Hi everyone. I’ve started falling further and further down the rebetiko rabbit hole. I’d like to start learning some music theory as well, rather than mechanically playing songs from tablature. I have a guitar, a three-course bouzouki and a baglamas. Of course, I’d also like to take lessons, but the Panhellenic exams are coming up (I’m sitting them next year), so until then I’ll be self-taught. Can you recommend any resources, articles or books? I’d genuinely like to thank all of you for helping me on my journey through this beautiful world of music.
Hello, Giorgos.
What exactly do you mean? I would consider theory articles/books, in principle, as something separate from articles/books about instruments. For example, theory covers dromoi (modes), which are obviously the same for every instrument. A book about instruments (apart from historical, construction-related, etc. books—which I don’t think is what you’re looking for) would be one that shows, for example, fingerings, which apply whether you’re playing dromoi or other things.
In any case, as far as the guitar is specifically concerned, there is The Folk Guitar by D. Mystakidis, which, incidentally, combines practical aspects (the book’s main subject) with theory to quite a considerable extent.
As for dromoi, there are suggestions and introductions in other threads on the forum, as well as theory articles that you can read right here. There is also a thread about educational YouTube videos.
3 Likes
The best resource is right here. I mean, until you find a teacher and all that. There are loads of threads dedicated to technique and modes. But to begin with, sit down and work out a song or two by ear. Bear in mind that the keys on recordings may differ slightly from your tuning. I mean, if you tune exactly to D-A-D, many songs will be in a sharp or flat key because of pitch drift and so on. Also, learn the natural scale on the bouzouki! Slowly, slowly, the unripe fruit becomes honey.
A very good starting point is the old “Text on Dromoi” by liga rosa: Κείμενο για δρόμους. As for books, there may not be anything ideal; among the good and relevant ones, Andrikos is perhaps a little too demanding and unsuitable for a complete beginner, Voulgaris–Vantarakis take a makam-based rather than rebetiko-centred approach, and Mystakidis’s is an instrumental method that does not present the theory comprehensively.
2 Likes
While I’m on the subject, I don’t know whether I’ve said this before or whether someone else has:
I think it’s absolutely essential that someone write a supplement to Andrikos covering the harmonic (chordal) side of things, which Andrikos doesn’t address at all.
1 Like
Andrikos’s book is the most comprehensive work we have on rebetiko; it just requires some perseverance because of the language. Although challenging for the average bouzouki player, it is clear and precise. The book by Voulgari and Vantaraki is also excellent, with plenty of material to study.
As for the chords, once you understand the structure of the dromoi, the chords can easily be worked out from the three-, four- and five-string instruments.
However, both books require a personalised and interactive introduction to modality, with a teacher or at least some explanations here on the forum. Perhaps also with some selected videos (e.g. from the forum’s conference day), or practical material from seminars, conferences, etc.
P.S. I still owe you an update to the text on the dromoi, but the more I study, the more I feel the extent of my ignorance…
1 Like
I’ve always wanted to read it and have always put off buying it… Am I right in thinking that it’s now out of print? Anthime?
All right, but what does “easily” mean? A little guidance never hurts. In my opinion, Nikos simply didn’t write it because it’s never been something he’s had to think about; what he plays himself is always strictly monophonic. Not because he considers them self-evident.
You’re not wrong, which is why I included the chords in the write-up on modes.
On the other hand, if you understand the basic principles of roots and modes, and have a grasp of basic harmony, the chords will follow. If they don’t, then you need a little more study (of theory and recordings), aside from a few particular cases of harmonisation.
You can put it even more simply: “A chord consists of the note we play in the melody and two others that belong to the scale.” If we encounter an exception—if there aren’t two others but more, or if they fall outside the scale—our ear alerts us. If there are several that meet the same conditions, the ear chooses again.
But this isn’t theory, it’s practice!
1 Like
If you want, I can give it to you myself.
This does not necessarily apply to the harmonisation of the dromoi. Chords reflect the pentachord within which the melody moves in each phrase, rather than following the melody at every step.
Thank you very much, Lambros! I’d like to look in some second-hand bookshops first, and if I can’t find it, I’d be delighted if you lent it to me!
The book is readily available commercially:
2 Likes