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NIMMRIS J. KOL-TIS

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AHMHTPHE I. KOYTHT

MTOOAOT

DIMTIRISJ. KOUilS

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

@lmJmmou
MOYIIKOI

OIKOI

MEPO> NPOTO
Oeolpfo Mouorxrig

PART ONE
Music Theory

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

NTO.PE.MI.OA.ZOA.AA.ZI.. To Q0o14r6onpo ourd ro ypdQoupe p6oo

oe n6vre nopdhhnhes Vpopp6g or ono(eE on6-

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.

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

NENTATPAMMO

H H H H H

flp<irm Vpoppfi h6yeror Ae6repn ypqrpf h6yetor

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

MI EON EI PE OA

MI SOL SI RE

FA

Av6peoo onE n6vre ypopp6g undpxouv Kol

r6ooepo 6roor6poro.

Among the five lines, there are also four

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

FA

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

called called

called LA
DO MI

OA /\A NTO MI
Erc6S 6HcoS on6 roug rixoug rou nrvrovpdppou undpxouv xor 6hhor 6xor o(6repol Kcu xo-

FA

I.A

DO

MI

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

Except from the notes of the staff, there-are some other notes which sound sharper (above the staff) or softer (below the stafO. In order to write these sounds we use the ledger lines above and below the staff.

KATO ANO TO NENTAI-PAMMO EXOYME

BELOW THE STAFF THERE ARE

NTO PE MI OA ZON NA ZI NTO PE

7te

= -

DO RE MI FA SOL I.A

== =u

ac
SI
DO RE

ENANCI ANO TO NENTAI-"AMMO EXOYME

ABOVE THE STAFF THERE ARE

t2
EON

-i. g
MI

NA EI NTO PE
Eup6ou?tri

SOL I..A SI DO RE
Advice

MI

6vo np6xelpo rcTpd6ro rng pouorxriE vo ypor1lsre noll6g 0op6s roug Q06wous ro>v ypotrp6v, 8roornpdrcov xot endvo xor xdror rou nevroypdppou, <irore vq rous 6rq86zete
or-r6x 6ro8ozere pfo eQnpepf6ir.

t'

In a copy note book of music, please write

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
To xlrer6i vpdQerol ornv opxti xd0e ntvtcr'o.sopllou xor 6fver ro 6vopo oro S06yyo qn6

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

: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

x.her6rq) efvor ro

xlel6i rou EOA.

lo

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

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

clef.

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

VALUES OF NOTES
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 - value.

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

NINAKAE ME TIE ASIEE TON OOOITOTHMCIN

TABLE WITH THE VALUES OF NOTES.

O16rilnpo
Mro6 T5ropro 'Oy6oo A6xoro 6xro Tproxoor6 6e6repo E$nxoor6 r6ropro

(o

whole note half quarter eighth sixteenth thirty-second sixty-fourth.

J
) ) /

h
N
N

,R

To ol6xlnpo ro
To

xdvoupe

4 xrvfoerE 2 xrvnoerE

The whole note is counted The half note is counted The quarter note is counted The eigth note is counted
The sixteenth note is counted The thirty second note One beat is something like this

in four beats:
in two beats

To pro6 ro xdvoupe

drogo ro xdvoupe

1x(vnon

in one beat in half beats in a quarter of beat

is counted a

ro 6y6oo ro xdvoupe ro 66xoro 6xro ro

xdvoupe

proi xfvnon
1/4 rnE xfvnqnS

To rproxoor6 6e6repo ro xdvoupe 1/8 mE xivnonE

eigh of beat

To e(nxoor6 r&opro ro rdvoupe 1/16 ms xivnonE. H pro xfvnon e(vor 6ror = ',

6nlo6ri xore8ozouUe xot ove8ozoupe

movement: (down and then up)

*t

that is our foot goes down then

up leaning on the heel

ro n66r Uos nou

ornpfzutor om 0r6pvo

10

NAYZEIE
llo6oerg undpxouv r6oeg 6oes Kol or
qies

PAUSES (Rest sings)

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

Rests are as many

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

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

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

tl

a fIo6on
Aex. 6rrrou

lIo6on
Olonl[6pou

lIo6on
Mroo6

lIo6on
Ter6prou

fIo6on
Oy66ou

llo6on Tprox.6eur6pou

[Io6on
e$.

ter6Ptou

AIAZTONE> METPO
Bpfoxovror p6oo o' 6vo pouorx6 6pVo. Mftpo h6yetor o x<irpog nou undpxer ;reto(6 rov 6uo 6roorohcilv.

BAR-LINE / MEASURE
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.

Aroorol\6g h6yovrol ol Kdeeres Vpopu6s nou

Aroorohf

Bar-line

&o r6hos undpxer 6rnhri 6roorohf nou onlrofver 6u rehercirva ro pouolK6 xoppdn.

At the end there

is

a double Bar-line that

means the end of the musical piece.

11

Qoupe ro

'Orov opxfzer 6vo pouorx6 6pyo npcino Vpdr<her6(.

