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Balkan Music | Balkan Music Theory (and more)

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Balkan Music (/) (/)

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Balkan Music Theory (and more)

BALKAN MUSIC THEORY - ONE BIG PAGE (/BALKAN-MUSIC-THEORY-ONE-BIG-PAGE)

Balkan & Blues Music Theory Table of Contents I. Introduction 3 II. Rhythms and time-signatures 3 II.1 Basic Rhythm Definitions 5 II.1.1 Beat 5 II.1.2 Pulse 6 II.1.3 Rhythm 6 II.1.4 Bar (Measure) 6 II.1.5 Time-signature 6 II.1.6 Grouping of notes 6 II.1.6.a Simple time-signatures 6

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II.1.6.b Compound Time-Signatures 7 II.1.6.c Combined Time-Signatures 7 II.1.6.d Mixed Time-Signatures 7 II.2 “2/4” Time-signature 7 II.3 “3/4” Time-signature 10 II.4 “4/4” Time-signature 11 II.5 “5/8” Time-signature 12 II.5.1 “2+3/8” 12 II.5.2 “3+2/8” 13 II.6 “6/8” Time-signature 15 II.7 “7/8” Time-signature 16 II.7.1 “3+2+2/8” 16 II.7.2 “2+2+3/8” 18 II.8 “8/8” Time-signature 20 II.9 9/8 Time-signature 22 II.9.1 “2+2+2+3/8” 22 II.9.1.a The Classic “2+2+2+3/8” 23 II.9.1.b The Zeimbekiko 24 II.9.1.b.i. The Old Zeimbekiko (Παλ ιό Ζεϊμπέκικο) 24 II.9.1.b.ii. The New Zeimbekiko (Νέο Ζεϊμπέκικο) 25 II.9.2 “3+2+2+2/8” 27 II.10 References: 27 II.10.1 Internet 27 II.10.1.a General knowledge (multiple resources) 27 II.10.1.b Rhythms and time-signatures 27

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II.10.1.b.i. PDF documents 27 II.10.1.b.ii. Websites 28 II.10.1.b.iii. Videos 28 II.10.2 TO DO 28 II.10.3 web-pages to be updated 28

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I. INTRODUCTION T his short book is intended for musicians who have some knowledge in Music Theory and want to expand it with understanding of what makes the Balkan music tick. Balkan music theory is not a separate entity – it's rather a link between the music of Western Europe and Near East. T he proper name for this booklet might be: Balkan Rhythm & Blue s Music T he o ry: Re fe re nce Guid e . Because, although based in Classical music theory, elements from Blues, Rock and Jazz theory will be included as well. T he reason for that is that the aim is not only to reflect on the theory created so far, but to look forward in using this theory knowledge in creating new music. N am e s o f rhythms and scale s are usually Greek and Arabic. The reason is that Greek music has been influenced by the oriental music in the last five centuries. In turn, the Greek names of scales and rhythms are now commonly used between most musicians who perform music from (or influenced by) the Balkans. T he topics to be included will be: Rhythms & time-signatures Intervals Scales Chords Chords from scales Common chord progressions Plucked strings ornaments

II. RHYTHMS AND TIMESIGNATURES Balkan music uses a variety of rhythms and time-signatures. Many of them are already part

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of the global music treasury, some of them may be considered unique (the T samiko & Paydouska rhythms, the 11/8 time-signature, etc). T he uneven time-signatures are ingrained into the soul of Balkan musicians so deeply, so that a 7/8 based rhythm in Macedonia is called the 'straight' rhythm (правото). But Balkan time-signatures are not an intellectual entity separated from everyday life (waiting for researchers to classify them). When talking about Balkan time-signatures, one must never separate them from d ance s. An average person living in some of the Balkan countries would not know what on earth is 5/8 or 2+3/8, or how it works. But tell them Paydushka / Baiduska, or Tsamiko, and they can clap its pulse or even dance to it. So, to understand Balkan uneven rhythms, one should dance them (it at all possible). Or at least watch the dances.

II.1 LISTENING EXAMPLES. For this purpose, many of the links to the music examples given in this booklet are actually Youtube searches. T his is because individual videos may be deleted anytime, without any notice. Having searches instead, the probability to hear the song/dance in question is much higher. And one can usually hear/see several performances of a song (usually the first 5-6 would the more adequate). Whenever possible, these searches are done in the original language, bringing results that would be accessible to the average person interested to hear authentic examples of a certain song, dance, time-signature or scale. But even if one is not too keen to go to youtube, one can make it's own further research using the original names and their English transliterations. We don't know what's first: the dances or time-signatures. We know that there are advanced dance movements perfected over history in many combinations of rhythms and pulses. And they make great basis for composing music that sounds fresh, interesting, authentic and beautiful.

