$.

ter6Ptou

AIAZTONE> METPO

BAR-LINE / MEASURE

Aroorol\6g h6yovrol ol Kdeeres Vpopu6s nou Bpfoxovror p6oo o' 6vo pouorx6 6pVo. Mftpo h6yetor o x
Bar lines are called the vertical lines that are on the staff of apiece of music. Measure is the equal part which is between two bar lines.

Aroorohf

Bar-line

a double Bar-line that

&o r6hos undpxer 6rnhri 6roorohf nou onlrof-

At the end there

ver 6u rehercirva ro pouolK6 xoppdn.

means the end of the musical piece.

is

11

METPA 'Orov opxfzer 6vo pouorx6 6pyo npcino VpdQoupe ro

r
oxolou0o6v to onpefo oh-

hoicoong edv undpxouv -6ncoE 0o 6o0pe no-

poxdrco- xot 6nerro oxohou0ef 6vq xhdopo nou h6yeror M6rpo ri xp6vog, ri pu0p6g. Merpo 6xoupe nohhd 6ncoE fi C,314, 214, 918, 719, 514 x.?r.n.

414

O opl0pnrris rou xldopotog

Qovepcirvu or n6oo F6pn np6ner vo xopfooupe ro p6tpo KCU o ropovopootrig tnv otfo xd0e p6poug rou p6rpou n.x.

MEASURES In the beginning of a musical piece we first write the key then the alteration signs (accidentals) if these exist-as we will see further down and then follows a fraction that is called measure of time or time signature or rhythm. There are a lot of measures like 4/4 or C 314, 214, 9/8, 7 /8, 514, e.t.c. The numerator of the fraction declares in how many parts we must divide the measure, and the dividor declares the value of each part of the measure, for exampler

, H.

I

a

t

EAAEIIIEE METPO

INCOMPLETE MEASURE

Le 6vo pouorx6 xoppdu nolh6s Qop6g to

In a piece of music the first part is intergated. This measure, is called incomplete. But if we take a look at the end of the musical piece

npcirro F6tpo 6ev efvor ohoxhnpoip6vo, to p6rpo our6 h6yetor eMern6g, edv xotrd(oupe 6prs oro r6ilog tou r6fou pouorxof repoxfou 0o 6o6pe 6n undpxouv t6oor Q06yyot 6oot he(nouv qn6 to npciro p6tpo, <6ote xot to 6uo pozf vo poE xdvouv rnv otfo tou xloqrotos nou efvor pnpootd oro xher6i.

12

a

tll r!

we will notice that there are as many notes as the ones that miss from the first measure so that both of them will give us the value of the fraction that is after the key.

OE>H KAI AP>H

DOWNDBEAT.UPBEAT

Ie 6ho to p6rpo n npcirn xfvnon nou

yfveror

npos rq xdto h6yeror 06on Kol n reheuoio npos to ndvco h6yeror 6pon.

NAPEETITMENA 'Orov oro 6e(rd ev6g QOoyyociripou undpxer pto rchefo ro Q0oyy6onpo h6yetor

noptmly'

In all the measures, the first movement that is made downnards is calld thesis and the last one, upwards is called arsis.

DOTTED When there is a dot note on the right of a note, this note is called dotted.

p6vo Kor n rehe(o ouypri 6roPxeiog. H ouypf 6ropxefoE nopotefver rn 6rdpxelo rou Q0oyyoo6pou xqrd ro pro6 mg npoypouxrig rou o[(og.

The dot lengthens the note's duration at the half of its real value.

'Evo oh6xhnpo nopeonyp6vo eivor ioo pe 6vo oil6rtrnpo ouv 6vo pto6

A dotted whole is equal to a whole plus a

(D.r

o+J

'Evo pro6 nop€ouvp6vo eivor ioo pe 6vo pro6 ouv 6vo r6ropro

J.=

6vo

f.' f'F I

eighth

lt\ )+) ),=

A dotted eighth is equal to an eighth plus a

J.- JI

j--- a L J

F FR o.= a +

A dotted quarter is equal to a quarter plus an

sixteenth h

6y6oo ouv 6vo 66xoto 6xro

'Evq 66xoro 6xro eivor foo pe 6vo 66xoto ouv 6vq rproxoor6 6e6tepo

o.r o+ J A dotted half is equal to a half plus a quarter

J'=J+J

J.=J+J

'Evq tftopro noptouyp6vo eivor foo pe 6vo t6ropro ouv 6vo 6y6oo

J* 'Evo 6y6oo nqpeouyp6vo eivot foo pe

half

6r
a

'Evo rproxoor6 6e6tepo efvo (oo pe 6vo rptoxoor6 6e6repo ouv 6vo e(nxoor6 r6topto

,F

A sixteenth is equal to a sixteenth plus a thirfu-second LYrvvvrrs

F F F j'= i #o is equal to thirty-second plus

A thirty-second a sixty-fourth

13

AINNA IAPEZTIIMENA

DOUBLE DOTTED

'Orqv ro Q0oyy6onpo pnpootd 6xer 6uo onyp6g 6ropxefog h6yeror 619 nopeouyp6vo.'H 6erlrepn orrypri nopotefver ox6po neproo6tepo m 6rdpxelo rou Q0oyy6onpou xord ro pro6 mg npcirng onypfg,
In case that two full stops follow a note, this note is called double dotted. The second full stop prolongs even more the duration of the note, halftime of the first full stop, so that both full stops prolong the duration of the note in 3/4 of its real value.

'Evo ohox),npo 619 nopeonyp6vo efvqr foo pe 6vo oh6xhnpo orjv evo pro6 ouv 6vo t6ropro. I

(O..=(O

ttO r I

I

Or nofoels pe ouvpri 6ropxeiqs exouv mv f6ro

o(fo pe ro ovrfororxo Q0oyyoonpo.

TPIHXA To tpfnxo qnorehefrqr on6 tpefg Q0oWous f6roug ornv o[fo pero(6 rous. Ener6f 6vog on6 ourotig toug $06youE efvor nle6voopo rou xp5vou, rov ouyxoveOoupe orous dhhoug 6uo xor rov xpovo nou xdvoupr vo nof(oupe tq 6uo Q0oyy6onpo, orov i6ro xp6vo,0o nof(oupe xor ro tpfo.

14

A double dotted whole note is equal to

a

whole note plus a half note plus a quarter of

note

(o)..=(o+o

I

+,

Rest Signs with a full stop have the same val-

ue with the corresponding notes

TRIPLETS Triplet is a group of three notes equal in value. The one of them is being a surplus of tme so we merge it with the other two. So, the time we need to play the two notes, is the same for playing the three notes.

WHOLE TONE (or step) SEMITONE (or half step)

TONO> HMITONIO

from one

Hprr6vro h6yetor n prxp,5tepn 6uvorn ono-

Tone

otoon peto$i 6uo S0olryooripov nou ovope-

note to its neighbor (whole step) between the two notes there is only one sound.

od roug 6ev undpxer ohhn Qr,rn (Q0oWod A6o efvor ro Quorxd nprr6vro ro MI-
is the movement of a melody

Semitone is the least space between two notes. (Between them there isn't another sound). The natural semitones are two: MIFA and SI-DO. These are called BASIC SEMITONES. The tone is double than the semitone (whole steP:1*o half stePs)

ZHMEIA ANNOIOZH>

ACCIDENTALS

Lnpefo ohho(oonE 6xoupe 3 1) Aieon 2)'Yrfteon ri pnep6h 3) Avoipe-

Chromatic alteration not found in the key signature. There are three accidentals in music. 1) ltre sharps 2) The flats (or bemo' le) 3) The naturals The sharp raises the sound a semitone hi-

on. H Ar6on ove8dzer m Qcovf (006wo) xord 6vq npnovro.

H

YQeon

6

pnep6h xote86zer

m Qotvri

gher.

(Q061ryo) xot6 6vo npn6vro.

The flat lowers the sound a semitone lower,

H Avofpeon enovo$6per rnv ohhotcoOefoo

and the natural retums the sound a semitone lower, and the natural returns the alterated sound to its natural sound.

Qrovri (00oWo) orn Quotxf mg xotdoroon.

