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Carmelo Siciliano GREEK FOLK MUSIC An Anthology of Tunes VOLUME I FILELLENIA Carmelo Siciliano, Greek Folk Music. An Anthology of Tunes, vol. I, Filellenia, Acireale 2020 Copyright © Carmelo Siciliano 2020. All rights reserved. ISBN: 9788894415711 No part of this book may be reproduced or transmitte...

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Carmelo Siciliano

GREEK FOLK MUSIC An Anthology of Tunes VOLUME I

FILELLENIA

Carmelo Siciliano, Greek Folk Music. An Anthology of Tunes, vol. I, Filellenia, Acireale 2020 Copyright © Carmelo Siciliano 2020. All rights reserved. ISBN: 9788894415711 No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, except for the quotation of brief passages in reviews, without permission in writing from the publisher. For further informations and contacts: www.greekfolkmusic.net www.carmelosiciliano.it [email protected] With the support of: Cultural Association Filellenia – Center of Studies, Education and Documentation on Greek Music, Dances and Traditions. Corso Sicilia 3, 95024, Acireale (Italy).

Contents Introduction

5

The Tunes

7

1. Argeitikos / Αργείτικος

9

2. Baintouska / Μπαϊντούσκα

12

3. Chalai / Χαλάι

15

4. Chasapiko & Sirba / Χασάπικο & Σίρμπα

18

5. Foties / Φωτιές

22

6. Fourlana / Φουρλάνα

25

7. Karsilamas / Καρσιλαμάς

27

8. Lerikos / Λέρικος

30

9. Mantilatos / Μαντιλάτος (1)

36

10. Mantilatos / Μαντιλάτος (2)

39

11. Mazemenos / Μαζεμένος

42

12. Megalos Zakynthinos / Μεγάλος Ζακυνθινός

46

13. Megaritikos karsilamas / Μεγαρίτικος καρσιλαμάς

50

14. Ni ke dre / Νι κε ντρε

53

15. Pousnitsa / Πουσνίτσα

56

16. Roditikos pidichtos / Ροδίτικος πηδηχτός

59

17. Sirba Lerou / Σίρμπα Λέρου

62

18. Skopos tou Prasinou / Σκοπός του Πράσινου

65

19. Tatavlianos syrtos / Ταταυλιανός συρτός

68

20. Ta xyla / Τα ξύλα

74

21. Tenedios / Τενεδιός

77

22. To stiadi / Το στιάδι

79

3

Introduction Transcription criteria. Transcribing Greek music, as is the case with most traditional music, is a challenging task that often obliges one to make difficult choices. Every choice is a compromise between fidelity to the transcribed recording, and readability of the sheet music, and therefore its practical usefulness. Greek folk music is essentially heterophonic; voices and instruments follow similar, but not identical, melodic lines. Especially in instrumental music, the melodic variations depend primarily on the instrument used, but also on its tuning (in fourths, in fifths etc.), on its peculiar techniques and also, of course, on the skill of the musicians. Just as a language can have a different “sound” from one speaker to another, so in Greece it is impossible to find two musicians playing a melody in the same way. Even the same musician will often play the identical musical phrase with one or more variations. All the pieces of this anthology have been transcribed to help the reader to study and practice traditional Greek music. The transcriptions follow the recordings as much as possible, but do not exhaustively include all the embellishments and extemporaneous variations. The result is a didactic score that imparts to each transcription the “sense” of the melody, rather than being a pedantic reproduction.

to use neither accidentals other than conventional sharp and flat, nor transposition for the microtonal transcription, making this transcription qualify as both the microtonal and tempered. The «transposed» transcription, finally, is written one whole tone higher, for the convenience of those musicians playing instruments in b-flat (such as clarinet). Discographic Reference. Each transcription is based on the recordings referenced below (see The Tunes, p. 7). You can listen to the recordings on YouTube at the following URL: www. greekfolkmusic.net. Abbreviations. The following abbreviations are used, both in the introductory text and in the transcriptions: x3, x4

placed at the closing of a repeat, indicates that this should be played for a total of three or four times, respectively

D.C.