II.2 NOTATION. T he notation of rhythms is done in two ways in this booklet.

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II.2.1 ONE LINE PERCUSSION STAVE:

T he notes above the line represent a higher pitched, and those below the lines a lower pitched percussion instrument. In the case of compound rhythms, the pulses are given in a graphical presentation above the staff. But this can be seen in another way as well: the notes under the line are the strong (Arsis), and notes above are the weak (Theses) beats. T he numbers below represent the beats, which is useful especially in uneven rhythms.

II.2.2 FULL DRUM NOTATION:

Examples of how the rhythms could be played on drums will be given using a drum notation as in the example above. A cymbal, cowbel or tom may be occasioanlly added.

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T he following topics will be discussed here: Basic definitions 2/4 3/4 5/8 6/8 7/8 8/8 9/8 11/8

II.3 BASIC RHYTHM DEFINITIONS T here isn't much uniformity today in defining basic concepts as Beat, Pulse, etc. T he whole purpose of the definitions below is to establish the terms and the way they will be used in this booklet.

II.3.1 BEAT Beat is the basic unit of time. Used for mathematical purposes in music notation, to establish the number of beats in a time-signature. T he lower number in a time-signature represents beats.

II.3.2 PULSE Pulse is the overall feel of regular patterns in a composition. It's what we clap in a song, or dance to.

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Beat and Pulse are the same in Simple T ime-Signatures. T hey differ in Compound and Combined T ime-Signatures. T he pulse may be audible or implied.

II.3.3 RHYTHM Rhythm is a combination of short and long notes. T he foundation of the rhythm is in the pulse, and the most simple rhythms are simply pulses.

II.3.4 BAR (MEASURE) T he smallest rhythmical unit in a composition. It consists of two or more beats as well as pulses T he number of beats are given in the upper number of the time-signature.

II.3.5 TIME-SIGNATURE T ime-signature is the sign that informs us about the length off the bar, thus establishing the Me tre : Upper number - number of beats Lower number - the kind of beats

II.3.6 GROUPING OF NOTES T o make sense of the more complex time-signatures, the understanding of grouping of notes is essential. T ime-signatures are divided into several categories.

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II.3.6.A SIMPLE TIME-SIGNATURES 2, 3 & 4 beats-in-a-bar T he beat and pulse are the same.

II.3.6.B COMPOUND TIME-SIGNATURES 6/8, 9/8 or 12/8 In 6/8, the 6 beats are divided into two groups of three beats, thus one bar contains two evenly spaced p ulse s. T hose pulses feel slightly longer than the ones in simple time-signatures In the compound 9/8, the 9 beats are divided into three groups of three beats, so there are three even pulses in a bar. 12/8 contains four long pulses

II.3.6.C COMBINED TIME-SIGNATURES Also known as Uneven, Odd-time, Asymmetric, Irregular Mainly 5, 7, 8, 9 and 11 Beats-in-a-Bar. Created by combining Simple and Compound T ime-Signatures T he grouping of notes (and thus the pulse) consists of combinations of 2 (short) and 3 (long) notes. T his creates a flow of uneven pulses, which is the essence of Balkan rhythms.

II.3.6.D MIXED TIME-SIGNATURES More than one time-signature in a composition

II.4 “2/4” TIME-SIGNATURE Description: the most simple time-signature, used in all music around the world; two beats

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(as well as two pulses) in a bar. When played slowly it's called Hasap iko (https://en.wikipedia.org/wiki/Hasapiko) (Χασάπικο) in Greece:

When faster tempo is used, usually called Hasap o se rviko (https://en.wikipedia.org /wiki/Hasapiko) (Χασαποσέρβικο) in Greece, Ko lo (https://en.wikipedia.org /wiki/Kolo_(dance)) (https://en.wikipedia.org/wiki/Kolo_(dance))(Коло) or O ro /Ho ro (https://en.wikipedia.org/wiki/Kolo_(dance)) (Оро/Хоро) in the southern Slavic regions:

Sirtaki (https://en.wikipedia.org/wiki/Sirtaki) (Συρτάκι)is simply a modern dance based on Hasapiko, invented in the film Zorba's Dance. T here are a few variations of this straight rhythm.