There

Ar6oerg 6xoupe 7:

YQ6oerg

rfl

There are 7 flats:

pnelr6ll 6xoupe 7:

SI

Ol urf6oels 8]6noupe 6rr eivor to ov6no6o rorv 6r6oeorv. Kor uE 6r6oerE Kol nS uQ6oerg np6ner vo uS pdOoupe Fe m oerp6 nou eivor ypopp6veE yrod 6ror p6vo xpnorpe6ouv 6ncos 0o 6o6pe oto xeQdhoro xlipqKes.

TYXAIA ZHMEIA A/V\OIOEHZ To tuxofo onpefo olllofarong roxOouv p6vo Vro ro p6tpo els To onoio eupfoxovror,6rov 6nhq66 p6oo oe 6vo pouorx6 xopdu ouvovmooupe 6vo onpefo olhofcoons nou 6ev ovfixa orov onholr6 (6ev eivor ypopp6vo pnpoord oro xher6i) r6re our6 e(vor tuxo(o onpefo o?thofcoong, xor rox6a yro 6ho ro Q0oy-

ane 7 sharps:

MI

IA RE

SOL DO FA

The flats are contrary of the sharps. We must learn both, sharps and flats, in the

place where they are written on the staffstave, because in this way only are they useful as we will see later in the chapter of scales (PART FOUR).

ACCIDENTALLY ALTERATION SIGNS The accidentally alteration signs are in force only for the measure in which they exist. That is, when we meet on alteration sign in a piece of music, which sign does n't belongs to the key signature (it isn't written in the front of the key), then this is an accidentally alteration sign which is valid for all the notes that exist in the same measure and have the same name with the alterated note.

y6onpo nou 8pfoxovtol oro f6ro p6rpo xor 6xouv ro f6ro 6vopo Ue rov o?tlorof6vrq $06yyo xor 6tov efvot per6 on6 qur6v. 'Orov p6oo oro i6ro p&po un6pxa ovofpeon, ro Q0o1ry6onpo nou e(vor perd on6 ouulv e-

same measure and have the same name with the alterated note, even when it is after it. When there is a Natural in the same measure,

the notes that are after it, retum to the their natural state.

nov6pxovrol orn Quou
Iro nopondvo

nopd6erypo Bh6noupe II eivor ruxq(o on_

1) Ou oro 6e6tepo p6tpo ro

peio olhoioong. 2) Lto rpfro p6rpo Kol ro 6uo IOA efvor ruxoio onpe(o oMofcoonE 6r6u n 6feon eivor oro np
5) Iro 6rco p6rpo roxrier 6,n xor oro tpfto. To ruxofo onpefo ohhofcoong roxUer oro en6pevo prirpo, 6rov undpxer o6zeu(n 6ropxeiog.

In the example above we have 1) In the second measure, SI has an accidentally alteration sign (flat). 2) In the third measure both two SOL'S have acciddentally alteration signs (sharp) because the sharp is in the front first SOL. 3) In the fourth measure the first LA is natural while the second one is alterated because of the flat sign which is in the front of it. 4) In the fifth measure the first RE is alterated while the seconds is nafural, because there is a natural sign in front of it. 5) In the sixth measure both DO are alterated

The accidentally alteration signs are in force in the next measure when there is a tie between them.

llop66erypo

Example.

O Q05yyos MI tou r6roprou p6rpou nofze-

The note MI of the fourth measure is played

ror olhorop6vog.

alterated as MI

-

16

ENAPMONTOI OOOTTOI

HARMONIOUS NOTES Harmonious notes are two notes that have the

Evopp6uor O06wor tr6yovro 6uo QOfiaror 6tov 6r
same hearing but different name.

n.x.

example:

NTo*fl *o pb b Ml

I

xor

eA

il arrd RE MIfi and FA I

DO

INTERVALS

AIAZTHMATA perotO 66o Q061ryov npos to 6qroE. To 6rootdporo nofpvouv ro 6vo-

Intenral is the difference in pitch between two tones. The intervals take their names from the

p6 toug on6 rov qprep6 trov Q061ryov nou nepr6-

number of the notes that they contain. So we have 2"0,3^, 4tn e.t.c. Interval 2'o is the one that has two continualno-

Ar6ompo efvor n qn6oroon cos

xouv, xor 6xoupe 2* 3* 4* x.h.n. Ar6ornpo 2* h6yaor to 6r6ornpo nou nepr6xer 6uo Q061ryoug ouvex6pwous n.x. NTO PE Ar6ompo 3" h6yeror to 6rdornpo nou nepr6xer rpefg

006wous

3

NTO-PE-MI

006Wous ouvex6pwoug

n.x.

x.?r.n.

tes as DO-RE e.t.c. Interval 3'is the one that has three continual notes as DO RE MI e.t.c.

Eup0ouhf

Advice

'Ooo neproo6tepo 6rq6ozere m Oecopfo t6oo neptoo6repo npoerotpdzeore vlo to 6pyovo.

The more you study the theory of music the more you prepare to play your instrument.

ZYZEYEH 6 ZYZEYEH AIAPKEIAZ

NOTES WITH TIE

H o6zeu$n 6roprefog efvor pro xopn6iln VpoUFf

Tie notes are joined by a curve line

nou ouv66a 6uo 6poro ors npos ro r3rpoE Q0oyty6onpo 6uo xotrovrirv p6rpcov. Me mv ofv6eon outf o 6xog tou npcitou Q0olnloofpou evcivetol pe rov 6e6repo oov vo efvor pro otfo.

that ties together two same notes at their height of the two close measures. By this connection, the sound of the first note becomes one with the second, as if it was one value.

Or 6e6tepor Q061ryor nou efvor evcop6vor pe o6zeu(n 6ropxefos 6ev enovohopB6vowor, ohld nofzovtor 6ep6vol Ue rous npcirtoug.

The second note which is connected by a tie is not repeated, but is played tied with the first one.

>YZEYSH NPOZOAIAZ (AETKATO)

LEGATO LINE

H o6zeu$n npooor6iog eivor pro peydln xo1rn6-

The legato line, is a big curve line

ln ypoppf nou

er,rcirva ov6poro Q0o1ry6onpo neprlopBd.

vovros noMd U6rpo.

E6<6 ro 00oW6onpo nofzovror neproo6tepo vo Kor 6x r
6e1r6-

that connects two dissimilar notes, indifferent not ln sequence, measures.

Notes connected with legato line are played mostlv tied and not beated.

17

ZTAKATO

STACCATO

O opog out6g onperriveror pe tehe(eE ndvco 6 x6tco ono to Q0owoonpo Kol onpofvq6n np6net vo nqlx0ouv xcoptor6, oxe66v oro pro6 mg o(ioE touE, 6nh. to 66rru)r6 FoS Fpr6,to m6nnpo mE xop66g, np6na vo onxroOoriv qy6o
If a note (or some notes) is marked with dots above or below the notes, this means that they have to be played separately, almost in their half value. That is, our fingers after the beat of the strings must come up immediatelY.

QEPMATA 6 KOPONA

/i

To onpefo qut6 to ouvowdpe ouv60
ZHMEIA ENANfu\HVHZ [o onpefo mg enovdinpns ro xpnolyonoro6pe 6-

rov 06houpe vo enovoi68ouge 6vo p6pog 6 6ho to pouorx6 6pvo, xcopfg vo ro ypdtpoupe n6ir. Enpefo enovdilngnE efvot 6uo 6rooroil6g

n Ulo nro $op6r6 on6 mv 6Mn xo oro p6oo p6pos 6uo teheieE. 'Orov 6o6pe out6 to onpefo enovqilop86vouUe ro F6tpo nou efvot p6oo o' out6.

[h6

x6tco 6vo noP66erYPo.

HOLD or FERMATA

This sign is met very often, at the end of each musical piece above of the last note. The hold extends the duration of the note, a little bit more than its real value.

/i

REPETITION SIGNS We use the repetition signs when we want to repeat one part or all the musical piece, without writing, it again. The repetition signs are two vertical

lines: the one is wider than the other, with two dots in the interior. When we see this work, we tepeat all the measures which arebetv,teen the repetition signs. Here is an examPle:

'Orov Qt6ooupe oto t6hog yupfzoupe n6lt xot enovohoyB6vouye ro p6pos nou e(vot xlerop6vo p6oo omv enovdhnPn. 'AMo onpe(g enovdlnrpng efvor rc aflvno $. 6 x6vro

When we reach to the end, we rcpeat the part which is enclosed in the repetition signs. Other repetition signs are the segno$.