METPA

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

oxolou0o6v to onpefo oh-

poxdrco- xot 6nerro oxohou0ef 6vq xhdopo nou h6yeror M6rpo ri xp6vog, ri pu0p6g.
414

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

Merpo 6xoupe nohhd 6ncoE fi C,314, 214, 918, 719, 514 x.?r.n.

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

O opl0pnrris rou xldopotog

,
H.

tll r!

EAAEIIIEE METPO
Le 6vo pouorx6 xoppdu nolh6s Qop6g to
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.

INCOMPLETE MEASURE
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

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.

12

OE>H KAI AP>H

Ie 6ho to p6rpo n npcirn xfvnon nou
yfveror

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

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

NAPEETITMENA
pto rchefo ro Q0oyy6onpo h6yetor

'Orov oro 6e(rd ev6g QOoyyociripou undpxer

noptmly'

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

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

A dotted whole is equal to a whole plus a

half

(D.r

'Evo pro6 nopouvp6vo eivor ioo pe 6vo pro6 ouv 6vo r6ropro 'Evq tftopro noptouyp6vo eivor foo pe 6vo t6ropro ouv 6vo 6y6oo

o+J

A dotted half is equal to a half plus a quarter

o.r o+ J

J.=J+J
J.=

J'=J+J
A dotted quarter is equal to a quarter plus an
eighth
6vo

J* 'Evo 6y6oo nqpeouyp6vo eivot foo pe

6y6oo ouv 6vo 66xoto 6xro 'Evq 66xoro 6xro eivor foo pe 6vo 66xoto ouv 6vq rproxoor6 6e6tepo

A dotted eighth is equal to an eighth plus a

lt\ ),= )+)

j--- a L J
I

f.' f'F
6r<ro

sixteenth h
fu-second LYrvvvrrs

A sixteenth is equal to a sixteenth plus a thir-

J.- JI

,F

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

F FR o.= a +
a

A thirty-second
a sixty-fourth

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

13

AINNA IAPEZTIIMENA
'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, <irore Kol ol 6uo orryp6g pozf nopotefvouv rn 6rdpxero tou Q0o.,n76onpou xotd ro tpfo r6topro ms npovpcruruig toug o[fog.
'Evo ohox),npo 619 nopeonyp6vo efvqr foo pe 6vo oh6xhnpo orjv evo pro6 ouv 6vo t6ropro.
I

DOUBLE DOTTED
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.

A double dotted whole note is equal to

whole note plus a half note plus a quarter of

note

(O..=(O

ttO r I

(o)..=(o+o

+,

Or nofoels pe ouvpri 6ropxeiqs exouv mv f6ro

Rest Signs with a full stop have the same val-

o(fo pe ro ovrfororxo Q0oyyoonpo.

ue with the corresponding notes

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.

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.

14

TONO> HMITONIO
Hprr6vro h6yetor n prxp,5tepn 6uvorn onootoon peto$i 6uo S0olryooripov nou ovopeod roug 6ev undpxer ohhn Qr,rn (Q0oWod A6o efvor ro Quorxd nprr6vro ro MI-<DA6 EI-NTO. Autd h6yovror BAtlKA. T6vog h6yetor n p6on 6uvotf on6otoon perqeO 6uo 00owoo6pov nou ovdpeod rous undpxet pfo xor p6vo Q<ov6 (006wos). O tovoE efvor ro 6rnhdoro rou npttovfou.

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

Tone
is the movement of a melody

from one

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

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

ACCIDENTALS
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 higher.

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

YQeon

pnep6h xote86zer

m Qotvri

(Q061ryo) xot6 6vo npn6vro.

The flat lowers the sound a semitone lower,

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

H Avofpeon enovo$6per rnv ohhotcoOefoo

Qrovri (00oWo) orn Quotxf mg xotdoroon.

Ar6oerg 6xoupe 7:

There

ane 7 sharps:

YQ6oerg

rfl

pnelr6ll 6xoupe 7:

There are 7 flats:

SI

MI

IA RE

SOL DO FA

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.

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).

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-

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 enov6pxovrol orn Quou<ri roug xordoroon.

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.

Iro nopondvo

1) Ou oro 6e6tepo p6tpo ro

nopd6erypo Bh6noupe II eivor ruxq(o on_

peio olhoioong. 2) Lto rpfro p6rpo Kol ro 6uo IOA efvor ruxoio onpe(o oMofcoonE 6r6u n 6feon eivor oro np<irto IOA. 3) Ito tSropro p6rpo ro npcirro M efvor Quorx6 ev<ir to 6efrepo ohhorcbprvo, 6r6u n 6Qeon efvqr oro 6e6repo AA. 4) &o n6pmo pftpo ro npcirro PE eivor ohlorop6vo. Ev<ir ro 6e6repo efvo $uorx6 6r6u
undpxer n ovofpeon.

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 nofzeror olhorop6vog.

The note MI of the fourth measure is played

alterated as MI

16

ENAPMONTOI OOOTTOI
Evopp6uor O06wor tr6yovro 6uo QOfiaror 6tov 6r<ouv ro f6p 6xouolro o?tld &o0opmx6 6vo1ro.
n.x.