So usta (http s://e n.w ikip e d ia.o rg /w iki/So usta) (Σούστα), Greece

And its variation, Ballo s (https://en.wikipedia.org/wiki/Ballos) (Μπάλος):

Listening example: T i Se Meli Esenane (Τι Σε Μέλ λ ει Εσένανε) (https://www.youtube.com /results?filters=video&lclk=video&search_query=%22τ ι+σε+μέλ λ ει+εσένα νε%22) - a Greek folk song; Slim Gailard's version is not representative for the rhythm, but nevertheless interesting

Pe nto zali (https://en.wikipedia.org/wiki/Pentozali) (Πεντοζάλης), Crete

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T he Cho che k (see 8/8 time-signature) is sometimes written in 2/4 (implying a secondary, even pulse):

T he Syrto s (https://en.wikipedia.org/wiki/Syrtos) rhythm also contains two pulses:

T he T sifte te li (https://en.wikipedia.org/wiki/T sifteteli) (Τσιφτετέλι) rhythm, when played faster, gets a two-pulses-in-a-bar feeling and is also written in 2/4 time-signature:

T he Bulgarian Pravo Ho ro (https://en.wikipedia.org/wiki/Bulgarian_dances) (Право Хоро), because of its pulse, is sometimes notated in 2/4, using triplets.

But most of its melodic lines fit perfectly in 6/8 or 12/8, avoiding the need of repetitive triplet signs.

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II.5 “3/4” TIME-SIGNATURE This is also a simple time-signature, and the beats coincide with the pulse. The popular 3/4 Waltz time-signature is used to some extent across the Balkans (nicknamed Valcer (https://en.wiktionary.org/wiki/valcer)).

In Valcer songs, the Western European influence is obvious: melodies are most often in Major or Minor natural scales. In Serbian music it's performed as three straight beats, often the first one only slightly accented:

In Albanian, Greek, and Macedonian music a great variation has been developed, Tsamiko (https://en.wikipedia.org/wiki/Tsamiko) (Τσάμικος), notated as 3/2 as it's usually performed in medium or slow tempo.

A drummer would play the 1/4 or 1/2 notes on the hi-hat/cymbal and the rhythm variation on the kick/snare:

Examples for listening: Vallja E Katjushkes - Albanian traditional song

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II.6 “4/4” TIME-SIGNATURE

Again a simple time-signature where the beats and pulse are the same. Most common metre in Western music, hence the letter C (from Common) instead of a numeric timesignature sign. In its basic form, 4/4 is a repeated 2/4 metre:

In the Balkans, many rhythmic variations of 4/4 are used, with influences from Near East and India, to the Caribbean and Latin America. We won't discuss these rhythms here, as they nicely described in numerous books and websites.

T he most popular form of the common metre used in the Balkans is Tsifteteli (https://en.wikipedia.org/wiki/T sifteteli) (Τσιφτετέλι):

T here is also a variation, known among musicians as the 'Turkish T sifteteli' or 'T urkish Chochek' (Турски Чочек):

Both rhythms are Arabic (http://www.maqamworld.com/rhythms.html). A rhythm pattern that's often used in Bulgarian and Macedonian music is the following (nameless):

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II.7 “5/8” TIME-SIGNATURE T his is the first example of a time-signature where the beats and pulse are not the same. T here are five beats in a bar, and they are most oftenwritten as 5/8, 5/16 and rarely 5/4. 16 note would indicate a faster, and a quarter note a slower tempo. But now there are 2 pulses per bar, and they can either be: 2+3/8 (short-long) 3+2/8 (long-short)

II.7.1 “2+3/8” Let's look at the 2+3/8 time-signature first, with a short-long pulse:

T his variation of the 5/8 time-signature is most often found in Macedonia, Bulgaria, Albania and northern Greece. It goes under the name Payd ushka (Пајдушка, Пайдушко) A point needs to be clarified here: while the Greeks give names to the rhythms independently of their songs/dances, the rest of the Balkan musicians seem to associate a particular time-signature or its variation with its most popular dance. In this case, there's a very popular instrumental dance called Payd ushko (h)Oro (Пајдушко Оро/Хоро) in 2+3/8. So among most Balkan musicians, all 2+3/8 rhythms are simply called Paydushka. T hey are usually in moderate/faster tempo, and the actual performance looks like this:

With several variations:

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A drummer would play the 1/8th beats with a hi-hat/cymbal and the pulse with kick/snare. Occasionally a 1/4 note hi-hat/cymbal is used over two bars, adding a contemporary feel:

Listening Examples: Paydushko Oro (Пајдушко Оро, Macedonian) (https://www.youtube.com /results?search_query=пајдушко+оро) - the original tune Paydusko Horo (Пайдушко Хоро, Bulgaria) (https://www.youtube.com /results?search_query=пайдушко+хоро) - several tunes in 2+3/8 Bayduska ( (https://www.youtube.com /results?search_query=Μπαϊντ ούσκα)Μπαϊντ ούσκα (https://www.youtube.com /results?search_query=Μπαϊντ ούσκα), Greece) (https://www.youtube.com /results?search_query=Μπαϊντ ούσκα) - again, many dances in 2+3/8

II.7.2 “3+2/8” Let's now consider 3+2/8:

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T he pulse is long-short. Used mainly in Greece, and it's usually performed slower and as written above. T he most popular rendition of this variation of 5/8 is used in David Brubecks's “T ake Five”

A few variations would sound like this:

In 2+3/8, drummers would typically play the 1/8 beats on hi-hat/cymbal as well as on kick/snare; the pulse is either implied or played with a kick/bass:

In contemporary renditions, playing quarter note beats with the hi-hat/cymbal would make the rhythm more interesting:

Listening examples: T ake Five, Dave Brubeck (https://www.youtube.com /results?search_query=Dave+Brubeck+T ake+Five) T zamaika (https://www.youtube.com/results?search_query=Τζ αμάικα+Λοΐζος) (Τζα μάικα (http://www.stixoi.info/stixoi.php?info=Lyrics&act=details&song_id=873)) - popular lively Greek song from the 70's by Loizos Μi Girevis Omorgies (https://www.youtube.com /results?search_query=Μη+γυρεύεις+ομορφιές) (Μη Γυρεύεις Ομορφιές (http://www.stixoi.info/stixoi.php?info=Lyrics&act=details&song_id=361& hl=ΓυρεύειςaaaΟμορφιές)) - a great ballad originally sung by Dalaras

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II.8 “6/8” TIME-SIGNATURE T he typical 6/8 time-signature is divided in two long pulses:

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II.9 “7/8” TIME-SIGNATURE 7/8 is the most popular uneven time-signature in whole Balkan music. Grouping of notes (and thus pulses) in 7/8 is done in three variations: 3+2+2 (long-short-short) 2+2+3 (short-long-long) 2+3+2 (short-long-short)

II.9.1 “3+2+2/8”

In central Greece it would often be performed at slower tempo, especially in contemporary music and a percussionist would perform it as in the example above, while a drummer might add a hi-hat:

Music example: Na Dioxo Ta Synnefa (https://www.youtube.com/results?filters=video& search_query=%22θα+διώξ ω+τ α+σύννεφα%22&lclk=video) (Να Διώξ ω Τα Σύννεφα (http://www.stixoi.info/stixoi.php?info=Lyrics&act=details&song_id=5131)*) - a Greek contemporary song T he traditional way of performing this variation of 7/8 is:

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Or with a full drum-set:

3+2+2 is the variation of the 7/8 time-signature called the 'straight' (Pravo to (https://en.wikipedia.org/wiki/Lesnoto)) or recently the 'easy' dance (правото, лесното) in Macedonia. The reason is that at least a third of all Macedonian traditional songs and dances are composed in this metre. Often these are mellow, lyrical pieces. Below are some examples: Yovano, Yovanke (Јовано, Јованке) (https://www.youtube.com /results?search_query=%22Јовано+јованке%22) probably the most popular; graced even by Nigel Kennedy (https://www.youtube.com /results?search_query=Jovano+Nigel) Eleno Kyerko (Елено Ќерко) (https://www.youtube.com /results?search_query=елено+ќерко+старог радска) - probably the most beautiful Marie Dilber Bela Marie (https://www.youtube.com/results?lclk=video& search_query=%22marie+dilber+bela%22+or+%22marije+dilber+bela%22& filters=video) - another pearl

In Greece this rhythm is called Kalamatiano s (https://en.wikipedia.org/wiki/Kalamatianos (Καλαματιανός), and is in a slightly faster tempo with some variations:

Examples: Kalamatianos Horos (https://www.youtube.com/results?lclk=video&

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search_query=%22κα λ αματ ιανός+χορός%22+++ορχηστ ρικο+οργανικο+ρίζες++εχε+-ειπα+-πουλ α κια+-τ έλ ος+-ερικα&filters=video) - an instrumental dance, most often referred to as 'the Kalamatiano' dance Mou Parigile T' Aydoni (Μου Пα ρήγγειλ ε Т' Аηδόνι) (https://www.youtube.com /results?lclk=video&search_query=%22μου+παρήγγειλ ε+τ '+αηδόνι%22& filters=video) - a great wedding song Samyotisa (Σαμιώτ ισσα) (https://www.youtube.com/results?filters=video& search_query=σαμιώτ ισσα&lclk=video) - the song that my grandfather Theodor loved