Eup6oul\6

Advice

0ecopfo. Aut6 0o oos 6reuxol6vet 6tov 0o rndoeri to pnouzoOxr'

You must study again all the music theory from the beginning. This will help you when you take in

+

No tovq&oBdoere 6hn m

and the Coda

$

your hands the bouzouki.

18

/i

MEPO> AEYTEPON Tootr6po Mnouzouxroti

PARTTWO The finger board

of Bouzouki

TPIXOPAO MNOYZOYKI KAI MNATAAIVIAZ

lu

o

1) Appovrx6 enfne6o 2) Tp6nq oppovrxoU entn66ou 3) Xehcivn

4l Zw6s (Kq8qh6pns) 5) A6pq xop6oordtnE 6) Tfpnovo 7) Aroordlrotq (tdorq) 8) Ke0qh6 xtrer6rd xoP6folrotoE

THREE STRING BOUZOUKI & BAGLAMA 1) Sounding board 2) Sounding hole 3) Guard plate 4) Bridge 5) Tail piece 6) Drum or lide frame 7) Finger board. 8) Head with clefs.

PE

AA PS

\8

tI<'rS xoP6fzerol ro Pnouzo6xr Or 615o npci>teg xop66E xop6fzovror PE Or 615o 8eftepeE xop66s xop6fzovtqr nA Or 6rio tpfteE xop66s xop6fzovtor PE (qh d pro 6y6on xoprnhcirtePo)

Tuning of the Bouzouki

The first two strings are tuned RE The second two strings are tuned LA The third two strings are tuned RE An eighth one is tuned lower.

H EKTAEE ONH: THE TAETIEPA> KAI TA AIAETHMATA (TA>TA)

THE WHO LE FINGER BOARD AND THE TNTERVALS (FRETS)

Or opl0pof pog 6efxvouv ro 6loorfporo (rtioro)

The numbers show the inten als (frets)

). Avorxtf.g xop66g Open strings.

2-

3

+

5

6 1 g I

l0

ll

tL 13 l+ t5 16 t7 tg t9 20 2t L2 23 2+ L5

lPE 2.AA

3PE

J -

J J IJJ

I

,*,2*2

at+

2gcl2:fl: 'Eror yprirfier
writing. 'Erol oxotiyaror Hearing

F;

==

n=

=

f=

3frlr

+

MEPOZ TPITON

PARTTHREE

Mouorr6 E6ornpo

Musical System

TPEMONO

TREMOLO

Tpepoilo h6yetor ro ove8oxore6oopo ms nevvos npos ro xdrco xqr npos ro ndvco. Irnv opxri yfveror pe opyri xpouon rng nevvog l.ls us xop6eE rrou 6o0pn65v enrroxuveror. H n6vvo nprna vo sfvor eufujyrorn xor xporefrol Fr rov ovr(xerpo Kor ;re rov 6efxm rou 6e(rou xsprou. To tpepolo pe rnv n€vvo

Tremolo is the pick down and upwards of the pick. At the beginning it is a slow striking of the pickwith the strings, that eventually becomes quicker. The pick must be flexible and should be held by the thumb and the forefinger t hand. The tremolo with the pick likethis: /vw The strike of the pick dow e this: A The strike of the pick upwards like this: V

onpercirvetor

H

eror

nevvro npos

/W

ro xoro

nevvtO npos IO novc.l

onper
n

.H

T^IETPHMA (O^IEOHMA)

SLIDE

To yl\iorpnpo (ollioOnpo) rolv 6qrc6ilcov rou qprorepor5 xepro6 ro xdvoupe pe 6vo 66rnulo on6 rov

The slide of the left han!'s fingers is done by one finger from the first note to the second one. That is, we beat only the first note and the second one is heard by the slide of the finger. The slide has a line from the first note to the second one as an indication. Example:

npcirto Q06yyo xor o 6e6tepos oKo6verol lre ro yhiorpnpcr rou 6omihou. To yhforpnpo (olfo0npo) 6xer 6v6er(n pro Vpotrpf on6 rov npcirro Q061ryo orov 6e6repo 6n
Eup8ouil6 O oyxrbvos rou oprorepo6 xepro6 vo 6l6ner npog

Advice The left hand's elbow should look downwards.

rq xdr6). Aefypo peprx<6v po0np6rorv ylo rnv e$6ornon rng nSwog Fs ro 6e$f x6pr, Kor yro rnv e$6oxnon ro)v 6orc6?rorv rou oprorepo6 xepro6.

Demonstration of some lessons for the exercise of the pick witlr the right hand, and for dre exercise of the left hand's fingers.

Or opr0poi en6vor on6 roug r[06yyoug eivor ro 66rculo rou oplorepo6 xeprou ror onper
The numbers above the notes are tihe fingers

vornor 6ror:

as:

0 Xop6ri ovorxrri

0 open string I Fore finger 2 Middle finger 3 Ring finger 4 Little finger -

I

Aeirrng

2 M6oog 3 llop6peoog 4 Mrxp6

numbering of the left hand and are marked

z3

Iro

ohoxAnpo xore8ozoupre Kql .qyqqgzoupe ro n66r pog 0op6s o = l![LtlJ tro pre to 6e(f pgg x6pr n n6wq oveBoxoteBoiver pe rp6yoho. pretpcouroE reooeprs

Time 4/4 xp6voE 4/4

pro5 xote66zouut Kol ove6dzoupe ro n66r poE petpcbvnofzovroE pe to 6e(f pog x6pr tp61roroE 6uo 0op6s P{tlt

ho.

I

4/4 d + d - to

Auo puo6 x6vouv 6vq oh6xhnpo

Iro reropro perpdpe xotd rov i6ro rpr6no 1 oopo J Jt ,u,,, to 6e€f pog x6pr nofzet nore tpeprolo, n6re nrwlrs ovdhoyo rnv 6v6sr(n.

J

24

"p

At the half our foot goes up and down counting twice and playing with our right hand tremolo. P

=!tJt

I

ll

pe

o

Adxruho.

Ito

Xp6vog

At the whole note our foot goes up and down counting four while with our right hand the times =J?Itltlt plectrum g*t und down with tremolo

* J=J

Auo t6topto uqs xdvouv 6vo pro6.

J * J = 6r Two halves give a whole'

At the quarter we count in the same way once J.lt ,unil" our right hand plays tremolo or strikes with the plectrum accordingly to the indication.

J* J - J

rwoquartersgiveahalf'

Iro

6y6oo perpdpe pro6 xdto xor prori end-

vo:. To 6e€f Uos x6pr nofuer newr6g.

[1= )

Auo 6y6oo pos xdvouv 6vo r6topto

Auo 66xoro

6xr pos xdvouv

Enop6v
xfvnon

oepo 66xqro 6xro.

J

6vq

Oy6ooJl=)

t t. xdvoupe 16o-

A6o xftco 6t1o en6vo.

At the eights we count half time downwards, halftrne upwards. Our right hand plays with the ptgctrum

[7

=

)

Two eighths give a quarter

Two sixteenths give an eighth n=l Thus with one movement I f we'll make four sixteenths.

Two downwards two upwards.

oE xdva 6uo rproxoord

6vo tproxoot6 6e6repo oro retopro F 'Evog emeheorriE Vlo vo nof[er tptoxoord 6e6repo xor elnxoord t6ropro, np6ner vo nrpdoer opxer6 xpovrx6 6rdornpo,cirore vo 6xer

'-fr

onoxrfloel plo oxeuxri nefpo xor xdnoro rox6-

j =fr

One sixteenth equals two thirty-seconds and one*thirh/ second equals two sixty-fo-

.f E

urths. = After a quite long time you will be capable to play thirty-seconds and sixty-fourths. During all that time you must be training to obtain the relative expeience and speed in playing 32nd and 64th.

tnlo.

Eup6ou?tf

Advice

No pnv npoxcopefre oro en6pevo pdOnpo, edv 6ev p60ere ro nponyo6pevo.

Do not proceed to the next lesson if you have not leamed the previous one.

25

METPATE MIA KINHEH NA KAOE TETAPTO KAI MIA KINHEH TIA TA AYO OTAOA EYMOONA ME THN ENAEI-

3H.

NAYEEIE

REST SrGNS (PAUSE)

llo6on olord[flpou

Whole Rest Sign.

no6on proo6

Half Rest Sign.

no6on rer6prou

Quarter Rest sign.