HARMONIOUS NOTES
Harmonious notes are two notes that have the
same hearing but different name.

NTo*fl *o pb b Ml

example:

DO

xor

eA

il arrd RE MIfi and FA I

INTERVALS

AIAZTHMATA
Ar6ompo efvor n qn6oroon
cos

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

p6 toug on6 rov qprep6 trov Q061ryov nou nepr6xouv, 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

NTO-PE-MI

006Wous ouvex6pwoug
x.?r.n.

n.x.

Eup0ouhf
'Ooo neproo6tepo 6rq6ozere m Oecopfo t6oo neptoo6repo npoerotpdzeore vlo to 6pyovo.

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

ZYZEYEH 6 ZYZEYEH AIAPKEIAZ

H o6zeu$n 6roprefog efvor pro xopn6iln VpoUFf

NOTES WITH TIE

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)

ln ypoppf
nou H o6zeu$n npooor6iog eivor pro peydln xo1rn6er,rcirva ov6poro Q0o1ry6onpo neprlopBd.

LEGATO LINE
The legato line, is a big curve line

vovros noMd U6rpo.

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

E6<6 ro 00oW6onpo nofzovror neproo6tepo vo Kor 6x r<nrnnrd.

6e1r6-

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

17

ZTAKATO
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<os.

STACCATO
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

HOLD or FERMATA

/i

To onpefo qut6 to ouvowdpe ouv60<os oto t6hos x60e pouorxo6 6pyou endv<o on6 tov Q06yyo. H Kop<ivo nopote(ver m 6rdpKelq rou 006wou hiyo neproo6tepo on6 mv npqvpouxf tou olfo.

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

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

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

[o onpefo mg enovdinpns ro xpnolyonoro6pe 6-

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.

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$.

and the Coda

$
Advice

Eup6oul\6
No tovq&oBdoere 6hn m
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

your hands the bouzouki.

18

MEPO> AEYTEPON
Tootr6po Mnouzouxroti

The finger board

PARTTWO
of Bouzouki

lu

TPIXOPAO MNOYZOYKI KAI MNATAAIVIAZ

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

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.

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

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)

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.

Tuning of the Bouzouki

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-

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

,*,2*2

at+

2gcl2:fl:
'Eror yprirfier<rr
N

writing. 'Erol oxotiyaror

Hearing

F;

==

n=

f=

3frlr

MEPOZ TPITON
Mouorr6 E6ornpo

PARTTHREE
Musical System

TPEMONO
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 nvvo
onpercirvetor

TREMOLO
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

eror

nevvro npos

ro xoro

/W

nevvtO npos IO novc.l

onper<overor eror onptlovtlot etot V

.H

T^IETPHMA (O^IEOHMA)
To yl\iorpnpo (ollioOnpo) rolv 6qrc6ilcov rou qprorepor5 xepro6 ro xdvoupe pe 6vo 66rnulo on6 rov
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<og to nopoxdro nopd6erypo.

SLIDE
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:

Eup8ouil6
O oyxrbvos rou oprorepo6 xepro6 vo 6l6ner npog
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.
Or opr0poi en6vor on6 roug r[06yyoug eivor ro 66rculo rou oplorepo6 xeprou ror onper<i-

Advice
The left hand's elbow should look downwards.

Demonstration of some lessons for the exercise of the pick witlr the right hand, and for dre exercise of the left hand's fingers.
The numbers above the notes are tihe fingers

numbering of the left hand and are marked

as:

vornor 6ror: 0 Xop6ri ovorxrri

Aeirrng

2 M6oog 3 llop6peoog 4 Mrxp6

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

z3

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

Iro

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

Time 4/4 xp6voE 4/4

"p

Adxruho.

Ito

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

ho.

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

=!tJt

Xp6vog

4/4 d + d - to

ll

Auo puo6 x6vouv 6vq oh6xhnpo

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

Iro reropro perpdpe xotd rov i6ro rpr6no 1 oopo J Jt ,u,,, to 6ef pog x6pr nofzet nore tpeprolo, n6re nrwlrs ovdhoyo
pe

rnv 6v6sr(n.

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

Auo t6topto uqs xdvouv 6vo pro6.

J* J - J

rwoquartersgiveahalf'

24

Iro

6y6oo perpdpe pro6 xdto xor prori end-

vo:. To 6ef Uos x6pr nofuer newr6g.

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

[1= )

Auo 6y6oo pos xdvouv 6vo r6topto

[7

Two eighths give a quarter

Auo 66xoro

6xr pos xdvouv

xfvnon

6vq

Oy6ooJl=)

Enop6v<os,pe prcr

oepo 66xqro 6xro.

t t. xdvoupe 16o-

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

A6o xftco 6t1o en6vo.

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

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

j =fr

'-fr

onoxrfloel plo oxeuxri nefpo xor xdnoro rox6-

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.

.f E

tnlo.

Eup6ou?tf
No pnv npoxcopefre oro en6pevo pdOnpo, edv 6ev p60ere ro nponyo6pevo.