And a few of my own compositions: Taga Za Yug (Тага за Југ) (https://www.youtube.com/watch?v=cdV70AITyLE) - electric guitar instrumental, Balkan/rock fusion Stone Bridge (https://www.youtube.com/watch?v=BkXRmkjaCKM) - another instrumental n the same style and rhythm

II.9.2 “2+2+3/8” This variation of 7/8 consists of short-short-long pulse:

At a slower tempo, this variation would be performed on percussion as the example above. At a faster tempo, a percussionist would play it like this:

A drummer would play the beats with a hi-hat/cymbal and the pulses with a kick/snare:

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Of course, many variations are possible and do exist. Here are some:

It gets a wide use in Bulgarian folk songs and dances under the name “R (https://bg.wikipedia.org/wiki/Ръченица)a (https://bg.wikipedia.org /wiki/Ръченица)chenica (https://bg.wikipedia.org/wiki/Ръченица)” (Ръченица, sentence). Of course, it's popular in the other Balkan regions as well.

Listening examples: Elenino Horo (Еленино Хоро) (https://www.youtube.com/results?filters=video& lclk=video&search_query=еленино+хоро) - a dance commonly associated with Rachenica (BG) Eleno Oro (Елено Оро) (https://www.youtube.com/results?filters=video&lclk=video& search_query=елено+оро) - the Macedonian version

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Rum Dum Dum (Рум Дум Дум) (https://www.youtube.com/results?filters=video& search_query=rum+dum+dum&lclk=video) - a popular Macedonian folk song, where the title 'rum-dum-dum' actually imitates the feel of the three pulses: short-short-long. Palamakia, Palamakia (Παλαμάκια, Παλαμάκια) (https://www.youtube.com /results?filters=video&search_query=%22παλαμάκια+παλαμάκια%22+-παίξετε& lclk=video) - a Greek song

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II.10 “8/8” TIME-SIGNATURE T he most popular variation of this time-signature is popular Cho che k (https://en.wikipedia.org/wiki/Čoček) (Чочек), also knows as :

It contains three pulses: long-long-short and it's usually performed like this:

A drummer would perform the beats on a hi-hat and the pulses on kick/snare:

T he ride cymbal would usually play in quarter notes:

T here's also a secondary, even pulse associated with this variation of 8/8. This is the reason why it's sometimes written in 2/4. T his implied pulse is often played on a cow bell or tambourine in recordings or live performances. In the example below, a kick/snare plays the three uneven pulses, hi-hat the beats and a cow bell the secondary, even pulse:

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T his rhythm often used in weddings across all Balkan regions, and the songs are usually jolly and uplifting.

Listening examples: Maria Me Ta Kitrin (https://www.youtube.com/results?lclk=video&filters=video& search_query=%22μαρία+με+τ α +κίτ ρινα+%22)a (https://www.youtube.com /results?lclk=video&filters=video&search_query=%22μαρία+με+τ α+κίτ ρινα +%22) (https://www.youtube.com/results?lclk=video&filters=video& search_query=%22μαρία+με+τ α +κίτ ρινα+%22)(Μαρία Με Τα Κίτ ρινα ) (https://www.youtube.com/results?lclk=video&filters=video& search_query=%22μαρία+με+τ α +κίτ ρινα+%22) - a popular Greek song Fato Mori Dushmanke (Ф ато Мори Д ушм анке) (https://www.youtube.com /results?filters=video&lclk=video&search_query=%22ф ато+м ори+душм анке+%22 - a popular Macedonian song Hajde (https://www.youtube.com/results?lclk=video& search_query=%22hajde+shoto+mashalah%22&filters=video)S (https://www.youtube.com/results?lclk=video& search_query=%22hajde+shoto+mashalah%22&filters=video)hoto (https://www.youtube.com/results?lclk=video& search_query=%22hajde+shoto+mashalah%22&filters=video)M (https://www.youtube.com/results?lclk=video& search_query=%22hajde+shoto+mashalah%22&filters=video)ashallah (https://www.youtube.com/results?lclk=video& search_query=%22hajde+shoto+mashalah%22&filters=video) - popular Albania folk song Shote Mori Shote (Шоте Мори Шоте) (https://www.youtube.com/results?lclk=video& search_query=%22+šote+mori+šote%22&filters=video) - Serbian/Bosnian versions of the above song - be sure to check the 'Tom Jones' version of this song.