Eup6ouhri Ilpoo6fte ro pu0p5, 6vo pouorx6 xoprpdn oKouverol Ko-

ld

26

COUNT ONE MOVEMENT FOR EACH QUARTER AND ONE

MOVEMENT FOR THE TWO EIGHTHS ACCORDING TO THE INDICANON.

6rqv perpr6ror xohd.

Advice Notice the rhythm. A piece of music is heard well when it is counted well too!

flo6on oy66ou

Eigth Rest Sign

J T II AdQopeg no6oerg

TIAPEZTITMENA

Various rest signs.

DOTTED NOTES.

Mlo6 nopeonyp6vo

a

rtlttt

Half dotted.

lt

?rreJo-rOTAOO NAPEETITMENO KAI AEKATO EKTO

To nopeonyp6vo 6y6oq nqfzovror ye rpelroho

TPIHXA

Eup0oufui No enrp6vere oro 66oxolo p6pn nou ouvovrdre.

EIGHTH DOTTED AND SIXTEENTH DOTTED The dotted eighths are played with tremolo.

THREE.SOUNDS

Advice Insist on the difficult parts you encounter.

t,

TETAPTO Kl\fpoKrs (Ap6por)

MEPO>

PART FOUR Scales

KNIMAKEE

SCALES

Morz6pe rd\fporeg

Major Scales Major scales have two semitones and five tones. They are formed in the following way: tone, to. ne, semitone, tone, tone, tone, semitone.

Or potz6pe r
nprr6vro, r6vo, r6vo, r6vo, nprr6vro.

Moz6pe rltfpoKo rou NTO H porz6pe xhfpoxo rou NTO l6yetor xor Quorxri

xlfpoxo, yrod oxnporfzeto xr,rpig xov6vq onpeio ohlofoons.

Mou6pe n?rfpoKes Fe 6lSoerg K(rr Fe urfi5oers Me 6lSoerg Me 1 6r6on 2 6r6oerE

, ,3 "4> ,5

"6) "7))

) )

efvor

) > ) ) ) )

n

IOA

nPE

nnA nMI nII

nOA il nNTO fi

pclTzope

) )

Maior scales with sharps and flats With sharps l sharp it is " 2sharps ,,> ,3))>))

With

SOL

maJor

RE

major major major

LA MI

>

)

Eup6oufui Edv to oprorep6 ooE x6pr n6Qrer oro0epd endvo) ong xop66E, r6re our6E 6ev rpfzouv.

Maior scale DO The major scale of DO is also called natural scale because it is formed without any alteration sign.

"5>)))

SI

maJor

FAf,

"7>>>

,ofi

major

,6))))

major

Advice You must press down firmly the string with the fingers of your left hand. So the string do not crackle after striking.

*

Klfpoxo NTO poz6pe (Quoxn r
Klfpoxo EOA poz6pe pe pro 6feon Scale of SOL major with one sharp

Khfpoxo PE poz6pe ye 6uo 6r6oerg Scale of RE major with two sharps

Khfpoxo AA poz6pe pe rpefg 6r6oerE Scale of tA major with three sharps

Kl(poxo MI porz6pe pe 4 6r6oerg Scale of MI major with four sharps

Klfpoxo EI poz6pe pe n6vre

6r6ocrE

Scale of SI major with five sharps

poz6pe pe 6[n 6r6oerg major with six sharps

Klfporo NTO Scale of

30

DO

{

fl

pozOpe pe ern6 6r6oerE major with seven sharps.

ME YOEZEIZ

WITH FLATS

6Qeon efvor n OA , 2u06oers D n EI ,3)DnMI n4DDnAA ,5)DnPE 16 D DnEOA ) ,nNTO "7 Me 1

With 1flat

,

major

"3D

major major

,6D

major major

2 flats

,4) ,5)

maJor

major

"7D Klfpoxo


Klipoxo EI Scale of

h ll.roz6pe ue 6uo uQ6oag SI D major with two flats

Klfpoxo MI Scale of

f

I

lroz6pe pe rpefs

DI

uQ6oerE

MI p major with three flats

I

AA Q polz6pe pe r6ooeprs u06oers Scale of LA h major with four flats

Klfpoxo

I

Khfpoxo PE D lVou6pe pe 5 uQ6oerE Scale of RE pmajor with five flats

Klfpoxo EOA Scale of

I

D

1uiorz6pe

pe 6tn uQ6oers

SOL D major with six flats

Klfporo NTO Scale of DO

31

MINOPE KAIMAKEE

MINOR SCALES

MINOPE KAIMAKA TOY AA

MINOR SCALE OF I.A

H AA Mrv6pe l6yeror xor $uorxri xhfpoxo 6r6n otov onhrop6 6ev undpxer xov6vo onpefo ohlofoong. Mr-

The

v6pe xhfpoxeE undpxow 2 er6
There are two kinds of minor scales: The harmonic and the melodic. The harmonic ones consist of three tones, three semitones and a three-semitone. They ascend in the following sequence: tone, se-

3 nprr6vro xor 6vo rprnprr6vro. Ave8o(vouv xotd 16vo, nprr6vlo, r6vo, r6vo, nprr6vro, tprnpnr6vro. Kqre8ofvouv xord nprr6vro, tprnpnt6vro, nprr6ulo, f6vo, t6vo, npn6vro, rtivo.

IA minor scale is also called natural because in the key signature there isn't any alteration sign.

mitone, tone, tone, semitone, three-semito-

Or pelofrx6E onotelo6vror on6 5 r6woug, xor 6uo

ne.

npnovro. Ave6ofvouv xord r6vo, npn6vro, rrivo,

They descend as semitone, three-semitone, semitone, tone, tone, semitone. The melodic

r6vo, r6vo, r6vo, nprr6vro. Kor xffeBofvouv xord t6vo, r6vo, nprr6vro, vo, r6vo, nprr6vro, r6vo.

16-

Me ng nopondvo oxnpodzoupe Kor uE prv6pe

xlf-

UoKeS 6ncog

oxnpodoope

Kcu nE

poz6pe.

ones consist of five tones and two semitones. They ascend in the following sequence: tone, semito-

ne, tone, tone, tone, tone, semitone. They descend as tone, tone, semitone, tone,

tone, eemitone, tone. With the above instructions, we form the minor scales

}IINOPE T(^IMAKEZ ME AIEEEIZ

toe, as we formed the major ones.

MINOR SCALES WITH SHARPS With

l

sharp

t 2 sharps ,3) ,5)

it

is MI

minor

,6D

"7) MINOPE KAIMAIGE ME YOEZEIE Me 1 riQeon 2 u06oers

",3 "4) ,5 "6 o7

32

D

) ) D

n PE )nEOAD )nNTOD )nOArD D n EI

efvor

prv6pe

I

Dt

)

) n MI rD, DnAAD)

MINOR SCALES WITH FI.ATS With 1flat

, 2 flats ,3) "4)

"6) "7D

it is

)) )D DD

)) )) )>

mmor minor minor minor minor minor minor

Eup0ouM

Advice

Aro8dore npooexuxd 6leE nE xlfpoxeg. Oo ooE xpnorpeOoouv opy6repo, 6rov 06here vo oM6[ere r6vo oe 6vo pouox6 xoppdu.

Study the scales carefully! They will help you later when you want to change the tone of a song.

HARMONIOUS SCALES

ENAPMONIE> KAIMAKE> An6 rov oxnpouolr6 tco potz6pe xor 1uv6pe xhpdKo)v oupnepofvoupe 6u: Or porz6pe xi(poxeE efv r666er
From the construction of the major and minor scales we conclude that: The major scales are twelve because three of the fifteen scales that we have mentioned (with the natural scale of DO) are the same with three o-

rpefE.

thers.

Aur6s efvq:

Hr{io-fl HIDA I H

>I

pemvPE b, Fernv EOA I b [rE

rnv NTO

D

These

are:

,

il""f"-*ith RE b FA H " with SOL, h t with DO I r Sr,

Aut6g or xlipoxeE 6xouv ro i6ro dxouoyo olhd 6roQopeux6 6vopo xor tr6yo'vror evopp6vr g xlfpor(€s.

These scales have the same hearing but different name and are called Harmonious scales.