Advice
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-

COUNT ONE MOVEMENT FOR EACH QUARTER AND ONE

3H.

MOVEMENT FOR THE TWO EIGHTHS ACCORDING TO THE INDICANON.

NAYEEIE
llo6on olord[flpou

REST SrGNS (PAUSE)

Whole Rest Sign.

no6on proo6

Half Rest Sign.

no6on rer6prou

Quarter Rest sign.

Eup6ouhri ld
Ilpoo6fte ro pu0p5, 6vo pouorx6 xoprpdn oKouverol Ko6rqv perpr6ror xohd.

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

26

flo6on oy66ou

J T II

Eigth Rest Sign

AdQopeg no6oerg

Various rest signs.

TIAPEZTITMENA
Mlo6 nopeonyp6vo

DOTTED NOTES.

Half dotted.

rtlttt

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

?rreJo-rOTAOO NAPEETITMENO KAI AEKATO EKTO

To nopeonyp6vo 6y6oq nqfzovror ye rpelroho

TPIHXA

THREE.SOUNDS

Eup0oufui
No enrp6vere oro 66oxolo p6pn nou ouvovrdre.

Advice
Insist on the difficult parts you encounter.

t,

MEPO>

TETAPTO Kl\fpoKrs (Ap6por)

PART FOUR
Scales

KNIMAKEE
Morz6pe rd\fporeg Or potz6pe r<ifpoxeg nepr6xouv 6uo npn6uo Kql n6vre r6voug. Exnpotfzovror 6nh. pe r6vo, p6vo,

SCALES
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.

nprr6vro, r6vo, r6vo, r6vo, nprr6vro.

Moz6pe rltfpoKo rou NTO

xlfpoxo, yrod oxnporfzeto xr,rpig xov6vq onpeio ohlofoons.

H porz6pe xhfpoxo rou NTO l6yetor xor Quorxri

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

Mou6pe n?rfpoKes Fe 6lSoerg

K(rr Fe urfi5oers Me 6lSoerg

Maior scales with sharps and flats With sharps

With

, ,3 "4> ,5

Me 1 6r6on 2 6r6oerE

efvor

) )

"6) "7))

) > ) ) ) )

nOA il nNTO fi

nnA nMI nII

nPE

IOA

pclTzope

) )

l sharp it is " 2sharps ,,> ,3))>)) "5>)))

SOL
RE

maJor

LA
MI
SI

major major major

maJor

>

,6))))
"7>>>

FAf,

,ofi

major
major

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

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<lfpoxo)

Scale of DO major (natural scale )

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

DO

fl

pozOpe pe ern6 6r6oerE major with seven sharps.

30

ME YOEZEIZ

WITH FLATS
With 1flat

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

Me 1

major

2 flats

"3D ,6D

,4) ,5)
"7D

major major
maJor

major major
major

Klfpoxo

<DA poz6pe Ue Uio 6$eon Scale of FA major with one flat

Klipoxo EI
Scale of

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

Klfpoxo MI
Scale of

MI p major with three flats

DI

lroz6pe pe rpefs

uQ6oerE

Klfpoxo

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

I

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

Klfpoxo EOA
Scale of

SOL D major with six flats

1uiorz6pe

pe 6tn uQ6oers

Klfporo NTO
Scale of DO

31

MINOPE KAIMAKEE
MINOPE KAIMAKA TOY AA H AA Mrv6pe l6yeror xor $uorxri xhfpoxo 6r6n otov onhrop6 6ev undpxer xov6vo onpefo ohlofoong. Mrv6pe xhfpoxeE undpxow 2 er6<irv, ol oppovlK6g xor or pehro6rx6E. Or oppovrx6E onotehodvtor on6 3 r6vouE

MINOR SCALES
MINOR SCALE OF I.A
The

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

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

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-

mitone, tone, tone, semitone, three-semitone.

r6vo, r6vo, r6vo, nprr6vro. Kor xffeBofvouv xord t6vo, r6vo, nprr6vro, vo, r6vo, nprr6vro, r6vo.
Me ng nopondvo oxnpodzoupe Kor uE prv6pe
UoKeS 6ncog

npnovro. Ave6ofvouv xord r6vo, npn6vro, rrivo,

Or pelofrx6E onotelo6vror on6 5 r6woug, xor 6uo

16-

They descend as semitone, three-semitone, semitone, tone, tone, semitone. The melodic
ones consist of five tones and two semitones. They ascend in the following sequence: tone, semito-

xlf-

oxnpodoope

Kcu nE

poz6pe.

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

toe, as we formed the major ones.

}IINOPE T(^IMAKEZ ME AIEEEIZ

MINOR SCALES WITH SHARPS

With

t 2 sharps ,3) ,5)

,6D

sharp

it

is MI

minor

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

MINOR SCALES WITH FI.ATS

With 1flat

" ,3 "4) ,5 "6 o7

) )
D

) n MI rD, DnAAD)

n PE )nEOAD )nNTOD )nOArD D n EI

prv6pe

Dt

, 2 flats ,3) "4)

it is

))
)D

"6)
"7D

)) ))
)>

DD

mmor minor minor minor minor minor minor

Eup0ouM
Aro8dore npooexuxd 6leE nE xlfpoxeg. Oo ooE xpnorpeOoouv opy6repo, 6rov 06here vo oM6[ere r6vo oe 6vo pouox6 xoppdu.