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II.11 9/8 TIME-SIGNATURE T he 9/8 time-signature contains several groupings that are actively used Balkan music: 2+2+2+3 (short-short-short-long) 3+2+2+2 (long-short-short-short) 2+3+2+2 (short-long-short-short)

But first of all, lets take a look at the Western classical and Jazz music, where it's divided into three even pulses, 3+3+3/8:

As with the other compound time-signatures, the beats would be played by hi-hat and pulses by kick/snare:

Contemporary Jazz Waltz (jazz%20waltz%20drums) drumming has developed countless yet beautiful variations of this variation of 9/8.

Listening examples: Adagio in G-minor (http://www.youtube.com/watch?v=ATuoxYAsBvs) by Albinioni (or Giazoto?) (https://en.wikipedia.org/wiki/Adagio_in_G_minor) - probably the best composition written in 3+3+3+/8

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Now let's look at he Balkan variations.

II.11.1 “2+2+2+3/8” T his is definitely the most popular variation in Balkan music. So popular, that we will have to divide this variation into further chapters for a clearer understanding.

II.11.1.A THE CLASSIC “2+2+2+3/8”

T his is by far the most popular rendition of 2+2+2+3 and it's found in all Balkan regions. It's usually played at a fast tempo. In Greece it's know as Karislamas (Καρσιλ αμάς) (https://en.wikipedia.org/wiki/Karsilamas)

When tempo is slow, percussionist would sometimes perform it in way written above. At faster speeds, only the pulses are played:

A drummer would play the beats on the hi-hat in both variations:

In contemporary renditions, the cymbal would play 1/4 notes over two bars:

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For wedding songs and dances, a rendition that makes it sound like a Tsifteteli is commonly played, with a stress on the 3rd and 7th beat:

In the above rendition, the rhythm gets a two-pulses-in-a-bar feeling and it's usually performed on a ride cymbal.

Listening examples: Nishka Banya (Нишка Бања) (https://www.youtube.com/results?filters=video& search_query=%22нишка+бања%22&lclk=video) - a popular Serbian traditional song in fast tempo Ne Si Go Prodavaj Kolyo (Не Си Го Продавај Кољо) (https://www.youtube.com /results?lclk=video&search_query=%22не+си+г о+продавај+кољо%22& filters=video) - Macedonian folk song A Kane Uje Ato Burime (https://www.youtube.com/results?lclk=video&

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search_query=%22a+kane+uje+ato+burime%22&filters=video) - Albanian traditional song Pou'ne Ta Hronia (Που`ναι Τ α Χρονια) (https://www.youtube.com /results?search_query=%22που%60να ι+τ α +χρονια %22&filters=video&lclk=video) - a great Greek song

II.11.1.B THE ZEIMBEKIKO In Greece, the songs and dances are usually slow to medium tempo and are known under the name Ze im b e kiko (https://en.wikipedia.org/wiki/Zeibekiko) (Ζεϊμπέκικο). Usually written in 9/4, but we'll keep the 9/8 time-signature for consitency.

T here are two main variations of Zeimbekiko:

II.11.1.B.I. T HE OLD ZEIMBEKIKO (ΠΑΛΙΌ ΖΕΪ ΜΠΈΚΙΚΟ)

A drummer would play as above, adding the beats on hi-hat:

A similar rendition is known under the name Kam ilie riko (Καμηλιέρικο Ζεϊμπέκικο):

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Examples for listening: Sinefyazmeni Kiryaki ( (https://www.youtube.com/results?lclk=video& search_query=%22συννεφιασμένη+κυριακή%22&filters=video)Συννεφια σμένη Κυρια κή (https://www.youtube.com/results?lclk=video& search_query=%22συννεφιασμένη+κυριακή%22&filters=video)) (https://www.youtube.com/results?lclk=video& search_query=%22συννεφιασμένη+κυριακή%22&filters=video) - probably the most famous zeimbekiko; by Tsitsanis T a Matoklada Sou Lamboun (Τ α Ματ όκλ αδά σου Λά μπουν) (https://www.youtube.com/results?filters=video&lclk=video& search_query=%22τ α+ματ οκλ αδα +σου+λ αμπουν%22) - a classic medium tempo Zeimbekiko by Vamvakaris Ine Arga Poly Arga (Είναι Αργά Πολ ύ Αργά) (https://www.youtube.com /results?lclk=video&filters=video&search_query=%22ειναι+αργα +πολ υ+αργα%22+κλ α ματ α) - a beautiful Greek song