Kot ot prv6pe xlipoxeE efvor 6ci6ero yrorf xor e6rir or rpefE on6 nE 6exon6vre xlipoxeE pozi re mv Quorx6 xlfpoKcr rc u M nou 6xoupe ovoQ6per efvor

The minor scales are also twelve because,here also the three from the fifteen scales with the natural scale of LA that we have mentioned are the same.

f6reE.

Aut6E efvo:

H/vi-fr,,

HPE '' f, HzOAil

pemvEI b, pemv MI , h

" pemv AA b-

Kor our6g or r
with SI b, with MI with I-A bb These also have the same hearing but different na-

me and are called Harmonious scales.

FOrsES.

Eup0oufui

Advice

'Orov 6roBdzete 0eopfo pnv o$6vets to 6pyovo. No nofzere x60e prepo.

When you study theory, do not leave the instument. Play every day.

K?riporeg yorz6pe Kor Frv6pe endv
on6 6ror$opeux6 6roorr[-

por(r.

t-

Major scales and minor ones on the bouzouki from different intervals.

Khfpoxcr NTO poz6pe

DO major scale

(Quorxri xlfpoxo)

(natural scale)

From 3'o interval of the 2'o sting

An6 ro 3" ro 6rdornpo ms 2" xop66E

Adrrulo

Fingers

t2?f *ql

r

th.5ruig

t3t sfung

An6 to 10" 6r6otnpo ms 3" xop66E

lslxcrrt

lghrorar

I

s+stzirlg z* slzing

rl xo$i ltr strthg

l3E xceSr

2r.

I

rirlng

From the 10'h interval of 3'd string

l2l rcett | ,W!) lll rcrrr tlr sldng 2r. string 3rl stung

ttlfr,crel I 13r slzing

From the 15'n interval of 2"o string

An6 to 15" 6rdornpo ms 2*'xop66E

I I l3 ra rrr MATZOPE KAIMAKEZ ME AIE>--E-I-> l2P rore

I

I lE roarl

MAJOR SCALES WITH SHARPS SOL major scale

Klfpoxo ZOA poz6pe

An6 to 5" 6rdompo ms 3". xop66E

From the 5'n interval of 3'o string

Sotaol ,-=

=-r

r3B r r2I.ro?t$ I

rlPxo?Ltr

r

An6 to 10" 6r6ompo mS 2o^ xop6riE

tA! ro?a{

!

An6 to 17" 6rdornpo ms 3.. xop66g

3?

rcn. I

r r1?xoarrr r*x.t

From the 10* interval of 2"o string.

18!rorAt tfB ro?a{

I

rl3xonr

I rllxotr

From 17" interval of the 3'ostring

I

lE rror

I

t!? xcrettl r8l ror, |

-= 'l,rar

35

Khfpoxo PE porz6pe An6 ro 5'" 6rdornpo rng

18

r

2o".

RE maior Scale

From the

xop6fE

4ll rcrlu

Tora,J 2"stzhg gr s+aing

t? rorrrr

I

|

8? xorrrr

t

33xcor r ttE rogAr

2l rootll

r 13

t

t

2!l xollttl ll? xotax

An6 ro 12'" 6rdornpo rns

2oo.

I

LI rorrf

I

t

3I roerrl

t

tlEf

r4l

Il\ maior Scale -

,

2"o open string

I fl ro?l{ From the 7" interval of

I

f

13

e13'o string

rerer ,J r.t! 'na?ax r EllilJ

From the L2'n interval of 2"o string.

xop66E

=T ,21 rar?l.r I tB to?all

xostr I

From the

An6 ro 7," 6rdornpo rns 3". xop6fE

r9t xcrl,

2s slzing

From the l2'ninterval of 3'o string

An6 m 2o" xop6ri qvorxrd

t

, tSEr.rr

till rorAx

r

K?tfpoxo AA p.orrz6pe

t t /19 xo?Ltt

of.2"o string.

From the 3" open string

An6 to 12'" 6rdornpo rns 3". xop6nE

t]3prot

interval

t lE Xolru 1.+ stzing

,

An6 rnv 3" xop66 ovorxrri

I

5'n

I

I l3 ra PAil

o.e

= I t8l ra0r.1

Kilfporo MI yotz6pe

MI major Scale

An6 ro 2o" 6rdornpo rns 1" xop66g.

From the 2"o interval of 1" string.

l?rorr

I

I

l'{ sttiqg

I l tl rcorrr

x.rarf I rlE rorre

Ano ro 14"'SrdornUo mS

r33 xoPa

t

r

2l

3"'xop6ng.

xoeaq

I l!

I

I

From the 7'n interval of 2"o string.

An6 ro 7"" 6rdornlro rnE 2n"' xopSfig.

t?3

4I xcPAr L1+ Sltttrg

L

I lt];c'^.l

from the 14'n interval of 3'o string

xoPan

t

I

!,3

*o?A

r t

t

2l x oear I

te?'
I

SI major Scale

Khfpoxo >I porz6ps An6 to 20" 6rdornpq rns 2'"'xop66E.

r8,! rorA.. I r !B xo"Atr

From the 2"o interval of 2"o shing.

I I .l[E *oeatl

An6 to 9'" 6rdornpo rng 30" xop66g.

tt! -otat

From the 9* interval of 3'o shing.

-

|

]l xora. | | 83 roertl

! ltl xotr{

|

|

!? *arA{ | rtl >roea.l t)! r.?r.t

An6 ro 14'" 6tdornpo mS 2*'xop6riE.

t€! rorr.l t t! ro?Arl

I r,,ril llrr' I 1 rrl, r, r

I ll

xoer

u

-l'

lt 8t xrt.l

37

Khfpoxo

QA il

FA fl maior Scale

porz6pe

An6 to 4'6rdompo rns 3" xop6riE.

t93 ro?l{

:)! r:r r 3r.

r

rttrlg l.t str,tng

[]rom the

rc?rh 1H Str.i19

t r,3

x.r.

| | 33 rorrr I

Khipoxo NTO

fr

I I t!

xorel

I

I

{l! ro? x

DO

porz6ps

ro"arr I lt?xcoe.e

t rtlroPar

il

t E!ro?.l

maior Scale 2"o shing.

L3 ro?^H

l?lsrr.

t

From the 11'n interval of 3'o sting.

I

ll? rorar

An6 ro 16'" 6rdornpo ms 2*. xop6rig.

I r2? ro?ttt I ttt.rct.l

[]r,,ln iit., 1{r utlen,al of

lil

38

interval of 3 ' strinq

From the 4* interval of

I l! xo?arl

ti2f

t2? *o?.1

16

lll;oPaq

I

An6 ro 11'" 6rdornlrq ms 3o"' xop66g.

t3Srprt

t Ltr""*J trr stUlg

,oQ)'t From the

An6 ro 4'" 6rdornpo tnE'fo"s xop6rig.

tl!

strirrg

From the 9* interval of 2"0 string.

An6 ro 16'" 6r6ornpo rns 3'. xop66E.

lD! xar

.3

l!+ Sititlg 2h' stdhg

I 1l! xarr

I

rnten,al of

lli! xcoarr I t8l:arax

I

An6 to 9'" 6rdornpo mS 2". xop6riE.

183

4'

,cP^tt

2

slrrnr;

rl-J t,

.-etA{

,

MATZOPE KNIMAKEZ ME YOE:EI> I(ltfporo
MAJOR SCALES WITH FLATS. FA maior Scale

An6 to 3'6rdornpo ms 3.. xop6fig.

From the 3'o interval of 3'd shing.

t!! ror I

t?l ,o)LA

lL? ro;al

t

Stllhg 2{ Staiqg

3''

An6 ro 8" Erdornpn rnE

3'.

ls+

Khfpoxo

I 2?

t

I

8l xorlr

3'o

string

1 l$ rc?.|

I

pqrz6pe

D maior Scale 1" interval of 2"u string.

e,

7 I lI rc ?rn

I

An6 ro 8" 6rdorngo ms 3'. xop66E.

llBrrrl

l2? to?r{ t

2l r.tl.

I ll ,rolrlr

, l,!rc.

ll!.,clr..

l

From the 8" interval of 3'o string.

I l!

:crarr

I

An6 ro 13'" 6rdornpo mS 2o". xop66E.

t

3"rs+Ling

r rllrril.l L#

From the 15'n interval of

An6 to 1'" 6rdompo rng fo.s xop6ric.