Da Capo

D.C. x2 Da Capo, two times for a total of three repetitions

The three types of transcription. The «microtonal» transcription is the most exact. It is intended for musicians who are familiar with the languages of Ottoman classical music — specifically, its system of accidentals — and Greek music, which by custom and its own modal logic, identifies rast as middle c on the staff (rather than the g of the second line, per Turkish custom). The tonic used for these microtonal transcriptions is not always the same as the recordings; instead, we use the theoretical tonic of the relevant mode. The «tempered» transcription is in the original key of the reference recording, and can be performed on both tempered and non-tempered instruments. The microtonal and tempered transcriptions coincide whenever it has been necessary

ed.

edition

n./nn.

number / numbers

p./pp.

page / pages

s.d.

(sine data) in the discographic references, indicates a missing year of publication

Key signature. A key signature is specified only when a tune follows the tonal language. In all other cases, the alterations — both microtonal and tempered — are indicated bar by bar. Notation of asymmetric rhythms. All asymmetric rhythms are explicitly indicated with their subdivisions, for example: 7 16

=

2+2+3 9 16 ; 8

=

2+2+2+3 8

or

2+3+2+2 8

etc.

Chords. The microtonal and tempered transcriptions also indicate the chords which accompany the melodic lines. It should be kept in mind, however, 5

that despite the explicit indication of major or minor chords (with few exceptions), Greek folk music usually privileges the use of chords with no third, playing a two-note chord made of tonic and fifth, for example: C → C5 (c + g, without e) Cm → C5 (c + g, without e-flat) Chords in parentheses are optional. All chords, in any case, are just a proposal, since even in the same reference recordings, they are often subject to variations. Special typographical conventions. Notes with a smaller size than the others are considered as micro-variations, so their execution is optional. For example:




or:

or:






 








a)



c)



 


d)






b)














f)



g)




h)













j)



k)



m)








i)




3






 

l)

Embellishments. I avoid exhaustively transcribing all embellishments; in Greek music ornamentation is not only free and spontaneous, but also closely related to the instrument played, its tuning and the tone of the piece. I have, however, transcribed the embellishments that I considered useful for the optimal rendering of the melodic lines. By way of example, the embellishments should be played as follows:




e)










 








3






3

The Tunes 1. Argeitikos (Αργείτικος), «From Argo» (Peloponnese). Origin: Peloponnese. Discography: Αργείτικος, from the cd Πελοπόννησος. Ηχογραφήσεις Σίμωνος Καρά 1975–1976, series Μουσικές του Ελληνισμού, Κέντρο Ερεύνης και Προβολής της Εθνικής Μουσικής, Athens 2015: track n. 12.

8. Lerikos (Λέρικος), «From Leros». Origin: Leros island (Dodecanese). Discography: Λέρικος, from the cd Τα Δωδεκανησιακά με τον Μανώλη Κόττορο by M. Kottoros, Το Χωνί, Agia Paraskevi 2017: track n. 9. 09. Mantilatos (Μαντιλάτος), name of a dance («With handkerchief»). Origin: Orestiada (Thrace). Discography: Μαντηλάτος, from the cd Τραγούδια και σκοποί της Θράκης by Ch. Aidonidis, ii ed., Πανεπιστημιακές Εκδόσεις Κρήτης, Heraklion 1998 (2 cd): cd n. 1 track n. 10.

2. Baintouska (Μπαϊντούσκα), name of a dance. Origin: Megali Doxipara (Thrace). Discography: Μπαϊντούσκα, from the cd Οι λαλητάδες της Μεγάλης Δοξιπάρας. Τραγούδια της Θράκης, FM Records, Athens 1999: track n. 15. 3. Chalai (Χαλάι), name of a dance. Origin: Ak Dag Maten (Western Pontus, Asia Minor). Discography: Χαλάι, from the cd Αμυγδαλάκι τσάκισα by K. Papadopoulou, Music Corner, Athens 2008: track n. 12.

10. Mantilatos (Μαντιλάτος), name of a dance («With handkerchief»). Origin: East Thrace. Discography: Μαντηλάτος, from the cd Χοροί της Θράκης, series Αρχείο Ελληνικής Μουσικής n. 34, Αρχείο Ελληνικής Μουσικής, Gerakas 2010: track n. 4.