II.11.1.B.II. THE NEW ZEIMBEKIKO (ΝΈΟ ΖΕΪ ΜΠΈΚΙΚΟ)

While the percussionists may play this rendition as above, once the Drum Kit entered the Greek music podiums, the typical way to perform New Zeimbekiko became the unison playing of kick/snare and hi-hat playing the beats:

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Examples for listening: Eimai Aetos Horis (https://www.youtube.com/results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)F (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)thera (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)( (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)Είμαι (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)Α (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)ητ ός (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)Χ (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)ωρίς (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)Φ (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)τ ερά (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22)) (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22ειμαι+αητ ος+χωρις+φτ ερα%22) - a deep and beautiful Greek song Yati Me Xipnises Proi (Για τ ί Με Ξύπνησες Πρωΐ) (https://www.youtube.com /results?filters=video&lclk=video& search_query=%22γιατ ί+με+ξ ύπνησες+πρωΐ+%22) - another deep and beautiful song

27/09/15?

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II.11.2 “3+2+2+2/8” T he long pulse from the end of the classical Balkan 9/8 (2+2+2+3) is moved to the beginning of the metre: long-short-short-short. Does it make a difference? Of course it does – every bar now starts with a long and heavy dragging. T his variation is found almost exclusively in Greece and is known as Ap taliko (Απτάλικο). Being in essence a form of the Zeimbekiko, the short pulses can be played in the old or new style:

A drummer would simply add hi-hats in the 1/8 beats:

Examples for listening:

Kato Sta Lemonadika (Κάτω Στα Λεμονάδικα) (https://www.youtube.com /results?filters=video&lclk=video&search_query=%22κάτω+στα+λεμονάδικα%22) - a neo-Rebetiko Greek song

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Pino Kai Metho ( (https://www.youtube.com/results?filters=video&lclk=video& search_query=%22πινω+και+μεθω%22)Πινω και Μεθω (https://www.youtube.com /results?filters=video&lclk=video&search_query=%22πινω+και+μεθω%22)) (https://www.youtube.com/results?filters=video&lclk=video& search_query=%22πινω+και+μεθω%22) - another Greek song in similar fashion

II.11.3 “2+3+2+2/8” T he pulses in this variant of the 9/8 time-signature are short-long-short-short:

T his variant is 'connected' to the classic 9/8 and would be perfromed in a similar fashion: in slower tempo as the example above, and in faster tempo the pulses would be performed:

Similarly, in drum the kick/snare would play the pulses while the hi-hat the beats:

T his variation of the 9/8 opens endless combinations and these have not been explored much by contemporary drummers; here are some – including a 1/4-cymbal cymbal ride in the last two bars:

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Examples for listening: Na Struga Dukyan Da Imam (На Струг а Дуќан Д а Им ам ) (https://www.youtube.com /results?search_query=%22на+струг а+дуќан+да+им ам %22&lclk=video& filters=video) - Macedonian traditional song Roots (Корени) by Valkania (https://www.youtube.com/watch?v=Q42iRlN4iWs) - a pop song in 2+3+2+2/8

II.12 “10/8” TIME-SIGNATURE

II.13 “11/8” TIME-SIGNATURE If 5/8 has two usable variations, and 7/8 offers three, but two are widely used; if 9/8 offers five variations and at least four are used; one would expect that an 11/8 time-signature would offer an array of combinations, many of whom would be part of the some Balkan traditions and thus subject to study and further development.

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But no.

T here's only one 11/8 variation actively in use, and the 2+2+3+2+2:

T hus, the pulses are: short-short-long-short-short. In Bulgaria, this variation of the 11/8 is known as Ko p ani (https://en.wikipedia.org /wiki/Kopanitsa)ts (https://en.wikipedia.org/wiki/Kopanitsa)a (https://en.wikipedia.org /wiki/Kopanitsa) (Копаница) In folk songs and dances, this time-signature is performed quite fast, so the actual pulses are obvious:

Drummers would play the beats on a hi-hat and the pulses on kick/snare; many combinations are possible, this is just one:

Examples for listening: Various Kopanitsa dances (https://www.youtube.com/results?lclk=video& filters=video&search_query=%22копаница%22) Ludo Kopano (Лудо Копано) - Bulgarian folk dance Skopsko Oro (Скопско Оро) (https://www.youtube.com

