Explore the bridge between Western and Eastern music

Nine Eight Vol. 4 - 11 Timeless bouzouki solos Latest release

The fourth volume is comprised of instrumental pieces that are either totally free improvisational bouzouki solos or free solos (“taximia”) that end up in a short instrumental theme with a defined rhythmic pattern. It is arguably the most difficult venture of the series, so far. This difficulty lies in the fact that the “taximia” refuse to fit the mold of a rhythmic pattern, a steady tempo, or to even stay fully devoted to one folk scale (“dromos” = road) and they deviate now and then to passing notes and other related scales. This book, will hopefully give you a relatively well-rounded picture of the subject, as solos of different time periods and playing styles (for the first time you will find some 4-string bouzouki scores), and as many folk scales as possible have been included. For a better musical understanding, in the appendix you fill find some theoretical information for the folk scales encountered in the main part of the book.

Song contents:

To minore tou teke (Chalkias), Chora Tsibidi (Tsibidis), To minore tou Tsitsani (Tsitsanis), Taxim zeibekiko (Vamvakaris), Omorfa (Chiotis), Taximi peireotiko – To radiki (Moraitis), Taximi hasapiko (Keromytis), Peireotiko taximi (Peristeris), Taxim Houzam (Papaioannou), Taximi (Papadopoulos), Mia nychta olakeri (Zabetas)

Nine Eight Vol. 3 - 14 Songs of Markos Vamvakaris

This collection is dedicated to Markos Vamvakaris, probably the most important and influential Greek folk composer. As a composer principally of the "rebetiko" genre, Markos has written almost exclusively songs on the two main "rebetiko" rhythmic patterns "hasapiko" (2/4) and "zeibekiko" (9/8). Out of his huge musical work, 7 "hasapika" and 7 "zeibekika" have been selected in this book, which are once again based on the traditional 3-string bouzouki and have been arranged for all the instruments of a basic folk band. Particularly, the songs consist of one singing voice, 1st and 2nd bouzouki (whenever it is not redundant), one baglamas and one classical guitar. The musical arrangements presented here are the outcome of a very thorough work, so that they remain devoted to the original compositions and maintain a balance between the beautiful plainness of Markos's music and the rich and challenging playing.

Song contents:

Oli i rebetes tou dounia, O Markos ypourgos, Kaftone Stavro kaftone, O hasapis, Prepi na kseris mihani, Ta matoklada sou laboun, Mavra matia mavra frydia, Ta dyo sou heria pirane (Vergoules), Fragosyriani, Adilaloun i fylakes, Karavotsakismata, Osi ehoune polla lefta, Alaniaris, Haramata i ora tris

Nine Eight Vol. 2 - 14 Rebetika

This second volume is a compilation of songs that fall into the musical genre known as "rebetiko". Historically the compilation is focused on the classic phase of rebetiko (1932-1942), but some further subsequent samples of this genre have also been included, in order to present as far as possible, a well-rounded aspect of this music. In this book you will find musical scores of 14 Greek rebetika songs based on the traditional 3-string bouzouki, that have been arranged for all the instruments of a basic folk band. Particularly, the songs consist of one singing voice, 1st and 2nd bouzouki (or tzouras), one baglamas and one classical guitar. As for the rhythm patterns, the compilation is comprised of "zeibekika" and "hasapika", the two most common rhythms of rebetiko. The musical arrangements presented here are the outcome of a very thorough work, so that they remain devoted to the original compositions, but also maintain their balance between the beautiful plainness of the music phrases and the rich and challenging playing.

Song contents:

Hatzikyriakio (Bayanderas), Pono de me lypase (Skarvelis), Pede mages (Yovan Tsaous), Katse n' akousis mia penia (Tsitsanis), Kathe vradi tha se perimeno (Vamvakaris), I foni tou argile (Papazoglou), Ta ziliarika sou matia (Vamvakaris), Matsaraga (Tsitsanis), Pou na vro gyneka na sou miazi (Diamantidis), Peftis se lathi (Tsitsanis), To magalaki (Hatzichristos), Pes to ne (Skarvelis), O Ksemagas (Papazoglou).

Nine Eight Vol. 1 - 12 Greek folk songs

This volume is a musical score compilation consisted of 12 Greek folk songs based on the traditional 3-string bouzouki, that have been arranged for all the instruments of a basic folk band. Particularly, the songs consist of one singing voice, 1st and 2nd bouzouki, one baglamas and one classical guitar. This compilation focuses on songs with the very distinctive time signature of 9/8, which usually are labeled as "zeibekiko" or "karsilamas" style. However, some songs with other interesting time signatures, have been included too. The musical arrangements presented here are the outcome of a very thorough work, so that they remain devoted to the original compositions, but also maintain their balance between the beautiful plainness of the music phrases and the rich and challenging playing.