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

32

ENAPMONIE> KAIMAKE>
An6 rov oxnpouolr6 tco potz6pe xor 1uv6pe xhpdKo)v oupnepofvoupe 6u: Or porz6pe xi(poxeE efv r666er<oyrorf tpeiE on6 uE 6exon6we xiipoxeE nou 6xoupe voQ6per (pozf pe tnv $uorxf xhfpoxo tou NTO) e(vor f6reg pe dMeg
rpefE.

HARMONIOUS SCALES
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 others.

Aur6s efvq:

Hr{io-fl
HIDA I
H

>I

pemvPE b, Fernv EOA I b

[rE

These

rnv NTO

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

are:

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
f6reE.

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.

H/vi-fr,,
HzOAil

Aut6E efvo:

HPE '' f,

" pemv AA b-

pemvEI b, pemv MI , h

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

Kor our6g or r<lfproxeg 6 .ouv to f6ro dxouolro qh d 6roQopenx6 6v< po xor h6yovrol evopF vreg xifFOrsES.

me and are called Harmonious scales.

Eup0oufui
'Orov 6roBdzete 0eopfo pnv o$6vets to 6pyovo. No nofzere x60e prepo.

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

K?riporeg yorz6pe Kor Frv6pe endv<o oro pnouzo6m

por(r.

on6 6ror$opeux6 6roorr[-

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

t-

Khfpoxcr NTO poz6pe

(Quorxri xlfpoxo)

DO major scale
(natural scale)

An6 ro 3" ro 6rdornpo ms 2" xop66E

From 3'o interval of the 2'o sting

Adrrulo

Fingers

t2?f *ql

th.5ruig

t3t sfung

rl xo$i ltr strthg

l3E xceSr

2r.

rirlng

An6 to 10" 6r6otnpo ms 3" xop66E

From the 10'h interval of 3'd string

lslxcrrt

s+stzirlg z* slzing

lghrorar

ttlfr,crel I 13r slzing

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

Klfpoxo ZOA poz6pe

MAJOR SCALES WITH SHARPS

SOL major scale
From the 5'n interval of 3'o string

An6 to 5" 6rdompo ms 3". xop66E

Sotaol

r3B r r2I.ro?t$ I

=-r

,-=
rlPxo?Ltr r rl3xonr r r1?xoarrr r*x.t
From the 10* interval of 2"o string.

An6 to 10" 6r6ompo mS 2o^ xop6riE

18!rorAt tfB ro?a{

An6 to 17" 6rdornpo ms 3.. xop66g

tA! ro?a{

I rllxotr

From 17" interval of the 3'ostring

3?

rcn. I

lE rror

t!? xcrettl r8l ror, |

-=
'l,rar

35

Khfpoxo PE porz6pe
An6 ro 5'" 6rdornpo rng
2o".

RE maior Scale

xop6fE

From the

5'n

interval

of.2"o string.

18

Tora,J 2"stzhg gr s+aing

r

4ll rcrlu

t lE Xolru 1.+ stzing

From the 3" open string

, tSEr.rr
2s slzing

An6 rnv 3" xop66 ovorxrri

t? rorrrr

8? xorrrr

till rorAx

LI rorrf

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

From the l2'ninterval of 3'o string

t]3prot

33xcor r ttE rogAr

r 13

xostr I

3I roerrl

tlEf

r4l

K?tfpoxo AA p.orrz6pe
An6 m 2o" xop6ri qvorxrd

Il\ maior Scale From the

2"o open string

2l rootll

t t /19 xo?Ltt

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

e13'o string

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

r9t xcrl,

2!l xollttl ll? xotax

2oo.

13

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

An6 ro 12'" 6rdornpo rns

xop66E

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

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

I l3 ra PAil

o.e

= I t8l ra0r.1

Kilfporo MI yotz6pe
An6 ro 2o" 6rdornpo rns 1" xop66g.

MI major Scale
From the 2"o interval of 1" string.

l?rorr

l'{ sttiqg

4I xcPAr L1+ Sltttrg

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

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

t?3

x.rarf I rlE rorre 3"'xop6ng.

I l tl rcorrr

I lt];c'^.l

Ano ro 14"'SrdornUo mS

from the 14'n interval of 3'o string

r33 xoPa

2l

xoeaq

I l!

xoPan

!,3

*o?A

r t

2l x oear I

te?'<o?A.

Khfpoxo >I porz6ps

An6 to 20" 6rdornpq rns 2'"'xop66E.

SI major Scale
From the 2"o interval of 2"o shing.

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

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

I I .l[E *oeatl

tt! -otat

From the 9* interval of 3'o shing.