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/results?search_query=%22скопско+оро%22&lclk=video&filters=video) - Macedonian folk dance Suleymanovo Oro (Сулејм аново Оро) (https://www.youtube.com /results?lclk=video&search_query=%22sulejmanovo+oro%22+-joymaker+-egejsko& filters=video) - another macedonian dance in 11/8 All The Time (https://www.youtube.com/watch?v=IENOjPJW6GM) - a Rock song in 11/8

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II.14 REFERENCES: II.14.1 INTERNET II.14.1.A GENERAL KNOWLEDGE (MULTIPLE RESOURCES) Wikipedia (https://en.wikipedia.org/) Metre, Encyclopedia Britannica (http://www.britannica.com/) MusicT (http://www.musictheory.net/)heory.ne (http://www.musictheory.net/)t (http://www.musictheory.net/) Lilypond percussion notation (http://lilypond.org/doc/v2.18/Documentation/notation /common-notation-for-percussion#percussion-staves)

II.14.1.B RHYTHMS AND TIME-SIGNATURES II.14.1.B.I. PDF DOCUMENT S Bulgarian Dance Rhythms - Ludmil Krumov (http://www.ludmilkrumov.com/site/wpcontent/uploads/2010/10/Bulgarian-Odd-Rhythms1.pdf) Bulgarian Rhythms: Past, Present and Future (http://upers.kuleuven.be/sites /upers.kuleuven.be/files/page/files/2012_3_2.pdf) T he Greek laikó (popular) rhythms: Some problematic issues (http://www.academia.edu/2045855 /The_Greek_laikó_popular_rhythms_Some_problematic_issues)

II.14.1.B.II. WEBSITES Dunav.org.il (http://dunav.org.il/index.html) - Balkan folk dances and videos Arabic Maqam World (http://www.maqamworld.com/rhythms.html) Middle Eastern Rhythms FAQ (http://www.khafif.com/rhy/) Letter that Manthos Garlofis wrote me about Greek rhythms (http://www.khafif.com/rhy/garlofis/garlofis.htm)

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BabaYagaMusic.com (http://babayagamusic.com/Music/bulgarian-music.htm) Oddmetermix (https://oddmetermix.wordpress.com/) - music examples in uneven time-signatures List of musical works in unusual time signatures (https://en.wikipedia.org /wiki/List_of_musical_works_in_unusual_time_signatures) Middle Eastern and Mediterranean Music Rhythms (http://babayagamusic.com/Music /oriental-dance-rhythm-diagrams-and-descriptions.htm) Mastering Odd, Complex Time Signatures And Rhythms (http://www.debone.com /MasteringOddComplexTimeSigsAndRhythms.html) Folk Dance Rhythms (http://www.phantomranch.net/folkdanc/teaching/rhythms.htm) Ετ οιμοι Ρυθμοι [Ready (Greek) Rhythms (http://www.noiz.gr /index.php?topic=182338.0) - mp3 recordings from drum-machine of various Greek rhythms Greek Rhythm Mp3 Player (http://www.bouzoukispace.com/tools/flash-tools/greekrhythm-mp3-player) Greek Drum Beats (ready) (http://www.slidemeister.com/forums /index.php?topic=5514.0) Rebetika Rhythms (https://mediterraneanpalimpsest.wordpress.com/2013/01 /23/rebetika-rhythms/) Balkan Music (http://billpringle.com/wrp/balkan.html) Irregular Rhythms – Paul Boizot (http://www.paulboizot.co.uk/irregular.htm) Asymmetric rhythm dances (Romania) (http://www.eliznik.org.uk/RomaniaDance /uneven.htm) Don Ellis (https://en.wikipedia.org/wiki/Don_Ellis) Musician experimenting in unusual time-signatures

II.14.1.B.III. VIDEOS Ensemble BULGARE The musical rhythms of Bulgarian folklore* (https://www.youtube.com/watch?v=O1ZYJo8OfY8) Béla Bartók - Six Dances in Bulgarian Rhythm* (https://www.youtube.com /watch?v=5RMv9I9C5H4&list=PL67029315D7AE713D)

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II.14.2 TO DO Check bulgarian rhythms: Bulgarian Dance Rhythms - Ludmil Krumov (http://www.ludmilkrumov.com/site/wpcontent/uploads/2010/10/Bulgarian-Odd-Rhythms1.pdf) Bulgarian Rhythms: Past, Present and Future (http://upers.kuleuven.be/sites /upers.kuleuven.be/files/page/files/2012_3_2.pdf) sarba romanian rhythm 12/8

II.14.3 WEB-PAGES TO BE UPDATED 5/8 22/9 rhythms 23/9

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