18E rnl

I

-1

rorer I llB rarel

EI b

string 2r.Slzing

I tt rc?alt

I

An6 ro 15'" 6rdornpo rns 3" xop66E.

rror.l

rl? ro?

I

From the 8" interval of 3'o string.

xop66E.

El roer r t?;o?Ltt

[]3

19: ro?A*

I

lll te 'AI |

1

2E xctar I I tE rofr{

from the 13* interval of 2"0 shing

I

I tB ,oQD"

tll

r,clsLul

39

Kltipoxo MI

I

MI b maior Scale

poz6pe

From the 6'' interval of

An6 16 6'" 6rdornpq ms 2o*xop6riE

t13 xort

r

t!

r

!! rolrt

string.

t ll! xocaq

xoga*

t

r

t r2!p?r

From the 13" interval of the 3'o string

An6 16 13 6rdornpo rns 3"'xop6riE

r* rorr

2"o

lt ro?A,il

lI rolrrr ,

I

r

r

!! rortr r r$ntrll

From the 1" interval of the 1" string

An6 16 1'" 6rdornpo ms 1"'xop66E

r lt xo?Ail

Kilipoxo

nA b

LA D major Scale I

porz6pe

An6 to 6'" 6rdornpo ms 3". xop66g

+ r8! xatrn I

r

From the 6" interval of 3'o string

tE -ornn r

tE rorerl r

l3B

ra?rs

r

From the 11'n interval of.2"o string

An6 to 11'" 6r6ornpo ms 20"'xop66g

T+ - rot I LII xolar r,2E

r

e

- ,-

.

t

t tl

xoeror From the

An6 ro 6'" 6rdornpo ms 1" xop66g

6'n

I

interval of 1" string

t

-lG u ''' tlB xo"Al{

40

'+-: I

L_{,1 xoPAtl

t

Imv en6pevn 6xer

xhfpoxo

PE b

porz6pe nou

onhop6 n6vre uQ6oerg nopfinpofpe 6u zo66xer

i6ro

xhfpoxo pe 66o 6roQopeux6E ovopoofeE, xor

.

I-1.x.

n xhfuoxo

NTo ,# pE # xo PE b prorz6pe

In the next scale RE

major. which has a ke_r. b signature with five flats, we can see thar u,e have the.same positions on the bouzouki as the DO fl ma;or scale which has a key signature with seven flats. So we have for the same scale two different names with different notes.

x.h.n.

Av

xdvoupe

plo o6yxpron rov

nopondvco

Q0oyyooripov.rcov 6uo xhrpdxov 0o Qoripe 6u rq NTO fr eivor f6ro pe ro PE I ro

PE ^f efvor ici_ro pe ro MI, xor ro vqr f6ro pr ro QA x.h.n.

MI fr ef-

r us xlfpoxeE 6Cn

u06ous, pe

6

6r6oerg, KCu ernd uQ6oas pe EI porz6pe pe onhro;r6 n6vre 6r6oerg.

O[ xhipoxeg our6g nou 6xouv ro f6ro dxouolro ohld 6roQopenx6 6vopo h6yovror evopp6ues.

41

LA minor Scale (Minore)

K?tfporo AA prv6pe natural Scale An6 m

20"

From the 2"o string open

xop6ri ovorxrri

C.Jt

t42 xoesa -

xotttt

22 xoetut l4l

An6 ro 7'" 6rdornpo ms 3". xop66g

From the

7'n

J

l22xoptul

interval of 3'o strino

4

=T+ t3il xoPttt t 3d ttLilg r\no ro

l2

T= tZ\ 1,'r

soeset

fl\

xot.t

sh,iurg fr sizirlg

orrlr;rn1-rcr rnq

2

|

13r

21 xottu

steitg ztr stci'rg

I

From the t2'n inte.rval

xoptiriq

4,t

ttt xoPlrr

tlE xo?at{ pr StLi\g

t

eT= | 2t xo?r[

t

re stUng

1g{ stLiqg

APMONIKEZ MINOPE KNIMAKEZ ME AIEZEIU Klfpoxo MI prv6pe

HARMONIOUS MINOR SCALES WITH SHARPS MI minor Scale.

An6 ro 2," 6r6,ornpo mS 1'. xop66g

From the 2"o interval of 1" strino

lLL xo?*A An6 ro

7u"

t

| 42 xoe;q

6rdornllo ms 2o"' xop66g

I

From the

7'n

interval of 2"o string

,t4

t21 xoet,l l r{ xoppr{ Ano ro 14 SrcirrurIr{r n)i I rr,[rfjn,.

I

t LL xoglrl From the

t7 I 31 xopA. I t ?! ^oea.l lLl xos.l 4?

14'n

intervasl of 3'o string

2t1

1.14

xoP,

I

t 22

xoqt. I l*2 rat;u

I

Kilfpoxo EI prv6pe An6 ro

20"

SI minor Scale From the 2"o interval

6rdompo ms 2o'. xop6rig

2.. stnng

of.

eT

TO t22 xo PAt

t aL xoPAr

t

2(' stztlX

Irl

An6 ro 9'" 6rdornpo

r22 -oext rr. stti \e

u19

Stzi

From the 9'h interval of 3'd str.

l5l xoetq t | 2l An6 ro 14'" 6rdornlro ms

xoe

st t

t4.? xoe t.t

il

*ae

t t-4{ xopa( r

r

From the 14" interval of

2o". xop66g.

A[ xopar{

2"0

r

string

-Ue t2! xoz*a

l4L

t

KifporoQ4. *

xoPLa

t

I 4L- so ?bA

prv6pr

t2t *oers

FA *

An6 ro 4'" 6rdornpo ms 3'" xop66E

I

minbr Scale

From the 4'ninterval of 3'o string

47t13

t?! *oltx I l2( xoeox | )4txoer.l ill s
t2'!. xoeail

t

t 4!

xo PaH

From the 9" interval of

t 41 xo

An6 ro 4'" 6rdornpo rns 1". xop6rig

t t! xo

ea,A

|

ear

x.-Prv

4'n

A

I

2"o sting

I I 21 xoeau

From the

t Ll.

?l xcoptt

t

interval of 1" string

t

43

I

Kifpoxo NTO fl prv6pe An5 ro 4 6rdornpo rns

2o".

DO

+

From the

xop6flg

t l4 xoeb4

I

Itr s+u1! An6 to 11'" 6rdompo rnE 3"'xop66E

4'n

minor Scale interval of 2.ostrinq.

LL sta e t* t I 21 rroeAn lr+ 2$ stufng From the 11'n interval of 3'o string.

t

x+urg

+

e

t1t xocstt t

t21 xoote ,, iL xot

Kltfporo >On

tll ,ro.t tZLsot-o+t I lSgxopar

t

SOL

fl urv6oe

An6 ro 6" 6rdornpo ms 3"'xop6fig

t

{ minor Scale

From the 6" interval of 3'o string.

eT== 2!- yo?ttl I t LLwtol tng 2" xop66g t

-=-+ xolstt

122

. I tZL toe^l t tll xqel;u From the 11'n interval of 2'o string.

t LL xoo

t

e ,== t t L2 xo"sq

Kltfpoxq PE il Frv6pe

An6 ro 6'" Erdornpq rns

2o".

xop66g

tll

70?LH

tng 1" xop6rig

I

lL2 xoobH

Arnhf 6(eon Double sharp

t 22 ;.o ?^H I

I

f From the RE

minor Scale

6*.interval of 2"o string.

l2 rdCAH From the 1" interval of 1"

I Ll to?rrt

t 4L xo?rtt An6 ro 13. 6rdornpq ms 3" xop66g

-j

From the 13* interval of 3'o string.

lt44,V lllxoesu

L-i-#

1 l2!>,oeatr

t l?L{xoeaq tl**oro., t2!*aps*

t t}l.'oesu

t

Khfpor"

AAI prv6pe

LA d minor Scale From the 1" interval of 2"'string.

An6 ro 1'" 6rdornUq ms 2o"'xop66E

+T= 122 xoeaa I

t

42 xo et+

t L2 xopAH

I

r t22 xoetx t

t!2xuot.lt?2roesLt

174 xo?. t

t22 xoetH. t r1? xoPlrt

,Ilxo

Klfpoxo PE prv5pe An6 ro 5'" 6rdornpo rns 2o" xop66g

t t42 xoPLtt

2\ *optu I

xcPLH

roP6N

t

rt

t t 2? xoerH

r

, t22 xo ?\,.t

From the 72'n interval of 3'o string.

t

42

xc.r,

I tl2 xot'l 2L roet'

t

t 7A >'oeb.l

From the 1" open string.