]l xora. | | 83 roertl

! ltl xotr{

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

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

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

t! rorr.l t t! ro?Arl

I ll

xoer

lt 8t xrt.l

37

Khfpoxo

QA il

porz6pe

FA fl maior Scale
[]rom the

An6 to 4'6rdompo rns 3" xop6riE.

4'

rnten,al of

.3

strirrg

:)! r:r r
3r.

rttrlg l.t str,tng

t93 ro?l{

t r,3

rc?rh 1H Str.i19

lli! xcoarr I t8l:arax

l!+ Sititlg 2h' stdhg

t Ltr""*J trr stUlg

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

From the 9* interval of 2"0 string.

183

x.r.

I 1l! xarr

I I t!

,oQ)'t
From the

t2? *o?.1 interval of 3 ' strinq

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

16

lD! xar

| | 33 rorrr I

{l! ro? x

lll;oPaq

t rtlroPar

t E!ro?.l

Khipoxo NTO

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

fr

porz6ps

DO

From the 4* interval of

il

maior Scale
2"o shing.

tl!

xorel

I l! xo?arl

L3 ro?^H

l?lsrr.

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

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

t3Srprt

ti2f

ro"arr I lt?xcoe.e

ll? rorar

I r2? ro?ttt I ttt.rct.l 2

slrrnr;

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

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

lil

,cP^tt

r t, l-J

.-etA{

38

MATZOPE KNIMAKEZ ME YOE:EI> I(ltfporo <DA porz6pe

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

MAJOR SCALES WITH FLATS. FA maior Scale

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

t!! ror I
3''

Stllhg 2{ Staiqg
3'.
xop66E.

t?l ,o)LA

lL? ro;al
ls+

string 2r.Slzing

19: ro?A*

rl? ro?

3"rs+Ling

An6 ro 8" Erdornpn rnE

From the 8" interval of 3'o string.

El roer r t?;o?Ltt
An6 ro 15'" 6rdornpo rns 3" xop66E.

I tt rc?alt
-1

r rllrril.l L#
3'o

From the 15'n interval of

string

[]3

rror.l

I 2?

rorer I llB rarel

pqrz6pe

t
I

8l xorlr

1 l$ rc?.|

Khfpoxo

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

EI b

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

7
18E rnl

e,
I lI rc ?rn
I

ll!.,clr..

, l,!rc.

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

From the 8" interval of 3'o string.

llBrrrl

l2? to?r{ t

I l!

:crarr

lll te 'AI |

2E xctar I I tE rofr{

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

from the 13* interval of 2"0 shing

2l r.tl.

I ll ,rolrlr

I tB ,oQD"

tll

r,clsLul

39

Kltipoxo MI

poz6pe

MI b maior Scale
From the 6'' interval of
2"o

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

string.

t13 xort

t!

xoga*

t ll! xocaq

t r2!p?r

An6 16 13 6rdornpo rns 3"'xop6riE

From the 13" interval of the 3'o string

r* rorr

!! rolrt

lt ro?A,il

lI rolrrr ,

!! rortr r r$ntrll

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

From the 1" interval of the 1" string

r lt xo?Ail

Kilipoxo

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

nA b

porz6pe

LA D major Scale
I

From the 6" interval of 3'o string

+ r8! xatrn I

tE -ornn r

tE rorerl r

l3B

ra?rs

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

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

T+ - rot I LII xolar r,2E

- ,-

t tl

xoeror
From the
6'n

An6 ro 6'" 6rdornpo ms 1" xop66g

interval of 1" string

-lG u ''' tlB xo"Al{

'+-:
I

L_{,1 xoPAtl

40

Imv en6pevn
6xer

xhfpoxo

onhop6 n6vre uQ6oerg nopfinpofpe 6u

zo66xer

PE b

porz6pe nou

i6ro

xhfpoxo pe 66o 6roQopeux6E ovopoofeE, xor

NTo ,# pE # xo PE b prorz6pe
x.h.n.

I-1.x.

n xhfuoxo

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.

In the next scale RE

Av

xdvoupe

plo o6yxpron rov

nopondvco

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

6Cn

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

MI fr ef-

r us xlfpoxeE
6r6oerg, KCu ernd uQ6oas pe

u06ous, pe

EI porz6pe pe onhro;r6 n6vre 6r6oerg.

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

41

K?tfporo AA prv6pe natural Scale

An6 m
20"

LA minor Scale (Minore)

From the 2"o string open

xop6ri ovorxrri

C.Jt

22 xoetut l4l

xotttt

t42 xoesa From the 4

7'n

l22xoptul

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

interval of 3'o strino

=T+ t3il xoPttt t 3d ttLilg

r\no ro

T=
tZ\
1,'r

sh,iurg fr sizirlg
2
xoptiriq

soeset

fl\

xot.t

13r

steitg ztr stci'rg

21 xottu

l2

orrlr;rn1-rcr rnq

From the t2'n inte.rval

4,t

tlE xo?at{ pr StLi\g

ttt xoPlrr
1g{ stLiqg

eT= | 2t xo?r[
re stUng

APMONIKEZ MINOPE KNIMAKEZ ME AIEZEIU Klfpoxo MI prv6pe

HARMONIOUS MINOR SCALES WITH SHARPS MI minor Scale.