4. Chasapiko & Sirba (Χασάπικο & Σίρμπα), names of two dances. Origin: Constantinople. Discography: Κασάπικο – Σύρμπα, from the cd Χοροί της Ελληνικής Ανατολής, series Αρχείο Ελληνικής Μουσικής n. 27, Αρχείο Ελληνικής Μουσικής, Gerakas 2008: track n. 8.

11. Mazemenos (Μαζεμένος), name of a dance («Gathered», «Hugged»). Origin: Lesbos island (Northern Aegean). Discography: Μαζεμένος (Χόρα Αγιάσου), from the cd Σκοποί της Λέσβου by P. Vergos, Oikonomidis Music, Athens 2016: track n. 9.

5. Foti` es (Φωτιές), «Blazes». Origin: Erythrae peninsula (Asia Minor). Discography: Φωτιές, from the cd Χοροί της Ελληνικής Ανατολής, series Αρχείο Ελληνικής Μουσικής n. 27, Αρχείο Ελληνικής Μουσικής, Gerakas 2008: track n. 19.

12. Megalos Zakynthinos (Μεγάλος Ζακυνθινός), «Great Zacynthius», also known as Geranos (Γέρανος), «Crane», name of a dance. Origin: Zakynthos island (Eptanese). Discography: Γέρανος ή Μεγάλος Ζακυνθινός, from the cd Κεντίδια by K. Kalaitzakis, Ωδή, Athens 2011: track n. 2.

6. Fourlana (Φουρλάνα), «From Friuli», a region of Northeast Italy. Origin: Corfu island (Eptanese). Discography: Φουρλάνα, from the cd Αυθεντικά τραγούδια της Κέρκυρας by K. Vl` achos, Music Box International, Athens 2007: track n. 12.

13. Megaritikos karsilamas (Μεγαρίτικος καρσιλαμάς), «Karsilamas (dance) from Megara». Origin: Megara (Central Greece). Discography: Μεγαρίτικος καρσιλαμάς, from the cd Σάζι edited by P. Tampouris, series Ελληνικά μουσικά όργανα, FM Records, Athens s.d.: track n. 6.

7. Karsilamas (Καρσιλαμάς), name of a dance («Face-to-face»). Origin: Asia Minor. Discography: Καρσιλαμάς, from the cd Κανελόριζα. Παραδοσιακά τραγούδια και σκοποί σε ρυθμούς επτάσημους και εννεάσημους by D. Samiou, Καλλιτεχνικός Σύλλογος Δημοτικής Μουσικής Δόμνα Σαμίου, Athens 1995: track n. 5.

14. Ni ke dre (Νι κε ντρε), name of a dance. Origin: Amorgos island (Cyclades). Discography: Νι κε ντρε, from the cd Πέρασμα στην Αμοργό 7

by N. Oikonomidis, Keros Music, Athens 2001: track n. 4. 15. Pousnitsa (Πουσνίτσα), name of a dance. Origin: Almopia (Macedonia). Discography: Πουσιτνίτσα, from the cd Μακεδονικές μουσικές ρίζες by D. Ioannou, Πολιτιστικός Λαογραφικός ΄Ομιλος Ακρίτες Αλμωπίας, Aridea s.d.: track n. 12. 16. Roditikos pidichtos (Ροδίτικος πηδηχτός), «Pidichtos (dance) from Rhodes». Origin: Rhodes island (Dodecanese). Discography: Πηδηχτός χορός Ρόδου, from the cd Τα πανηγύρια του Αιγαίου, Δημοκρατικός Τύπος, Athens 2013 (3 cd): cd n. 2 track n. 3. 17. Sirba Lerou (Σίρμπα Λέρου), «Sirba (dance) from Leros». Origin: Leros island (Dodecanese). Discography: Σύρμπα, from the cd Η μουσικοχορευτική παράδοση της Λέρου, magazine Χορεύω n. 8, ΄Οσμωσις, Piraeus 2009: track n. 4. 18. Skopos tou Prasinou (Σκοπός του Πράσινου), «Tune of Prasinos». This tune is attributed to Emmanouil Prasinos (1914-1983), a violinist from Parikia village (Paros). Origin: Paros island (Cyclades). Discography: Σκοπός του Πράσινου, from the cd Χορέψτε δυο μου μάτια. Αναφορά στη μουσικοχορευτική παράδοση της Πάρου, ΄Ωσμωση, Piraeus 2010: track n. 16. 19. Tatavlianos syrtos (Ταταυλιανός συρτός), «Syrtos (dance) from Tatavla», a district of Constantinople. Origin: Constantinople. Discography: Ταταυλιανός συρτός, from the cd Χοροί της Ελληνικής Ανατολής, series Αρχείο Ελληνικής Μουσικής n. 27, Αρχείο Ελληνικής Μουσικής, Gerakas 2008: track n. 4. 20. Ta xyla (Τα ξύλα), «The woods». Origin: Lesbos island (Northern Aegean). Discography: Τα ξύλα, from the cd Ο μερακλής ο άνθρωπος. Τραγούδια από τη Λέσβο και τη Σμύρνη, series Αρχείο Ελληνικής Μουσικής n. 35, Αρχείο Ελληνικής Μουσικής, Gerakas 2010: track n. 1. 21. Tenedios (Τενεδιός), «From Tenedos» (island in the northeastern part of the Aegean Sea). Origin: Lesbos island (Northern Aegean). Discography: Αζιζιές ή Τενεδιός, from the cd Τραγούδια Μυτιλήνης και Μικράς Ασίας, Σύλλογος προς Διάδοσιν της Εθνικής Μουσικής, Athens 2003: track n. 2.