An6 mv 1" xop66 ovotxtti

,lL

P.o

t42 xae.x+t

,

An6 ro 12" 6r6ornpo rns 3" xop6rig

t

I3:1

HARMONIOUS MINOR SCALES WITH FLATS RE minor scale From the 5* interval of 2"o string.

APMONIKEE KNIMAKE', MINOPE ME YOEZEIE

t32 xo eta I

)

From the 13* interval of.2"o string.

An6 ro 13 6rdornpo rns 2" xop6riE.

t21 xoes

PLH

From the 8* interval of 3'o string.

An6 ro 8" 6r6ornpo ms 3"'xop6rig.

t32 xo?-^tt

ra

t 22-

I

I a"

*oe'q

I

45

soL minor Scale

Khfporo EOA prv6pe An6 ro

5'

From the 5" interval of 3'o string.

Erdotnpo mS 3"' xop6fig

+-T== I t3!.
tl.trap,r

From the 10* interval of

3!

rll

xo PaH

T+

t

2l xoctx

t

t22 xott A , r l! xarlx An6 ro 15'" 6rdornpo rns 2" xop66g

,2! ya'r*

46

, ,t!yorlrr

|

DO minor Scale

,LL xoo,

,

rlB roo.

r t 2l tot*t

bl to?r

t

tt

From the 3'o interval of.2"o string.

An5 ro 3'" 6rdornpo mS 2"'xop66g.

+

r

From the 10" interval of 3'o string.

An6 to 10'" 6rdornFo rns 3"'xop66g

r

roPlq

'-L'1- ,o?brl

|.

YEPLH

Khfporo NTO prv6pt

r3E xopA(

lr8!

xoern

From the 5" interval of 1'' string.

rng 1"'xop6rig

7= ,Ll

2"o string.

e-=-

+ r

I

,

rtL

xoPAil

t 21, >o ?srl

From the 15'n interval of

r tlLxofrrt

t

2"o string.

,,2t xolrt{

,

Kllfpoxo QA prv6pe

FA Minor Scale

An6 ro 8" 6rdornUq ms 2*s xop66s.

From the 8" interval of 2"o sbing,

L1! ro e>4 lt+ S{"in?

tLL xogstl

rs stdng

An6 to 3-" 6rdornpo mS 3". xop6rig.

a* ;otttt

5! xoerH

, tLl '.o?Ltt t l!*oe .l

, t}l xoetq t

,

2d sitin2

From the 3'o interval of 3'o string.

An6 to 15'" 8rdornpo ms 3". xop66g.

f

, tZL xoest

y'lr!,

xo?. t t?l xoesx I lrl

From the 15'n interval of

aLL xo?.

3'o

xor.au

string.

tll xoe.t tZ! toetrl t t)! xottu

t

t

t

'Oncog Kol ous you6pe xhfpoxeE, 6ror xor o.nE

Like the major scales the same at the minor o-

plvope nopornpo6pe, 5u ornv en6pevn xlfpoxo D ! Hrvope nou 5xer onhrop6 n5vre u$6oerE, 6xoupe ro f6ro nouipoto endvo oro pnouzorjxr ue rnv xlfpoxo AAf,urvopr, nou 6xer onhrop6 enrd 6r5oerE. Anho6ri efvor n f6ro xhfpoxo pe 6uo 6roQopeux6g ovopoofeg, xor 6roQopeuxd

nes we can see that in the next scale SI [l minor (five flats), we have the same positions on

the bouzouki as the LA

$

minor scale (seven

sharps). So, for the same scale we have two different names and notes. scale begins with LA llTiDOLf f, minor fl but the. SI minor scale

SI

f,

I

f,e,t.c.

gins with SI

be-

b, DO RE le.t.c.

Now if we compare the notes of the two scales we will see that LA is the same with

fl

SI b SI fi is the same with Do,

oo fl t,

".J the same with RE I e.t.c. The same happens,with the MI h minor scale

nhrop6 enrd uQ6oers Ue IOAflUrv6pe pe onhop6 n6vre 6r6oerg. Kor e6o or xlfpoxeg our6g h5yowor evopp6vreg.

EnF. Ie xd0e xh(poxo Vrq 6hes ug 06oerE rov 6roornpdr@v xpnoponoreftor n f6ro orcd8o xot our6 Vlo vo eivor euxoho6rdBooreg 6heg or xhfpoxeE Kol vo pn rp6xoupe o€ $061ryouE e-

ndvo rou nevroypdppou nou 6ev efvor t6oo efxpnoror.

(six flats) and RE minor scale (six Sharps). f, and with the LA I minor scale (seven flat) and SOL fl minor'scale (five sharps). These scales are also called Harmoni us. Note: [n every scale for all the intenCls p,**tions the same octave is used. Thrl-. ha:cers because in this way we can r€2r =.:*:;_.. :,,,?r-. scale and we should i': -:.:-: r_ :-i *r:ni.r_s which are above or be,.c'* -c iii, trrr: ,rllrnch are not so Lrsea

TPOIOZ ME TON ONOIO BPIEKOYME THN KNIMAKA OTAN EEPOYME TON ONAIUMO THE ,H BPIZKOYME TON ONNIEMO THE OTAN EEPOYME THN KNIMAKA

I-ro vo Bpo6pe pro xhipoxo poz6pe pe

616-

oerg, 6tov (6poupe tov onho1r6, oveBofvoupe

on6 mv reheuro(o 6ieon 6vo Q061ryo xor xouUe rnv i6ro mv xlfpoxo.

6_

Av n.x. 6xoupe onluop6 6Uo 6r6oers OA, NTO ove8oivoupe on6 ro NTO (releurofo 6ieon)

6vo Q06yyo oro PE, ro PE pouz6ps efvor n xhfpoxo nou znrdpe. Av 6xoupe onhop6 rpefE 6r6oerE OA-NTOIOA. Ave8ofvoupe on6 to IOA 6vo Q05yyo

oto AA. To AA eivo n xhfpoxo nou znrdpe x.h.n.

METHOD FOR FINDING THE SCALE WHEN WE I(NOW THE KEY SIGNATURE OF FINDING THE KEY SIGNATURE WHEN WE KNOW THE SCALE.

In order to find a major scale with sharps when we know the key signature we ascend from the last sharp one note and we have the corresponding scale. Example: 1. If we have in the key signature two sharps in FA and DO, we ascend from DO (last sharp) one note to RE which is the RE major scale that we are looking for. 2. lf we have in the key signature three sharps FA-DO-SOL we ascend from SOL (last sharp) one note to LA. So LA is the major scale we are looking for e.t.c.

When we know the scale and we want to find the key signature, we descend one note from the first note of the scale (which gives the name of the scale) and we have the last sharp of the scale's key signature Example:

n xifpoxo) oro IOA. To IOA efvor n teheurofq 6feon rou onhropori mg xhfpoxog OA_NTO_ >OA. Apo n AA powz5peE 6xer onfuo1r6 3 616_ oerE


'Orov 6xo-upe pro,porzope xlfpoKo lre uQe_ oas, Kol (6poupe rov onhrop6 ohho 6ev tg_ poupe mv xhfpoKo, Vlo vo rnv Bporjpe xorro_

We want to find the key signature of the I-A maJor scale. We descend one note from LA (which gives the name of the scale) to the no-

te SOL which is the last sharp of the key signature of the scale FA-DO-SOL. So the LA major scale has key signature with three sharps (FA-DO-SOL).

If we have a major scale with flats and

we

know only the key signature then in order to find the scale we look with how many flats is it written. The flat before the last one give us

tov onhop6 tng, ove8ofvoupe pfo riseon endvo on6 ro 6vopo mg xlfpoKos, Kql to o6volo rov u$6oecov efvor o onhropoE mE xhfpoKo.S

n.x. edv n xhfpoxo nou 6xoupe efvor n ove8ofvoupe pro 6$eon e-

AA h poz6pe

ono PE. Apo oeperg uQ ndv<,r

tl-MI-nAhrop6 16oVlo rq no-

pondvor,vo [6poupe pe rn oerpd uq 6r6oerc xor ug uQ6oers nou efvor: Ar6oerE:

OA-NTO-ZOA-PE-AA-MI-ZI. ZOA-NTO-OA

YQ6oers: EI-MI-AA-PE-

the scale's name. Example: If it is written with three flats SI-MI-LA, then it is the MI major scale, if it is written with four flats SI-MI-LA-RE then it is the LA h major scale.