From the 2"o interval of 1" strino

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

lLL xo?*A
An6 ro
7u"

| 42 xoe;q
From the
7'n

6rdornllo ms 2o"' xop66g

interval of 2"o string

,t4

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

t LL xoglrl
From the
14'n

intervasl of 3'o string

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

2t1

1.14

xoP,

t 22

xoqt. I l*2 rat;u

Kilfpoxo EI prv6pe
An6 ro
20"

SI minor Scale
From the 2"o interval
of.

6rdompo ms 2o'. xop6rig

2.. stnng

TO
t22 xo PAt
t

eT
t aL xoPAr

2(' stztlX

Irl

Stzi

u19

r22 -oext rr. stti \e

An6 ro 9'" 6rdornpo

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

A[ xopar{
string

2o". xop66g.

From the 14" interval of

2"0

-Ue
t2! xoz*a
t

l4L

xoPLa

I 4L- so ?bA

t2t *oers

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

KifporoQ4. *

prv6pr

From the 4'ninterval of 3'o string

FA *

minbr Scale

47t13 t?! *oltx I l2( xoeox | )4txoer.l ill s<opL,t L2l xresx I
An6 ro 9'" 6rdornuo ms 2o.. xop6riE

?l xcoptt
2"o sting

From the 9" interval of

t2'!. xoeail

t 4!

xo PaH

t 41 xo

ear
4'n

I I 21 xoeau
interval of 1" string

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

From the

t t! xo

ea,A

t Ll.

x.-Prv

43

Kifpoxo NTO fl prv6pe

An5 ro 4 6rdornpo rns
2o".

DO

xop6flg

From the

+
4'n

minor Scale
interval of 2.ostrinq.

t l4 xoeb4

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

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

x+urg

+
t1t xocstt t
t21 xoote ,, iL xot
t

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

Kltfporo >On

fl urv6oe

SOL

{ minor Scale

An6 ro 6" 6rdornpo ms 3"'xop6fig

From the 6" interval of 3'o string.

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

t LL xoo

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

122

-=-+ xolstt

e ,==
t t L2 xo"sq
I

lL2 xoobH

t 22 ;.o ?^H I

An6 ro 6'" Erdornpq rns

Kltfpoxq PE il Frv6pe
2o".

xop66g

Arnhf 6(eon Double sharp

f From the
RE

minor Scale

6*.interval of 2"o string.

tll

70?LH

l2 rdCAH
From the 1" interval of 1"

tng 1" xop6rig

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

I Ll to?rrt
From the 13* interval of 3'o string.

-j

lt44,V
lllxoesu 1 l2!>,oeatr t l?L{xoeaq tl**oro., t2!*aps* t t}l.'oesu

L-i-#

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

t 22-

ra

PLH

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

From the 8* interval of 3'o string.

t32 xo?-^tt

r t22 xoetx t

174 xo?. t

t!2xuot.lt?2roesLt

I3:1

roP6N

An6 ro 13 6rdornpo rns 2" xop6riE.

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

t22 xoetH. t r1? xoPlrt

APMONIKEE KNIMAKE', MINOPE ME YOEZEIE

,Ilxo

P.o

rt

t t 2? xoerH

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

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

t21 xoes

t t42 xoPLtt

t42 xae.x+t

, t22 xo ?\,.t

An6 ro 12" 6r6ornpo rns 3" xop6rig

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

t32 xo eta I

2\ *optu I

42

xc.r,

I tl2 xot'l 2L roet'

t 7A >'oeb.l

An6 mv 1" xop66 ovotxtti

From the 1" open string.

,lL

xcPLH

I a"

*oe'q

45

Khfporo EOA prv6pe

An6 ro

soL minor Scale

From the 5" interval of 3'o string.

5'

Erdotnpo mS 3"' xop6fig

+-T==
tl.trap,r I t3!.<cpas t[ -xoltt l2\vopril 2\'stuilX I'J g{ui'tt l'aS+Li.t, t'. sttirlg
From the 10* interval of
2"o string.
I

+
r

e-=xo PaH

3!

rll

xoern

lr8!

roPlq

rng 1"'xop6rig

From the 5" interval of 1'' string.

7= ,Ll

T+
YEPLH

. |

L'1- '- ,o?brl

Khfporo NTO prv6pt

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

DO minor Scale
From the 10" interval of 3'o string.

r3E xopA(

2l xoctx

,LL xoo,

rlB roo.

r t 2l tot*t

bl to?r

tt

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

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

t22 xott A , r l! xarlx

An6 ro 15'" 6rdornpo rns 2" xop66g

rtL

xoPAil

t 21, >o ?srl

2"o string.

From the 15'n interval of

,2! ya'r*
46

, ,t!yorlrr

r tlLxofrrt

,,2t xolrt{

Kllfpoxo QA prv6pe
An6 ro 8" 6rdornUq ms 2*s xop66s.