Song contents:

Prin to harama (Papaioannou), Drapetsona (Theodorakis/Livaditis), Tou Votanikou o magas (Tsolis/Bithikotsis), Nyhtose horis feggari (Kaldaras), Ta matoklada sou laboun (Vamvakaris), Aliti m' ipes mia vradia (Hatzichristos), Tha kano dou vre poniri (Tsitsanis/Virvos), Stou Thoma (Ksarhakos/Ferris), Eho enan kafene (Loizos/Papadopoulos), Sa magemeno to myalo mou (Bayanderas), Fysai o batis (Tsitsanis), I Hartaeti (Theodorakis).

Short history of Greek folk music

"Rebetiko" is the name of the Greek urban folk music, that appeared in late 19th century and acquired its familiar form, roughly up to the third decade of 20th century. This music developed mainly in the harbors of Greek cities where the working class lived (Piraeus, Thessaloniki, Volos) and in other urban centers with intense Greek presence (Konstantinoupoli, Smyrni, Syros, Giannena) and afterwards passed in other urban centers too. This musical stream, that was born in the poorest districts and often even in prisons, due to its relation with the lower social classes, was initially regarded by society with contempt. The most usual lyrical content of these songs was outlaws, drugs, prison, love, grief, the working class life and immigration. The picture illustrates some typical musicians of rebetiko (rebetes) of that time.

Bouzouki

The bouzouki (plural: bouzoukia) is the mainstay of modern Greek music. It is a stringed instrument with a pear-shaped body and a very long neck. The bouzouki is a member of the 'long neck lute' family and is similar to a mandolin. The front of the body is flat and is usually heavily inlaid with mother-of-pearl. Initially, the bouzouki had three pairs of strings (tuning D-A-D), while later it acquired a 4th pair of strings and a new tuning (C-F-A-D). The instrument is played with a pick and has a sharp metallic sound.

Baglamas

The baglamas or baglamadaki, a long necked bowl-lute, is a plucked string instrument used in Greek music; it is a version of the bouzouki, but about half long and pitched an octave higher (nominally D-A-D), with unison pairs on the four highest strings and an octave pair on the lower D. The body is often hollowed out from a piece of wood (skaftos construction) or else made from a gourd, but there are also baglamas with staved backs. Musically, the baglamas is most often found supporting the bouzouki in the Piraeus style of rembetika.

I can’t read music. Will I be able to study from the book?

All musical scores include both standard notation and tablature. Tablature is an easier form of musical notation, used on fretted stringed instruments, indicating instrument fingering. If you can’t read standard notation, then you can probably read tablature. And if you cannot read tablature neither, you will find thorough instructions inside the book on how to do so.

What level of musical skills is needed in order to study from the book?

The skill level required to perform the book’s songs, varies from intermediate to more advanced. But beginners, will also find songs suitable for them, if not to play them with absolute fidelity, they will find a stimulus for practicing.

To whom do these books refer?

This book series refers to:

• Guitarists and bouzouki/baglamas players
• Anyone who would like to learn playing one of the above
• Musicians who are interested in exploring different musical genres
• Musicians/admirers of Greek folk music, who would like to have part of this music documented, as a reference point

I don’t own a bouzouki. Can I still play the songs?

The books contain separate staves for guitar and bouzouki (also second bouzouki, baglamas and voice whenever applicable). So, you can obviously play all the guitar parts directly on your guitar. As for the bouzouki parts, even if you don’t own one, you can easily tune down the 3 higher strings of your guitar (G-B-e) to the bouzouki tuning (D-A-D), and try them out. It will feel and sound a bit differently, but the music will be there.

I think that Greek folk music should be learned aurally, as every folk art is empirical. Do you think that it can be rendered as sheet music?

It is true that Greek folk music was not born of course through sheet music and is still difficult to be fit in musical scores as it has been evolved around improvisation and is full of passing notes and free form phrases (complex note groups like 5tuples, 7tuples, 11tuples, etc). This makes the transcription even more difficult but also challenging. I also agree that hearing is maybe the most important skill that someone should exercise in order to have a musical perception, as music is above all an acoustic art.

However, as we cannot deny the benefits of text, we cannot deny the benefits of written music as well. Writings remain unchangeable through time; and I find it interesting that folk musical genres from around the world be documented for scholars from any other country, culture, and discipline.