When we know the scale and we do not know the key signature we ascend ofie flat upwards from the scale's name note and then all the flats we met going this way are the flats of the scale.

Example: If we have the scale of LA malor f, and we want to find the key signature of this scale then we ascend one flat upwards from the IA to RE*. So we have flats in the position of SI-MI-IA-RE notes. So the LA major key has key signature with four flats.I Before we can apply this rule we must know the following sequence of flats and sharps: Sharps : FA-DO-SOL-RE-LA-MI-SOL Flats :

48

SI-MI-I-A-RE-SOL-DO-FA

AIAOOPE> BYZANTINEU KAIMAKE:, BYZANTINE SCALES

PE

PE

MI V-

b

EAMnAX-sABAH

#- on #

NIABENT-NIAVED

AAh

KAPTZITAP.CARJIYAR

ZIV

OYZAK. OSSAC

eA

#

rroYPNTrN- YrouRDrN

AA fr PAzr - RAST PAZT - RAST fi AA

PE fr

PE

pE

50

XOYZAM - HOUZANT RE fi

fl nA b >ErKAx - cENGAH

RE

il

LA

b

b- AA [->r b xtrzuz-HuAz RE b -LA b -sr b

MEPOZ TIEMNTO

PART FIVE

'Oilo ro oKKoprrovlop6vro

List of all the accompani-

-Forz6pe Kor prv6pe- Vro ro rpfxo6po Fr.ouzo6rr Kor rov pnoyilopd Fe nporrrr6 rp6no oe 6r6QopeS 06oerg.

ments maior and minor for the three string-bouzouki and baglama in various positions.

AKOAOYOOYN OAA TA AKKOMNA. NIAMENTA TIA TO TPIXOPAO MNOY. ZOYKI KAI TON MNATNAMA.

MENTS FOR THE THREE STRING BOU.

Aro86ore pe rpoooxf rrs nopor6ror

Study carefully the following advices:

oupSou169 1) I-lohld qn6 ro oKKopnovrop6vro efvor ypopp6vo pe 66o 6 neproo6rcpous rp6nouE.

O

emeheor6g

0o

6roh6[er p6vog

rou

nor6E

rp6noE tou rorpr6zer xord rnv 6rdpxelo rou nor(fpotog. Anh. 0o mdoer ro oKKopnovrop6vro rou Bpioxeror nr5 xovrd oro 6dxruld tou exeivn rn onyp6, ovdhoyo pe ro xoppou nou noizet.

2)

Meprxd on6 To oKKolrnqvrop6wo efvor

ypopp6vo

Vlo pnouzor5xl Kol Vlo pnoylopd. Autd nou efvo ypopp6vo yro pnouzo6xr Kcu

6ev nqizovror oro pnoyhopd 6r6u ro pnouzo(sxr 6xer peydlq 6rqouiporo Kcu ro 6dxrulo 6ev xopdve orov pnoyhopd nou efvor prxpd

to 6roouipctrct (6rqv nofzoupe oe xopnh6S 06oers). To (6ro oup8ofver xor qvdorpoQo. Evo oKKopnovrop6vro yto pnoylopd 6ev pnopef vo noxref oro pnouzo6xr 6r6u to pnouzoOra -6noE efnope- 6xer peydlo 6roorriporo xor 6ev Qrdvouv ro Edrcuho (6rov nofzoupe oug np<6res 06oers).

O eraeheorfE horn6v 0o 6roh6(er nor6 oKKoHnovrop6vro rou rorprdza ov6hoyo pe to 6d_ muho nou 6rq0&er.

52

ZOUKI AND BAGIAMA.

1) Many of the accompaniments are written in two or more ways. The player should select the way which is best for him. This means that he will select the accompaniment which is closest to his fingers at that moment according to the piece he is playing.

2) Some of the accompaniments are written for the bouzouki and for the baglama too. Those that are written for the bouzouki cannot be played on the baglama because the bouzouki has a bigger distance than the baglama which has much more smaller distance

between frets, (when we play on the lower positions of the fingerboard). The same happens inversely. An accompaniment for the baglama cannot be played on the bouzouki because the bouzouki has big distance between frets. (When we play on the first positions of the fingerboard) So the player has to choose the acccompaniment which suits best

to his fingers.

Advice

Eup6oul6 I-lp6ner vo p60ere vo xop6fzere p6vol ocrs pnouzoUrc Kol rov pnoyhopd.

THERE ARE ALL THE ACCOMPANI.

To

You have to learn the way of self tuning your bouzouki and baglama.

NTO

14

NTO

1,4

AILO PC

C l-,lAJoR

G

ATZO Pe I1 AJ OR 5oL

o t.l A|LO Pe C HqJOR

nUT

MlO UATZO PC

o

|

H A.,/oR

,tl O tt 4tLO

G

U

Pe

A.loR Do Do

m

Nlo l.lAtLope c L4tqJOR

I

5oL

NTo AATLo p e

C l.tnurOR

Oo

[on [4Atzop€ G

Eon G

I.IAJOR,

F.tATzope UAJOR,

I

SOL

{oa G

pl ArzoPe A,,A{O R .1,

$OL

*

R,E

3oL

1OA M{lLOPE

e

MAr.yoR,

I

PC

U ATLO P€.

0

fi,l

A{oR

Fa*

I f,E

LA

Pe l,4ATzo?e

0

f.l

,1uoR

Fot

R[

p€ H4TzoPe 0

An,/O

R

Pe, ptATzope

D

14t1,/oR

s

a*

R.e

I

LA

55

AA

A

AA

A

U ATLOP E

MAvo n

Pc

^4ATzo O R, ^.lArt

+ LA LA

AA

HmLoPe

A

MA*lOR

AA

taArzoPe

A

tt-i

4.a, O R

oot'

14t

E

Mqtzo pe llA\/OR

,[ sor,f,

56

HT

e

uA-lLo Pe tn4v o n

l,t I E

14Arzope

l-t t

UAlZOPQ

E

t4AvoR

ttAvot?

Ht HR-TZo p e E UALlOR

t4t tll ATZO Pe E H AvoR

f,r H hTzo pe. 9 l.tAvOR

zt H ATLO ?C

b UA'tOR

,[

Rr[

:t

o

14

5t

FAK

ATLO Pe

l1

etoR

1t MNTLOPC ta+t o R B

In 6a* MArzoPe

Ff

HA.toR

oqint

58

L^r

Oet H A-tLo pe F# l.t n./o R

6n# uArzoPe Fl ttAroR rafi

o"*

Uo# HAttoPe

c#

pto

I

c*

f-la,roR

untlope HLq,/oR

tA Dot so4

wo{ c#

t4AlLoPe l,tA\/oR

nl

I sol+

59

6a MltTzOPe F

l,lA.lOR

uA-tLOPe l,lA./OR

Oa F

ll4Tzo Pe uArlOR

Oa fr,tATzope f UA,/OR ,l AA

QA I{ ATzo P€ F llr4./ o R .t fA

60

A

vorrrq

xcpS;r LA

Oa tt Al zo Pe

f

tl4v

Oa

oR

ATzo p e

F ^4uA',loR

LA FA

ltb

bb

M

Alzo ?e

l,l

A.l o R

srh

ilb

I

fA

Avorr<'?,'l

xopSi

Re

zoPe

MAv oR bb ^{Ar

I Re

t'il D

E?

H4rzo9e I,IAJ

OR sty htb

$tY

FE

I DO

lat bunTLop€

E b tlA{oR

Htb

U t buA

srF,

rzop€

e b HAJoR

$W utD

I

5ot-

t4thh4noPe e h 144 J oR. ur

AAbunrzope A b HAv o p .l.tb

A

Ab

A,

I

tab

MhTzOP e

l,tAJoR I Mt b

62

DO

I l.A b

I h Srtr

50L

AAb MA-TLo? A V MA.toR

I

r-ab

AA A

i,llNoPe HINOR

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