FA Minor Scale
From the 8" interval of 2"o sbing,

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

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

tLL xogstl

, tZL xoest

rs stdng

2d sitin2

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

a* ;otttt

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

y'lr!,

xo?. t t?l xoesx I lrl

3'o

xor.au

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

From the 15'n interval of

string.

5! xoerH

, t}l xoetq t

aLL xo?.

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

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

Like the major scales the same at the minor ones we can see that in the next scale SI [l minor (five flats), we have the same positions on

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

the bouzouki as the LA

sharps). So, for the same scale we have two different names and notes.

minor scale (seven

SI

scale llTiDOLf f, minorthe. SI begins with LA fl but minor scale

gins with SI

f,

f,e,t.c.

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

b, DO RE le.t.c.
fl

be-

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-

(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 r2r =.:*:;_.. :,,,?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

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

SI b SI fi is the same with Do,

oo fl t,

ndvo rou nevroypdppou nou 6ev efvor t6oo

efxpnoror.

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

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

616-

oerg, 6tov (6poupe tov onho1r6, oveBofvoupe

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

6_

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.

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

oto AA. To AA eivo n xhfpoxo nou znrdpe

x.h.n.

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

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_

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-

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

oerE

<DA-NTO-IOA.

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 ndv<,r

ono PE. Apo oeperg uQ

Ar6oerE:

AA h poz6pe

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

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.

tl-MI-nAhrop6 16oVlo rq no-

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.

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

YQ6oers: EI-MI-AA-PE-

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

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 maI jor key has key signature with four flats. 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 :

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

48

AIAOOPE> BYZANTINEU KAIMAKE:,

BYZANTINE SCALES

PE

EAMnAX-sABAH

PE

#- on #

NIABENT-NIAVED

MI V-

AAh

KAPTZITAP.CARJIYAR

ZIV

OYZAK. OSSAC

eA

rroYPNTrN- YrouRDrN

AA fr PAzr - RAST PAZT - RAST fi AA

PE fr

XOYZAM - HOUZANT RE fi

PE

fl nA b >ErKAx - cENGAH

RE

il

LA

pE

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

50

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

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

'Oilo ro oKKoprrovlop6vro

List of all the accompani-

AKOAOYOOYN OAA TA AKKOMNA. NIAMENTA TIA TO TPIXOPAO MNOY. ZOYKI KAI TON MNATNAMA.
Aro86ore pe rpoooxf rrs nopor6ror
oupSou169 1) I-lohld qn6 ro oKKopnovrop6vro efvor ypopp6vo pe 66o 6 neproo6rcpous rp6nouE. 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

MENTS FOR THE THREE STRING BOU.

THERE ARE ALL THE ACCOMPANI.

ZOUKI AND BAGIAMA.

Study carefully the following advices:

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.

emeheor6g

0o

6roh6[er p6vog

rou

nor6E

2)

noizet.

Meprxd on6 To oKKolrnqvrop6wo efvor

Kcu

ypopp6vo

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

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).

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

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

O eraeheorfE horn6v 0o 6roh6(er nor6 oKKoHnovrop6vro rou rorprdza ov6hoyo pe to 6d_

muho nou 6rq0&er.

to his fingers.

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

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

52

NTO

C l-,lAJoR

14

AILO PC

NTO

1,4

ATZO Pe I1 AJ OR
5oL

nUT

o t.l A|LO Pe C HqJOR

MlO UATZO PC

H A.,/oR

,tl O tt 4tLO

A.loR

Pe

Do Do

Nlo l.lAtLope c L4tqJOR

5oL

NTo AATLo p e

C l.tnurOR

Oo

3oL

[on [4Atzop
G
I.IAJOR,

Eon
G

F.tATzope
UAJOR,

SOL

{oa
G

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

$OL

R,E

1OA M{lLOPE

MAr.yoR,

PC

U ATLO P.
fi,l

A{oR

Fa*

f,E

LA

Pe l,4ATzo?e

f.l

,1uoR

Fot

R[

p H4TzoPe
0

An,/O

Pe, ptATzope

14t1,/oR

a*

R.e

LA

55

AA

U ATLOP E

MAvo n

AA

^4ATzo R, O
^.lArt

Pc
+

LA LA

AA

HmLoPe
MA*lOR

AA

taArzoPe
tt-i

4.a, O R

oot'

14t

Mqtzo pe
llA\/OR
,[ sor,f,

56

HT

uA-lLo Pe
tn4v o n

l,t I E

14Arzope

t4AvoR

l-t t

UAlZOPQ

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[

5t

FAK

:t

14

ATLO Pe

l1

etoR

1t MNTLOPC ta+t o R B

In
6a* MArzoPe

Ff

HA.toR

oqint

L^r

58

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

6n# uArzoPe Fl ttAroR

rafi

o"*

Uo# HAttoPe

c#

f-la,roR

pto

c*

untlope
HLq,/oR

tA Dot so4

wo{ c#

t4AlLoPe l,tA\/oR

nl

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
A

vorrrq

xcpS;r LA

60

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