22. To stiadi (Το στιάδι), a term for one of the parts of the traditional loom (argaleios/αργαλειός). Origin: Kimolos island (Cyclades). Discography: Το στιάδι, from the cd Πέρασμα στην Κίμωλο by N. Oikonomidis, Keros Music, Athens 2010: track n. 1.

1. Argeitikos / Αργείτικος Microtonal transcription

Peloponnese


 3 + 28 + 2























C5

F

4


















10

Dm

2. Dm










7



















C5

1.

C5

Dm








C5

F

Dm















13

1.

C5

2.

C5

Dm











C5

Dm















1.

C5

2. Dm











C5



C5















2. Dm

F






F

1.

20

Dm

Am


















23



C5
















Dm







G5

17

C5

Dm



Dm







D.C.

9



G5

Dm








F

C5



















1. Argeitikos / Αργείτικος Tempered transcription

Peloponnese

Am

G


















 3 + 28 + 2



G









G






Am

















4

C

7

Am






1.







G




Am























10

C

1.

G







13

G

Am





Am

2.

Am


















Am

















20

C

1.

G







23

G

Am





Am

2.





G




Am























C

G

2.

1.

D5

17

G







Em












 G



2.

Am

 D.C.

10










D5

Am

















C

G

1. Argeitikos / Αργείτικος Transposed transcription

Peloponnese

 3 + 28 + 2



















4


























































1.






































7

10







13

1.













1.






























23

1.





2.


























2.

17

20
















2.

D.C.

11



2.




























GREEK FOLK MUSIC An Anthology of Tunes VOLUME I

«Greek Folk Music» is an educational project that aims to support musicians approaching the wonderful world of Greek folk music. The first volume of the series contains transcriptions of twenty-two instrumental pieces from different areas of Hellenism, both within and outside the borders of modern-day Greece. These transcriptions are not intended to be executed with a particular instrument and, as far as possible, are suitable for both tempered and non-tempered instruments. Three different transcriptions are provided for each piece: a tempered transcription in the original key, a tempered and transposed transcription a tone above the original (for the convenience of b-flat instruments) and, finally, a microtonal transcription, which considers the micro-intervals of Greek folk music and the theoretical fundamentals of its modal system. The tempered and microtonal transcriptions also provide recommended chords for accompaniment. As is obvious in the context of any traditional music, this work is not prescriptive, but descriptive; that is, we don’t propose to show “the” way of performing each piece, but only one of the infinite possibilities. The tunes: Argeitikos (Peloponnese) · Baintouska (Thrace) · Chalai (Asia Minor) · Chasapiko & Sirba (Asia Minor) · Foties (Asia Minor) · Fourlana (Eptanese) · Karsilamas (Asia Minor) · Lerikos (Dodecanese) · Mantilatos (Thrace) · Mantilatos (East Thrace) · Mazemenos (Northern Aegean) · Megalos Zakynthinos (Eptanese) · Megaritikos karsilamas (Central Greece) · Ni ke dre (Cyclades) · Pousnitsa (Macedonia) · Roditikos...